This short film evokes a day fishing from Karioitahi’s black sand beach: balloons are tied to bait lines then sent out, and the fisherman yarn, drink Fanta, and reel in the catch. Expressively shot by Lynton Diggle in black and white, and backed by an accoustic guitar score, the narration-free Pictorial Parade marked an early entry for director John Laing (Beyond Reasonable Doubt). In 2001 Laing proudly recalled his NFU employers' outrage at the film's “pseudo-Japanese bullshit.” He left the Unit shortly after; ironically the film would win him a job at Canada’s National Film Board.

Mixing three separate strands, On an Unknown Beach is a so-called “‘speculative documentary" about journeys into landscapes of ruin. Sonic artist Bruce Russell explores the ruined Christchurch CBD, scientist Di Tracey captures compelling underwater footage while examining coral damage on the seabed, and poet David Hornblow undergoes hypnotherapy to explore his consciousness and past experiences with addiction. The film was made by Adam Luxton and Summer Agnew, whose 2005 documentary Minginui (2005) focussed on an ex-forestry town in the North Island.

Two families spend the day at a deserted beach on the hottest day of the summer in this short film which marks a directing debut for long time producer and production manager Dorthe Scheffmann. While husbands and children occupy themselves, Margie (Donogh Rees) discovers a terrible secret about her friend Anne (Elizabeth Hawthorne) and her marriage. Margie’s explosive reaction shatters the languor created by the overexposed footage in this Hamburg Film Festival prize-winner (which was also selected for competition at Cannes and Telluride).

National treasures The Topp Twins (aka twins Lynda and Jools Topp) have performed as a country music singing comedy duo for more than 25 years. In the late 90s they appeared on their own TV series, which ran for three seasons and showcased their iconic cast of Kiwi characters. These excerpts from series one feature a Topp day at the beach where a beefy Mount Maunganui lifeguard rubs lotion onto Lynda's body; and Camp Leader competes in a Tauranga triathlon. Her unconventional swimsuit includes a neon pink buoyancy aid, and jelly sandals for running shoes.

Some of New Zealand's most memorable screen images have come from the genre of science fiction: Bruno wandering man alone onto Eden Park in a nightie; giant slugs living under Rangitoto. From alien hunters to futuristic fuel wars to nuclear volcanoes, this collection is a showcase of film and TV that has imagined 'what if?' versions of life in the shaky isles.

This collection celebrates all things equine on New Zealand screens. Since the early days of the colony, horses have been everything from nation builders (Cobb & Co) to national heroes (Phar Lap, Charisma) to companions (Black Beauty) to heartland icons. Whether work horse, war horse, wild horse, or show pony, horses have become a key part of this (Kiwi) way of life.

This collection looks at some of New Zealand's most significant national tragedies. Spanning 150+ years, it tells stories of drama, caution, hope and recovery — from the 1863 wreck of the Orpheus at Manukau Heads, to Tarawera, the Wahine, Erebus, Pike River and Christchurch. In the backgrounder, Jock Phillips writes about the collection, and the "common sequence" to disaster.

It started with grunge and ended with Spice Girls; Di died, Clinton didn't inhale and the All Blacks were poisoned. On screen, Ice TV and Havoc were for the kids and a grown-up Kiwi cinema delivered a powerful triple punch. Tua's linguistic jab proved just as memorable, Tem got a geography lesson and Thingee's eye popped and reverberated around our living rooms.

From the icons (Sky Tower, Otara Market, Rangitoto, The Bridge), celebs, clans and stereotypes (Jafas), to the streets (Queen St, K Road), and Super City suburbs (Ferndale, Mt Raskill, Morningside), this collection celebrates Auckland onscreen. Reel through the moods and the multicultural, metro, muggy charms of New Zealand’s largest city. In this backgrounder, No. 2 director Toa Fraser writes about Auckland as a place of myth, diversity and broken jaws.

As a showcase history of Christchurch on screen this collection is backwards looking; but the devastation caused by the earthquakes gives it much more than nostalgic poignancy. As Russell Brown reflects in his introduction, the clips are mementos from, "a place whose face has changed". They testify to the buildings, culture and life of a city now lost, but sure to rise.