“A film developed from the imagination of New Zealand children” is how director Tony Williams describes this remarkable, sprawling mix of drama and documentary. It features a fictitious teacher (writer Michael Heath) working with a class of 11-year-olds from Petone to explore what freedom means to them. At times their notions might seem naive but the film remains firmly non-judgmental. The free-wheeling approach, most memorable in the Paekakariki beach fantasy scenes, makes for a “wonderfully idiosyncratic” (film historian Roger Horrocks) hymn to juvenile freedom.
Founded in 1977 by ex-vacuum salesman Bert Potter, Centrepoint was an alternative lifestyle settlement that promoted intimate communal living, along with personal and sexual freedom. This documentary observes members' struggles to reconcile the values of their new home with the outside world. Director Geoff Steven threatened to take his name off the credits, in a successful bid to avoid the cutting of emotional scenes of 'encounter group' style psychotherapy. Potter and others were later convicted for a spate of child sex abuse and drugs charges.
Jess Feast's debut feature documentary centres around the hip Berlin burlesque joint, White Trash Fast Food, and explores life in post-wall East Berlin: a place where libertines and die-hard communists co-exist but not always harmoniously. The Cowboy is Wally, an artist and chef, who escaped LA to live a life of freedom in Berlin. The Communist is Horst, an intelligent ex-journalist who lives upstairs from White Trash, and mourns for the old regime. Won Best Documentary by a young filmmaker at the Kassel Documentary Festival, 2007.
Presenter Keith Bracey picks out the highlights from 1966 for the northern edition of magazine show Town and Around. 'Kiwi gent' Barry Crump, sharp-shooting country singer Tex Morton, singer Lee Grant and axeman Sonny Bolstad feature, alongside visitors including US comedian Shelley Berman, actor Chips Rafferty and English TV presenter (Pavlova Paradise author) Austin Mitchell, who criticises the state of local media. Keith's picks gravitate to the light-hearted, with probing coverage of gardening with gnomes and a man who uses a carrot as a musical instrument.
Actor and casting legend Diana Rowan (who discovered both Anna Paquin and Keisha Castle-Hughes) turns her hand to writing and directing, with this darkly comic half-hour television drama based on an original story by Shonagh Koea. Veteran actor Helen Moulder (Fallout) gives a stand-out performance as a recently widowed woman, who arrives at a novel solution to well-meaning but hideous friends and family. The Wall is dedicated to director of photography Bayly Watson, who passed away soon after working on it.
Solo is a story about three people on the edge of nowhere, struggling to decide how much of themselves to share with those they care about. Young Australian hitchhiker Judy romances solo Dad Paul, who finds peace flying fire patrol planes above the forest. Paul's precocious son reacts badly to losing pole position to Judy, and takes to the air. Inspired partly by the oft-painful times when we are "more acutely in touch” with our emotions, Tony Williams' romance helped launch the Kiwi movie renaissance. But as he writes in the backgrounder, there was no fun in filming it three times.
Twenty eight years after featuring in landmark feminist documentary series Women, five interviewees reveal how their lives have changed. Donna Awatere Huata, Miriam Cameron, Sandi Hall, Aloma Parker and Marcia Russell candidly discuss work, sex, the media and Māori in this 70 minute documentary. Artist Cameron recalls how feminists were seen in the 1970s: "she was a braless, hairy, fat hag". Journalist Russell remembers not being allowed to work past 11pm because she was a woman, while psychologist Parker felt liberated by feminist Germaine Greer's refusal to wear a bra.
Despite starring in Kiwi classic Goodbye Pork Pie, playing 'a good true blue basic Kiwi joker' in Home by Christmas, and scoring for the All Blacks, Tony Barry marks a rare Australian entry in our ScreenTalks. The veteran actor cemented his relationship with the Kiwi screen as early as 1971, when he appeared in landmark TV series Pukemanu. Barry went on to tour New Zealand (and his homeland) in Bruno Lawrence’s genre-bending musical group Blerta, then drove a yellow mini to Invercargill in the iconic Goodbye Pork Pie.
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.
'L'Amour est l'Enfant de la Liberte' became a major 70s smash after it won television talent quest Studio One. Composed by Shade Smith, and sung by his twin brother Gerard, it topped the charts for six weeks in 1971, and became a fixture on Kiwi radio and TV. Sales of over 30,000 copies made it one of the biggest selling local songs of the era. Here, the band revisit freedom’s love child 14 years after birth, with a short rendition for a variety show at Wellington's Michael Fowler Centre. The show was made to mark 25 years of television in New Zealand.