Part concept film, part biopic, part historical record and part comedy, Leanne Pooley’s documentary was made to mark the Topp Twins' 50th birthday. New Zealand's favourite comedic, country singing, dancing and yodeling lesbian twin sisters tell their personal story: from their 'coming out' to Jools' brush with breast cancer. The film features archive material, home movies and interviews with the Topps' alter egos. Alongside local box office success and dozens of international awards, Girls won the People’s Choice award for favourite documentary at the 2009 Toronto Film Festival.
Home by Christmas sees Gaylene Preston returning to the hidden stories of ordinary New Zealanders. Inspired by attempts to get her father Ed to reveal his WWII experiences, this finely-balanced docu-drama moves between three strands: Preston’s father (Goodbye Pork Pie's Tony Barry, in a Qantas award-winning performance) retelling his story; recreations of Ed’s wartime OE; and life for the woman he left behind in Greymouth. The dream cast sees Preston’s own daughter Chelsie Preston Crayford playing Preston's mother Tui, alongside Martin Henderson.
When his father dies, soldier Will Bastion (Temuera Morrison) returns home after 20 years. Tradition dictates he take on the mantle of tribal chief, but he's not interested. His brother Kahu (Lawrence Makoare) seizes the opportunity, but he's a drug-dealer with grand plans to get stolen land back. Worried about Kahu's provocative approach, Will must choose whether to face off against his brother. Melding horseback action and indigenous land rights, Crooked Earth marked the first NZ film for director Sam Pillsbury since 1987's Starlight Hotel. Variety called it "handsomely mounted and compelling".
Once Were Warriors opened the eyes of cinemagoers around the globe to an unexamined aspect of modern New Zealand life. Director Lee Tamahori's hard-hitting depiction of domestic and gang violence amongst an urban Māori whānau was adapted from the best-selling Alan Duff novel. The film provided career-defining roles for Temuera Morrison and Rena Owen as Jake the Muss and Beth Heke. It remains NZ's most watched local release in terms of bums on seats. Among a trio of backgrounders, Riwia Brown writes about adapting Duff's book for the screen.
Filmed in France, Belgium and New Zealand, The Vintner's Luck (aka A Heavenly Vintage) is a tale of growing grapes and meeting angels. Belgian actor Jeremie Renier (L'Enfant) stars as Sobran, a poor winemaker who one day encounters an angel. The two make a pact. One day each year, as Sobran's fortunes wax and wane, the angel returns to hear more about Sobran's life. Director Niki Caro adapted Elizabeth Knox's bestselling novel with help from US script consultant Joan Scheckel; the film also reunites Caro with Whale Rider discovery Keisha Castle-Hughes, who plays Sobran's wife.
A mutant lamb escapes from the lab after dodgy genetic experiments, and herds of sheep are turned into bloodthirsty predators. Three hapless humans are stranded on the farm as the woolly nightmare develops. They discover a bite from an infected sheep has an alarming effect on those bitten. With his first feature, director Jonathan King (Under the Mountain) provides splatter thrills and attacks a few sacred cows. Black Sheep was invited to 20+ international festivals, where it scored acclaim and multiple awards. The interviews include King, Weta's Richard Taylor, and the cast.
Set in the East Coast town of Whāngārā, Whale Rider tells the tale of a young Māori girl, Pai (Keisha Castle-Hughes), who challenges tradition and embraces the past in order to find the strength to lead her people forward. Directed and written by Niki Caro, the film is based on Witi Ihimaera's novel The Whale Rider. Coupling a specific sense of place and culture with a universal coming-of-age story, Whale Rider became one of the most successful and acclaimed New Zealand films released internationally. It also won audience choice awards at the Sundance and Toronto Film Festivals.
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.
Iaheto Ah Hi's play Tautai involved an urban car thief emulating his Tokelauan fishing ancestors — only instead of hunting sharks, he hunted cars. Twelve years and 27 drafts after first seeing the play, director Michael Bennett and co-writer Gavin Strawhan intertwined Tautai's story with seven other characters, each impacted by one moment of violence. Praising the "excellent ensemble" and Don McGlashan score, Herald reviewer Peter Calder argued that Matariki delivers "a touching series of intersecting stories about the fragility of life and the redeeming power of love".
In 1992 Australian soap star Craig McLachlan (Neighbours) landed in NZ, to tackle one of his only starring roles in a movie to date. McLachlan plays Ed — a WWll soldier who goes AWOL — in a story 74-year-old writer James Edwards drew from his own life. When Ed is shipped overseas with no leave, he feels obliged to make sure that his recently pregnant wife Daisy (Katrina Hobbs) is OK before he departs. But then the days become weeks. For director John Laing the road movie offered a chance to explore changing gender roles, as women discovered life beyond house and family.