This collection celebrates rugby in New Zealand as it has been seen onscreen: from classic bios and tour docos, to social history, dramas and protest. In the accompanying backgrounders, broadcaster Keith Quinn looks at the on air history of rugby in NZ; and playwright David Geary asks if rugby is a religion, and argues it is a good test of character.
Filmed on a 15,000 km journey through China in 1979, this documentary captures a country in transition: one where billboards are emerging on the streets of Shanghai, while commune workers still toil in the countryside. The film compiles images of people and landscape to observe China's then-recent emergence from the repressive Cultural Revolution; including memories from long-term resident, Kiwi Rewi Alley. Named after a description by Alley of China, it was made alongside companion documentary: Gung Ho: Rewi Alley of China.
In this experimental drama shot in 1975, four young idealists escape the city for rural Foxton, and set about living off the land. But an act of violence sends the commune into isolation and extremism. Teasing tense drama from rural settings, the 90 minute tale from maverick National Film Unit director Paul Maunder shines a harsh light on the contradictions of the frontier spirit. Although state television funded it, they found it too edgy to screen; instead Landfall debuted at the 1977 Wellington Film Festival. The cast includes Sam Neill as a Vietnam vet, and Mark ll director John Anderson.
Sponsored by the Crusader Shipping Company, this 1966 National Film Unit production joins one of the firm's ships as it transports NZ products from Auckland to Asia — home to “one quarter of the human race, 900 million customers”. As milk powder, wool, mutton, apples, cheese and deer antlers are delivered to ports in the Philippines, China, Japan, and Hong Kong, director Ron Bowie observes cultural difference and economic opportunity; and a “westernising” Orient is beautifully captured by Kell Fowler. The NFU crew were rare foreign observers in Chairman Mao’s China.
This episode of director Geoff Steven's USA road trip is another study in contrasts. In North Dakota, there’s impressive access to an underground missile control room staffed by highly trained officers who hope they never have to do the job for which they've prepared. Nearby, the members of a determinedly pacifist, Christian, socialist Hutterite community make for unlikely neighbours. There's also an exploration of small town values as Gilby celebrates its centenary on the 4th of July — while a John Birch Society member provides a less festive note.
Charlie Horse is a personal film diary by actor Martyn Sanderson showing the breaking-in and training of a young colt in rural Hawke's Bay. It was made when Sanderson was a vital part of the gang of Blerta creatives who based themselves at Waimarama Beach in the 1970s. Some stunning ‘wild horses' imagery is captured (shot by Sanderson and cinematographer Alun Bollinger) and narration is intriguingly provided from audience comments recorded at a local screening of the footage. It features music by Blerta members Bruno Lawrence, Chris Seresin and Patrick Bleakley.
Founded in 1977 by ex-vacuum salesman Bert Potter, Centrepoint was an alternative lifestyle settlement that promoted intimate communal living, along with personal and sexual freedom. This documentary observes members' struggles to reconcile the values of their new home with the outside world. Director Geoff Steven threatened to take his name off the credits, in a successful bid to avoid the cutting of emotional scenes of 'encounter group' style psychotherapy. Potter and others were later convicted for a spate of child sex abuse and drugs charges.
Reality TV host Marc Ellis tones down his laddish antics to present this series on other cultures and beliefs. In this episode he asks "what makes the Hare Krishna tick...what makes them so happy all of the time?". Ellis moves in with a Krishna community in West Auckland, where his strikingly casual guide teaches him what it is to be a Hare Krishna. Late night and early morning dance sessions prove to be less of a struggle than anticipated for Ellis, who seems to fit right in — although the haircut might be a little close, and the proximity of the local pubs a temptation too far.
The debut episode of McPhail and Gadsby plunged into religion as the object of satire, and the result spawned death threats and annoyed letters to the editor. The pair dress up as angels, devils, monks, nuns, priests and Moses, and also make the first of many appearances as the smug Denny (McPhail) and not so clever Ron (Gadsby). McPhail argued later that a simple sketch involving an Anglican vicar dispensing communion unexpectedly caused the most offence. The thematic approach was soon abandoned in favour of shorter episodes, and a more familiar style of topical satire.
Producer/engineer Benny Tones grew up on a commune in Golden Bay at the top of the South Island — and cites the slow paced, collaborative nature of life there as a major influence on his music. Initially a DJ, he began producing his own beats in 2002. He moved to Wellington, setting up his own studio (incorporating his collection of vintage equipment) and working closely with Electric Wire Hustle. In 2010, he released his debut album Chrysalis (with contributions from Sacha Vee, Adi Dick and members of Shapeshifter, Fat Freddy’s Drop and Rhombus).