In a nod to his theatre training, Whale Rider actor Rawiri Paratene (then better known as a presenter on Play School) unveils three stories to a marae audience. A bored schoolboy (Faifua Amiga) banters with a sarcastic teacher; a musical number features a prostitute (Rena Owen) and her client; and a young girl and her grandfather prepare and wait for the body of her father at the pā. This was the first screen drama directed by Don Selwyn, who argued "what Rawiri is saying in his script is that there are lots of things Māori which are left out of the education system."
This TV drama follows a whānau taking a claim to the Waitangi tribunal, over plans by a Pākehā neighbour to build a resort on disputed land. Ngā Tohu jumps between the present day and 1839/40, when Māori chiefs were canvassed to support the Treaty of Waitangi and a settler makes an equivocal land deal with Chief Tohu (George Henare). The exploration of the Treaty's evolving kaupapa is effectively humanised by an age-old love story, and it scored multiple drama gongs at 2000's TV Awards. Director Andrew Bancroft wrote the teleplay with playwright Hone Kouka.
This fictionalised account of pioneering 19th century photographers the Burton brothers is set partly in Dunedin during the closing stages of the New Zealand Wars. William and Alfred take contrasting approaches to representing their subjects — and are treated accordingly by the authorities, who are attempting to attract new settlers while brutally suppressing Māori. Produced by veteran John O'Shea (who co-wrote with playwright Robert Lord), the tale of art, commerce and colonisation was largely well received as a thoughtful essay at revisionist history.
This 1997 Inside New Zealand documentary looks at the evolution of modern Māori political activism, from young 70s rebels Ngā Tamatoa, to Te Kawariki's protest at Waitangi Day in 1995. Directed by Paora Maxwell, it is framed around interviews with key figures (Syd Jackson, Hone Harawira, Ken Mair, Mike Smith, Annette Sykes, Eva Rickard, Joe Hawke). The interviewees explore events, and the kaupapa behind their activism, from thoughts on sovereignty, and the Treaty of Waitangi, through to symbolism (tree felling, land marches) and being kaitiaki of the environment.
The Governor examined the life of George Grey, providing a whole new angle on traditional portraits of him as the "Good Governor". The six-part historical blockbuster was hugely controversial, provoking a parliamentary inquiry and "test match sized" audiences. This episode — 'He Iwi Kotahi Tatou' (Now We Are One People)' — won a Feltex award for best script. War looms in the Waikato as Māori tribes band together; peacemaker and kingmaker Wiremu Tāmihana (the late Don Selwyn) agonises over the right course of action.
On the Samoan island of Sapepe, the rebellious, pranksterish young Pepe (Faifua Amiga) rejects his imported Christianity and declares himself a descendant of the old gods, setting himself on a path of alienation and conflict. In this excerpt, he leads a burglary of his father's store and burns down a church on the streets of Apia. Adapted from two works by Albert Wendt and shot with a local and largely amateur crew, Martyn Sanderson's first feature is emboldened by vivid cinematography and Kingpin-star Amiga's unforced charisma in the lead role.
Vincent Ward's fifth feature follows an Irishwoman in 1860s New Zealand, as Māori tribes resist the occupation of their land by the British. Sarah (Samantha Morton) has had an affair with a Māori and borne his child. Years later the boy is kidnapped by his grandfather, a powerful tribal leader. Sarah embarks on a search for her child, aided by warrior Wiremu (Cliff Curtis). When she finds him, both mother and son must decide to which culture they belong. This excerpt from the notoriously ambitious film sees Sarah encountering charismatic chief Te Kai Po (Temuera Morrison).
This short film draws on a key incident in the life of Te-Ao-kapurangi, a woman of mana for Te Arawa's people. In the late nineteenth century, Aotearoa was in the grip of a 'musket war'; firearms were having a devastating effect in tribal battles. Hongi, a Ngāpuhi chief, leads a well-armed assault on a rival Te Arawa tribe. Te-Ao-kapurangi (Stephanie Grace) challenges Hongi and uses her wits, not a gun, to save her people. Invited to prestigious French festival Clermont-Ferrand, the film marked a rare drama directing credit for the late Tama Poata, writer of landmark Māori film Ngāti.
This 1951 National Film Unit production looks at the Cook Islands, and marks the 50th anniversary of the islands’ annexation in 1901. Unusually long (half an hour) for an NFU film, it shows history ("Vikings of the Pacific" through Captain Cook to New Zealand administration) and island life: spear-fishing, catamaran sailing, breadfruit gathering, weaving, dancing and singing. The islands are depicted as paradise guided by NZ paternalism, with the Islanders grateful recipients of modern communication, technology, health services, education, and... tinned meat.
Jessica Hansell (aka Coco Solid) is a creative chameleon — she's an artist, musician, writer, director and actor. The creator of animated series Aroha Bridge talks about a variety of topics in this Funny As interview, including: Realising the power of comedy to tell important stories — and be a "political weapon" How writing and acting in Māori news satire Brown Eye in 2015 "made people realise I wasn't messing around" How her Aroha Bridge characters are a "Frankenstein of Māori and multicultural archetypes I see every day" The "massive effect" Billy T James had on her, and how his Captain Cook sketches "taught you about the truths of colonisation" Rating the acting of childhood friend Madeleine Sami as the "standard that I hold other performers to"