Peter Jackson has gone from shy fanboy to master of his craft; from Pukerua Bay to Wellywood. With six journeys into Middle-earth now behind him, he has few peers in the realm of large scale filmmaking. Led by early 'behind the scenes' docos this collection pays tribute to PJ's journey, from re-making King Kong in his backyard to err ... re-making King Kong in his backyard.
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.
"I hope you're braver than your brother." A young schoolboy (James Ordish) finds his day plunging into nightmare, when he gets called in for a session with the school dental nurse. The nurse (a sly performance by future casting director Tina Cleary) seems to take pleasure in other people's pain. Directed by cinematographer Warrick ‘Waka' Attewell (Starlight Hotel), this short film for the dental wary was written by Ken Hammon, who was part of the team behind Peter Jackson's debut feature, splatter flick Bad Taste.
In a wooden cabin on the edge of the forest, a strange young girl referred to only as 'Kid' holds court over her trapper Dad and his isolated bush family; she sits beneath the dinner table, makes animal sounds and refuses to be washed. This pitch-black fable is told through the eyes — and distinctive voice — of her sympathetic brother 'Little Man', who one night makes a fateful decision that liberates her into the wild. Filmed in gas-lit sepia by Leon Narbey, the atmospheric and award-winning film announced the directorial talents of the late Brad McGann.
This short film follows the experience of a five-year-old child (Elizabeth Morris), after her mother's paranoid delusions reach breaking point and she is put in a mental hospital. Writer/director Belinda Schmid's aim was to show how children can respond to situations partly without emotional upset, "because we have no other measure for the ways things are supposed to be, and partly by coping in ways that help us survive at the time". Jennifer Ward-Lealand plays the mother. The Painted Lady was invited to multiple film festivals, and nominated for Best Short at the 2000 NZ Film Awards.
Set over a Christmas beach holiday in 1935, The End of the Golden Weather chronicles the friendship between a teenage boy and the wild-limbed Firpo, dreamer and social outcast. Writer/director Ian Mune spent more than 15 years "massaging" Bruce Mason's classic solo play into a movie, before assembling a dream team to bring it to the screen. The finished film captures the world view of a boy for whom fantasy, hope and disappointment intermingle. Among an impressive awards haul, 12-year-old star Stephen Fulford was recognised at America's Youth in Film Awards.
Four decades before starring in The Last Samurai, New Zealand’s most symmetrical volcano stole the limelight in this NFU short. Extolling a mantra of progress and change, Taranaki presents New Plymouth as regional hub and suburban paradise, surrounded by bays and gladioli. Narrator Paul Ricketts touches on a conflict-soaked past by recalling his great grandmother’s nightly refuge in a central city stockade, during the 1860s Taranaki Wars. Back in 1954, a fishing license costs two pounds, and co-operatively-run dairy factories produce over half the nation’s cheese.
A fictional memoir of a 12-year-old boy's holiday on his uncle's farm, Old Man's Story is also a character study of the personable, potentially dodgy ex-sailor who works there as hired hand. When an orphaned girl comes to stay, there are worries the man has crossed the line in his relationship with her. The first drama for Wellington company The Gibson Group, Old Man's Story also marks a rare screen adaptation of author Frank Sargeson, whose tales of losers and outsiders made him "one of the founders of a modern New Zealand literature" (Lawrence Jones).
Director Rachel Davies subverts expectations in a confronting film about a young boy's relationship with an older man. In one continuous piece-to-camera shot a boy recounts his first sexual experiences at a scout camp. What is the relationship between the ambiguous identity of the subject (boy or girl? why does he have a man's voice?) and the gravity of what's being said? This intriguing confessional marked an impressive debut for Davies, who was only 21 when she made Sweetness. It received awards at the Sydney and San Francisco Film Festivals.
Filmed in New Zealand’s deep south, this feature follows the vicissitudes of Adrian: a sensitive 11-year old haunted by the disappearance of three local children, who befriends mysterious new-in-town Nicole. The adaptation of Sonya Hartnett’s coming of age novel Of A Boy, is the feature debut of Denmark-based Dunedin-born director Daniel Joseph Borgman, following on from his lauded shorts Berik, and Lars and Peter. The creative team behind the 'informal' Danish-NZ co-production included frequent collaborators of directors Lars Von Trier and Thomas Vinterberg.