The programme in the Open Door series follows a unique partnership between the Pegasus Unit — a special needs unit at Pakuranga college — and Auckland University Dance students, as they work together to produce a dance performance in just four weeks. The Pegasus Unit students blossom, and both groups of students learn from each other as the big day approaches.
In this 2007 short, a young refugee boy is smuggled out of an unnamed European country. When he realises he and his companion are victims of people trafficking, he faces an untenable choice. Cargo was produced as director Leo Woodhead’s graduating film while completing a masters in film at Auckland University. A collaboration with Czech cinematographer Martin Priess led to a student exchange with FAMU in Prague and saw the film shot in the Czech Republic. It premiered at Venice Film Festival, before a successful (London, Tribeca, Telluride) festival run.
In this Kaleidoscope report, Lorna Hope profiles poet, novelist and critic CK Stead as he resigns from his position as a Professor of English at Auckland University to write full time. Stead is filmed teaching, writing (at his Karekare bach), at home in Parnell, and at Frank Sargeson’s Takapuna house. He discusses his academic career, family life, walking for inspiration, and how he began writing as a teen. He also mentions his novel Smith’s Dream (adapted into 1977 feature film Sleeping Dogs), and how its themes are echoed in the 1981 Springbok Tour protests, where Stead was arrested.
This second episode of the early 80s chat show sees host Ian Johnstone welcome Howard Morrison, Pita Sharples and Rosa Tamepo to talk about ‘breaking in’. Morrison and Sharples discuss being Māori ‘breaking in’ to a Pākehā world. Tamepo reflects on being a Pākehā married to a Māori. Sharples recalls being a Kahungungu boy from the backblocks at Auckland University; Morrison twists the theme to talk about growing up as a Te Arawa tama in Tūhoe country. Made by David Harry Baldock, the show was inspired by the relaxed style of English interviewer Michael Parkinson.
In this final episode of the 90s ‘docu-soap’, reality bites for the household of young Aucklanders. Vanessa demands to talk to cameraman/boyfriend/flattie Craig off-camera, and Craig's refusal to do so fails to help things. Geoffrey can’t remember vomiting in the bathroom; there’s frisbee in Cornwall Park and moments of romance; Christian gets a letter from his on/off Finnish girlfriend, and flunks chemistry at uni. But no flat lasts forever and Natasha packs up (taking her freeloading boyfriend with her), before the rest of the flatties go their separate ways.
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.
“After the trouble at Miss Howick I realised that life with Vanessa was going to be a roller coaster.” These immortal lines from flatmate and cameraman Chris Wright open the fourth episode of the 1997 ‘docu-soap’. Sexual strife is in the house: Craig is having doubts about whether his relationship with Vanessa is monogamous; Christian gets a rejection letter from Finland; Natasha appears to have a tiff with Nick; and too much drinking at Ceilla’s 21st results in conflict. Elsewhere, the flatties face up to vomit, cleaning, freeloading boyfriends and a game of hacky sack.
The enormous significance to Māori of marae, as places of belonging where ritual and culture can be preserved, is explored in this Pita Turei-directed documentary. Made in conjunction with the NZ Historic Places Trust, it chronicles the programme to restore marae buildings and taonga around the country — and the challenge of maintaining the tribal heritages expressed in them. As well as visiting some of NZ's oldest marae, one of the newest also features — Tapu Te Ranga, in Wellington’s Island Bay, which is being built from recycled demolition wood.
This 2002 documentary profile of the late Ngāti Porou master carver and 2013 Arts Foundation Icon award winner Pakariki Harrison won that year’s Best Māori Language Programme at the TV Guide NZ Television Awards. The documentary follows Harrison, the eldest of 21 children from Ruatoria, who honed his practice while still a student at Te Aute College in Hawke’s Bay and who left a legacy as one of the finest tohunga whakairo (expert carvers) of his generation. It also examines the unique chisels used by the carver, and their specific uses and patterns.
In the early 1970s expat broadcaster Michael Dean took Aotearoa’s pulse, as it loosened its necktie and moved from “ice-cream on mutton, swilled around in tea” conservatism, towards a more cosmopolitan outlook. Dean asks the intelligentsia (James K Baxter, Tim Shadbolt, Peter Cape, Shirley Smith, Bill Sutch, Ian Cross, Peter Beaven, Pat Hanly, Syd Jackson, Hana Te Hemara) for their take. The questions range from “what does the family in Tawa sit down to eat these days?” to the Māori renaissance. Dean had made his name in the 60s, as a high profile broadcaster with the BBC.