A culture clash story by Witi Ihimaera inspired this comic drama, which marked the directing debut of screen veteran Larry Parr. Set in the mist-shrouded Taranaki hamlet of Whangamomona in the 1940s, the short film focuses on the conflict between a local tohunga, Mr Hohepa (Sonny Waru) and feisty Pākehā Mrs Jones (Annie Whittle) — as viewed by the young boy who helps deliver her mail and groceries (Julian Arahanga, in his screen debut). The locals think Hohepa has placed a makutu (or curse) on Mrs Jones. But could more basic human emotions be at work?

One of an early 80s series of stand-alone dramas, Coming and Going is set in a boozy officers’ mess in Maadi in Egypt during World War II. Based on a short story by Dan Davin (who saw service in North Africa and Europe), it centres on Reading (David McPhail in a rare serious role) who will never be one of the blokes — but who is now facing ostracism and open hostility. Andy (Kevin Wilson) has just rejoined the unit after being wounded; and he gradually discovers that Reading’s plight is the result of something far more serious than standoffishness.

This wartime edition of the NFU's newsreel series opens with a one and a half mile Wellington harbour swim at Evans Bay. Then it's up to Dannevirke for an A&P show for sheep dog trials and show jumping spills. The reel ends with a visit to the NZ Expeditionary Force's Christmas celebrations while fighting in Italy. There's mail from home, hospital romance, malarky in the snow as poultry and wine is chased, and Māori Battalion soldiers roast a pig. Ambulances are a reminder that war goes on; and on the frontline machine gun crews help keep "Jerry below ground".

This NFU film features the 1948 celebrations which marked the centenary of Dunedin's founding. The Edinburgh of the South's Scots heritage figures prominently, with Jock Carlson taking over the more Caledonian parts of the narration from Selwyn Toogood. A tour of the city is followed by extensive footage of the carnival week's centrepiece: an elaborate "cavalcade of progress", as floats trace Dunedin's development over 100 years, before the ambitious light and fireworks finale. In the period the film was made, all of the NFU's colour footage was processed overseas.

This National Film Unit travelogue, produced for the NZ Government Department of Tourist and Health Resorts, finds post-war Auckland basking in sunshine. Flowers bloom in parks and gardens, city streets bustle and public swimming pools are packed. Trams and flying boats are a reminder of a by-gone era in the city's transportation while a rug factory is a colourful if unexpected inclusion. Last stop is a visit to Kawau Island — home of Governor Grey's Mansion House — where the sun also shines and aquaplaning, sports and bush walks are the order of the day.

The first part of this controversial, no-holds-barred portrait of Robert Muldoon — the dominant figure of 20th century NZ politics — traces his rise to power. In one of the show’s most contentious themes, Neil Roberts and Louise Callan explore the effect that the death of Muldoon's father from syphilis may have had on his political career. Interviews with colleagues and family members cover his childhood, war service, early years as a husband and father, his immersion in the National Party and the relentless, divisive style that saw him become Prime Minister in 1975.

A Political Game charts not only intense rugby rivalry between South Africa and New Zealand, but also the politics of racism that came increasingly to the fore. The signs were there during the Springboks first tour of New Zealand in 1921: a South African reporter was outraged white New Zealanders had supported a Māori side. In 1976 an All Black tour of South Africa sparked an African boycott of the Montreal Olympics; the 1981 tour saw violent protests. Starting with the historic All Blacks win in 1996, this excerpt jumps back in time to chart conflicts on and off the field, up until 1949.

This excerpt from the acclaimed miniseries about Kiwi mountaineer and philanthropist Sir Edmund Hillary includes his 1930s childhood in sleepy Tuakau, and scenes from the 1940s, when his desire to join the war effort clashes with the beliefs of his pacifist father. Ed's young life is sketched in three chapters: a stolen library book ignites a passion for the mountains, teenage Ed experiences the grandeur of Mt Ruapehu, and adult Ed (played for the remainder of the series by Andrew Munro) grows restless with life as a beekeeper while being labelled a coward for his family's war stance. 

An ode to the retrospective joys of listening to AM radio from this Auckland three-piece who mix elements of folk, funk and blues on this smooth pop song written by front person Victoria Girling-Butcher. Richard Bell’s video was shot at the train station at Ferrymead Heritage Park in Christchurch; and his army of loners emerging out of the shadows - drawn in by the music on the radio - underlines the song’s promise of finding companionship from the airwaves. (The Wave Master valve radio was made from the early 1940s by Dunedin company Radio Services Ltd.)

Adrian Waretini was born in Rotorua in 1946, the son of Deane Waretini, a celebrated Māori singer in the 1930s and 1940s. After his father died, Adrian began singing his songs and adopted his Christian name as a music career beckoned. Waretini Junior went on to perform with the Māori show bands in the 1970s. In 1980, he recorded a song written by his cousin (and Te Arawa elder) George Tait. Initially self-released, ’The Bridge’ was picked up by CBS; it became the first number one single to be sung in te reo after it topped the New Zealand chart for two weeks in April 1981.