Reporter Neil Roberts ventures into South Auckland in this TVNZ documentary, and finds two rapidly growing but very different communities. Otara and Mangere are becoming New Zealand’s industrial powerhouse, but a huge influx of Māori and Pacific Island workers and their families are struggling to adapt in a brand new city that was farmland just decades earlier, and lacks amenities for its new citizens. Meanwhile, to the east, Howick and Pakuranga are also booming but their more upwardly mobile, prosperous and very Pākehā citizens seem to be living in a world of their own.
This NFU film visits the remote Urewera to explore the world of the Tūhoe people. Their independence and identity have been challenged by historical tensions with Pākehā, and now modernity — as ‘children of the mist’ leave for education and jobs (at the mill, in the city). A tribal outpost in Auckland is visited, along with law student James Milroy. At a Ruatoki festival the debate is whether young people should manage tribal affairs. For director Conon Fraser the film (partly narrated by Tūhoe) revisited the subject of his last Looking at New Zealand episode.
Almost two decades before Once Were Warriors, another drama about urban Māori under pressure stirred controversy. Hema (Dale Williams) and Janey (Julie Wehipeihana) are two kids adrift in the city, trying to escape a broken home. Screen historian Trisha Dunleavy found this "the most powerful and controversial" edition of the Winners & Losers series; it was TV's first drama about "the alienation of Māori in a contemporary urban setting". Based on a Witi Ihimaera story, it also marked the first solo directing credit for Ian Mune. He later directed the sequel to Once Were Warriors.
Broken Barrier marked the first New Zealand dramatic feature to be made since 1940. Its production saw directors John O'Shea and Roger Mirams crowding into a Vauxhall with two silent cameras, one picked up "from a dead German in the Western Desert". Ditching dialogue for 'spoken thoughts', the pioneering film examines cultural complications in a romance between a Pākehā journalist (Terence Bayler) and a Māori nurse (Kay Ngarimu, aka Keita Whakato Walker). According to O'Shea, some viewers considered it "a dirty movie" for spurring mixed race relationships.
Made for television, this 13-part National Film Unit series aimed to showcase "people and events that shaped the New Zealand of today". The Bernard Kearns-presented series is mostly composed of footage taken from NFU stock. Fascinating early film clips are accompanied by interviews with elderly gents and ladies who reminisce about events as they unfold on the screen. This edition focuses on the opening decades of the 20th century; the nostalgia takes a dark turn when bow tie-wearing Kearns discusses World War I and provides alarming statistics of loss of life.
Something of an antipodean Seven Up! (a series of life-chronicling British documentaries) this documentary picks up on the stories of four young Māori — now middle-aged — 24 years after they moved to the Wellington as part of a Māori Affairs Department redeployment program. It makes liberal use of the original film to contrast the cowshed to cubicle journeys; and revisits Ripeka (now in Hamilton), Moana (Guam via Japan), Grace (Wellington), and Phillip (Brisbane), who reflect on the paths their lives have followed, and on their Māori culture and where 'home' is.
Private Journeys / Public Signposts turns the camera on photographer Ans Westra. Dutch emigree Westra has captured iconic images of New Zealanders since the late 1950s, expressively observing Aotearoa societal changes, particularly Māori urban drift. This film explores her remarkable life and work, and includes commentary from family and friends, fellow photographers, and colleagues, as well as discussion of the Washday at the Pa controversy. Luit Bieringa, curator of Westra's retrospective photo exhibition, directed the film, his first.
In Haka Māori myth is re-told through a series of stirring haka performances. Men stomp, invoke, and do pūkana (tongue out, eyes wide) amidst spitting mud and fire and ... in Paremoremo Prison and under a motorway. These scenes are intercut with archive imagery of post-pākehā Māori life, from first contact to Maori Battalion, urban drift and protest. The film is a tribute to the raw power, and art, of haka. Ultimately the Once Were Warriors-like message "is positive because of the fierce, irresistible pride of the performances." Peter Calder, (NZ Herald, 1989).
On their second single, future BBC radio star Zane Lowe and his 90s hip-hop crew proclaim themselves to be an expression of their "headphones and kerbstones", as they dedicate themselves to "knocking down the doors of the hip-hop frauds". Director Craig Jackson provides an appropriately urban setting in which the crew voice their declaration. As his footage alternates between monochrome and colour, deserted cityscapes (including the old Auckland Railway Station) combine with drifting, jazzy notes to make for a aptly impressionistic scoring of the streets.
As the Head of Content Development at Māori Television and commissioning consultant for TVNZ's Māori and Pacific Programmes, Nevak Rogers is always looking to capture that elusive rangatahi audience. The former journalist and moved into directing and producing Māori and Pacific Island stories. She has presented popular reality shows like Marae DIY and produced doco Ngā Tamatoa - 40 Years On.