Smash Palace is a Kiwi cinema classic and launched Roger Donaldson's American career. Al Shaw (a brilliant, brooding Bruno Lawrence) is a racing car driver who now runs a wrecker's yard in the shadow of Mount Ruapehu. His French wife Jacqui is unhappy there and leaves him, taking up with Al's best mate. When she restricts Al's access to his young daughter, his frustration explodes and he goes bush with the girl, desperate not to lose her too. "There's no road back" runs the tagline. New Yorker critic Pauline Kael called the film "amazingly accomplished".
This acclaimed Gibson Group series was set behind the scenes on a current affairs programme. Katie Wolfe plays stroppy journalist Amanda Robbins, hired for her tabloid style in a bid to raise the show's ratings. In this excerpt from episode two, a surrogate pregnancy turns into a nasty custody battle. Amanda chases the story, whatever the cost (journalistic ethics included) and acquaints herself with the surrogate. But then her in-house rival Liz (Jennifer Ludlam, who won a TV award for this episode) gets a scoop interview with the parents of the disputed child.
The “disappearance” of American tourist Milton Harris became one of New Zealand’s most bizarre insurance frauds. Barrister and QC Mike Bungay examines this curious case over two episodes from his series exploring notable criminal investigations. Part one focuses on Harris’ apparent loss overboard from the Cook Strait ferry and strange events during his trip to NZ which aroused the suspicions of Lloyds, who were facing a multi-million dollar claim. Police officers recall the arrest for shoplifting which undid Harris, and his peculiar behaviour in custody.
In this acclaimed investigation for Three's current affairs show The Hui, Mihingarangi Forbes interviews four Māori men who were victims of abuse while in state care as boys. They talk about the lead-up to being in custody, the mental, physical and sexual abuse they suffered at the hands of other wards and staff, and the cycle it created. The screening drew public attention to systemic abuse, and played a key role in provoking the government to launch an official inquiry the following year. Warning: contains confronting themes and language.
During World War ll South Islander Sandy Thomas was fighting in Crete, when he was wounded and captured by the German Army. Unwilling to spend the war in custody he repeatedly plotted escape from hospital, to the point his Houdini efforts became a running joke among his captors. Nevertheless a successful escape attempt from the Salonika Prisoner of War camp would have him fleeing across the continent on his wounded leg, in an attempt to reunite with his comrades. Now retired, having reached the rank of Major General, Walter Babington Thomas recounts his escapades.
During the Dawn Raids of the mid 1970s, police systematically raided the homes and workplaces of suspected Pacific Island overstayers. Milk & Honey follows one such raid, as a pregnant Samoan woman (Nora Aati) is taken into custody by two police officers. Despite assurances of a misunderstanding, she is denied a call to her husband. This does not sit well with Constable Salevao (Robbie Magasiva). Made as part of director Marina McCartney’s Masters in Screen Production at Auckland University, it was nominated for Best Short Film at the 2012 NZ International Film Festival.
With a CV that includes everything from judges to Amazon queens, Alison Bruce has often been cast as the strong unsmiling type. Yet two of her biggest screen roles completely break that mould: the fraudulent but well-meaning fortune teller in 2001 feature Magik and Rose, and the eccentric mother in award-winning series Being Eve.
Intrepid cinematographer Jacob Bryant has shot everywhere from Iraq and Afghanistan to the mean streets of Auckland (Super City). His work with leading documentary makers has been nominated for multiple screen awards. An episode of TV show Ends of the Earth shot in Afghanistan won Bryant a 2007 Qantas Award; he also shared a Documentary Edge gong for filming Finding Mercy in Zimbabwe.
Set to become Chief Executive of the NZ Film Commission in January 2018, Annabelle Sheehan has worked in executive roles at film funding organisations, talent agencies and film schools in her native Australia. She was a sound editor on almost 20 screen projects; as part of the post-production team on The Piano, she shared an Australian Film Institute award. Sheehan spent six years as Film and Television head at screen and radio school AFTRS, and nine leading Sydney talent agency RGM Artist Group. As chief of the South Australian Film Corporation, she worked to increase racial and gender diversity in film.