This 1982 film, made for the New Zealand Council for Recreation and Sport, is an impressionistic exploration of play. Child narrators talk about what play means to them, while the images capture young people engaged in recreation. The focus is on informal play: kids and teenagers at playgrounds, hunting for frogs, reading, skylarking in the snow, doing cartwheels on the beach, fixing motorbikes, skipping, stargazing and playing Space Attack. Seagulls inspire dreams of flight for a young girl, and a fancy dress ball for adults shows the enduring spirit of play.
In director Garth Maxwell’s 1993 gothic horror twins Jack and Dora (late US actor Alexis Arquette and Kiwi Sarah Smuts-Kennedy) are separated while young; their adult reunion sees them battling the trauma of their past while being pursued by Jack’s sadistic step sisters. Complete with ESP,and a steam-driven hypnosis machine, Maxwell makes an exuberant and surreal contribution to the cinema of unease. New York Times’ Stephen Holden lauded the heady head-spinner as “a superior genre film” with a “feverish intensity that recalls scenes from Hitchcock and De Palma.”
This documentary chronicles a shameful passage in New Zealand race relations: the controversial mid-70s raids on the homes and workplaces of alleged Pacific Island overstayers. Director Damon Fepulea’i examines its origins in Pacific Island immigration during full employment in the 1960s, when a blind eye was turned to visa restrictions. As times got tougher, that policy changed to include random street checks by police, despite official denials. Resistance by activists and media coverage helped end a policy which has had a long term effect on the Pacific Island community.
This Weekend item from 1986 meets the team behind Radio New Zealand’s flagship show Morning Report, from hosts Geoff Robinson and Maggie Barry, to reporters and programmers. Robinson — who would host or co-host Morning Report for 35 years — talks about listener loyalty, the intimacy of radio, and rejecting BBC style delivery. Meanwhile co-host Maggie Barry — at 26, the show’s youngest host and its first woman presenter — reflects on the importance of being a morning person. Barry would later host a popular garden TV show, and became a National Party MP in 2011.
Nanna Maria (Ruby Dee), the matriarch of a Fijian family in Auckland, feels that the heart has gone out of her clan. She demands that her grown grandchildren put on a traditional feast, at which she will name her successor. The grandchildren reluctantly turn up, but tiffs spin things into chaos and she calls the whole thing off. Based on his second play, this love letter to the suburb of Mt Roskill marked the first film for director Toa Fraser (Dean Spanley). It screened at many festivals internationally, and won the 2006 World Cinema audience award at American festival Sundance.
Hilary Barry was in her early 20s when she began reporting for TV3 in 1993. Twenty-three years later she left the network, after more than a decade co-presenting its prime time bulletin. In this excerpt from her last TV3 bulletin, newsreader Mike McRoberts gives an emotional farewell speech. A best of Barry video package shows her drinking a Spam smoothie for an early story, laughing about an "emergency defecation situation", and reporting from Christchurch and South Africa. Barry later spoke of leaving TV3 after many close colleagues had left the network.
The Silent One is a mythological children's drama about the friendship between a deaf mute boy, Jonasi, and a rare white turtle. The boy's differences lead to suspicion from his Rarotongan village. When the village suffers drought and a devastating storm, the boy and turtle (also considered an ill omen) are blamed and ostracised. Adapted by Ian Mune from a Joy Cowley story, the beloved film was the first New Zealand dramatic feature to be directed by a woman (Yvonne Mackay). In the excerpt here, Jonasi is excluded from a boar hunt and first meets the turtle.
American-raised, Kiwi based photographer Todd Henry produced this documentary for Vice, after meeting deportee 'Ila Mo'unga while visiting Tonga. Mo'unga was drawn to Henry after hearing his familiar American accent. Tonga is now home to hundreds of deportees — permanent residents of New Zealand, Australia or the United States who committed serious crimes and did jailtime, then were put on a plane to start a new life in an unfamiliar culture. The lucky ones have family land, or a place to stay. But many start from scratch and without institutional support, old bad habits can kick in.
Tokelau is a New Zealand territory, spanning three small South Pacific atolls. In the 1960s the New Zealand Government expressed concern about overpopulation, and instigated the Tokelau Islands Resettlement Scheme. This National Film Unit documentary surveys Tokelau society and culture from a New Zealand perspective, and follows the journey of a group of Tokelauans who chose to migrate to Aotearoa (where they adapt to telephones and horses near Te Puke). It was one of three NFU documentaries directed by Derek Wright on Pacific Island subjects.
This post-war film was made to showcase New Zealand to UK audiences. Directed by Michael Forlong, the NFU film is a booster’s catalogue of contemporary NZ life. The message is that NZ is a modern pastoral paradise: open for business but welfare aware. Nature is conquered via egalitarian effort; air and sea links overcome the tyranny of distance; and science informs primary industry. Māori are depicted assimilating into the Pākehā world. Sport, suburbia and scenic wonder are touted, and an NZSO performance shows that the soil can grow culture as well as clover.