This selection — in partnership with the NZ Film Commission — showcases award-winning examples of Kiwi short filmmaking. From the the tale of two men and a Cow, to the sleazy charms of The Lounge Bar, from Cannes to Ngawi; this collection is a celebration of "a beautiful medium for nailing an idea to the fence post with a piece of No.8 wire."
In 1865, Wellington became the Kiwi capital. In the more than 150 years since, cameras have caught the rise and fall of storms, buildings, and MPs, and Courtenay Place has played host to vampires and pool-playing priests. Wind through our Wellington Collection to catch the action, and check out backgrounders by musician Samuel Scott and broadcaster Roger Gascoigne.
Sam Neill weaves portions of autobiography into an idiosyncratic, acclaimed yet controversial analysis of Kiwi cinema — from its crude beginnings, to the dark flowering of achievement seen in the breakthrough films of Peter Jackson, Lee Tamahori, and Jane Campion. Directed by Neill and Judy Rymer, as one of 18 films commissioned for the British Film Institute's Century of Cinema series, the award-winning documentary debuted at the 1995 Cannes Film Festival. The New York Times' Janet Maslin rated it a series highlight. The opening sequence looks at the role of the road in Kiwi film.
The title provides pointers towards the film noir intentions of this stylish short film. A well-travelled set-up — drifter rolls into a seedy motel diner — springs surprises as the time -travel plot unravels. Jet Black features Leighton Cardno (Shortland Street's Dr Adam Heyward) as Jet, burdened by murderous guilt, and fellow Shortlander Marissa Stott as the winsome waitress. The screenplay was written by director Kezia Barnett, novelist Chad Taylor (Heaven) and adman Karl Fleet. It was part of a series of shorts promoting Schweppes, by advertising agency Publicis Mojo.
This TV documentary sees director Peter Wells look at his life “through pansy-tinted glasses”. Motivated by the anniversary of his brother’s 1989 death (from AIDS) Wells’ film charts his path to becoming a pioneering gay filmmaker and writer: from growing up fascinated by colour and the glamour of royalty in conservative Port Chevalier in the 1950s, to baking, and deciding to come out when he was drafted to fight in Vietnam. As befits an artist whose credits include Desperate Remedies, the treatment is distinctive: a mixture of documentary, (aptly) flowery home movie, and quiet reflection.
One of the last films shot by longtime cameraman Bert Bridgman before his death, this 1958 promotional film follows an American tourist with a licence to fish in New Zealand, her “passport to pleasure”. Narrated by Pulitzer-Prize winning writer and conservationist Louis Bromfield, the film quotes liberally from English 'father of fishing' Izaak Walton, as the “gal from the States” is given fly fishing instruction. The life cycle of trout is shown, and the film — directed by onetime war correspondent Ron McIntyre — ends with a contest of wits between wily angler and trout.
This was the 24th edition of New Zealand Mirror, a 1950s National Film Unit series promoting New Zealand to British audiences. The first clip, about rugby's Ranfurly Shield, was deemed “too topical” by the UK distributor, and cut from later editions. The clip in question captures the colour of the national obsession (knuckle bones, livestock parades) at Athletic Park, where Taranaki challenge shield holders Wellington. It was later seen in Kiwi theatres as a short, playing with 1982 rugby tale Carry Me Back. The latter segments show Kaiapoi ploughing, and Wairakei thermal energy.
In colonial times drowning was so rife it was known as 'the New Zealand death'. This jaunty 1951 educational film is an effort to rid our lakes, rivers and seas of the unfortunate tag through cunning reverse psychology, as swimmers, fishermen and skylarking lads learn "how to drown". It eschews the confrontational realism of many a later PSA for the light-hearted approach: mixing lessons on water safety with silent film-style tomfoolery, gallows humour and the odd bit of sexual innuendo. Features footage of surf lifesavers using the now-archaic rope and reel.
In the pop-plastic milk-bar universe of Bubblegum Valley, true love is on the rocks. Blue pulls up to the Paperdoll Diner in his mint cadillac. Inside, Candy hears gossip that Blue has been untrue. Will Blue's musical extravaganza fantasy reunite him with his true love? Will his gel hold his quiff up for the length of the film? This is an excerpt from Kezia Barnett's confectionary tale of marching girls and rock'n'roll dreams on rollerskates. It was the first funded short shot by cinematographer Ginny Loane; and was scored by indie duo The Brunettes.
In 1951, New Zealand temporarily became a police state. Civil liberties were curtailed, freedom of speech denied, and people could be imprisoned for providing food to those involved. This award-winning documentary tells the story of the 1951 lockout of waterside workers, and what followed: an extended nationwide strike, confrontation and censorship. There are interviews with many involved, from workers to journalists and police. At the 2002 NZ Television Awards, 1951 won awards for Best Documentary and Documentary Director (John Bates). Costa Botes backgrounds 1951 here.