“When old and young come together to do this, it shows the strength of their convictions.” This film is a detailed chronicle of a key moment in the Māori renaissance: the 1975 land march led by then 79-year-old Whina Cooper. A coalition of Māori groups set out from the far north for Wellington, opposed to further loss of their land. This early Geoff Steven documentary includes interviews with many on the march, including Eva Rickard, Tama Poata and Whina Cooper. There is stirring evidence of Cooper’s oratory skills. Steven writes about making the film in the backgrounder.

This 1997 Inside New Zealand documentary looks at the evolution of modern Māori political activism, from young 70s rebels Ngā Tamatoa, to Te Kawariki's protest at Waitangi Day in 1995. Directed by Paora Maxwell, it is framed around interviews with key figures (Syd Jackson, Hone Harawira, Ken Mair, Mike Smith, Annette Sykes, Eva Rickard, Joe Hawke). The interviewees explore events, and the kaupapa behind their activism, from thoughts on sovereignty, and the Treaty of Waitangi, through to symbolism (tree felling, land marches) and being kaitiaki of the environment. 

Gary McCormick heads west to Raglan, to ask "What goes on here? Why do people live here? What do they do?". To find out he goes surfing on the famous left-hand point break, hangs with hippies and Dave McArtney, catches Midge Marsden and the Mudsharks at the Harbour View Hotel, and discusses land rights with kaumatua Sam Kereopa. The recipe — McCormick as genial small town anthropologist discovering the locals — earned this a 1989 LIFTA award, and inspired long-running series Heartland. McArtney composed the soundtrack; Finola Dwyer (An Education) produces.

The birth of television in the 1960s meant that suddenly protests and civil unrest could be broadcast directly into Kiwi homes. This episode of 50 Years of New Zealand Television looks at many of those events — involving everything from the Vietnam War and the Springbok tour, to Bastion Point and the Homosexual Law Reform Act. It also examines how being televised altered their impact. Interviews with both protestors and reporters provide a unique insight into what it was like to be living through extraordinary periods of New Zealand history.

In this Koha story, reporter Temuera Morrison arrives on the East Coast to watch the making of Mauri, the first dramatic feature directed solo by a Māori woman. Writer/director Merata Mita argues that the 50s set drama is "about birth and death, and all that takes place between", and talks about how the film is important in giving Māori filmmaking experience, and a voice on screen. Actors Zac Wallace (Utu) and Eva Rickard are interviewed, while locals talk about the challenges of making movies. There are also glimpses of some of the Ralph Hotere-designed sets. 

When she made Mauri, Merata Mita became the first Māori woman to write and direct a dramatic feature. Mauri (meaning life force), is loosely set around a love triangle and explores cultural tensions, identity, and changing ways of life in a dwindling East Coast town. As with Barry Barclay film Ngāti, Mauri played a key role in the burgeoning Māori screen industry. The crew numbered 33 Māori and 20 Pākehā, including interns from Hawkes Bay wānanga. Kiwi art icon Ralph Hotere was production designer; the cast included Zac Wallace (star of Utu) and Māori activist Eva Rickard.

For two series in 1989, poet, raconteur, broadcaster and surfer Gary McCormick honed his Heartland rapport and took on that most vexed of NZ television formats — the chat show — with help from the director Bruce Morrison and producer Finola Dwyer (Oscar nominated for An Education) with whom he had made the acclaimed Raglan by the Sea doco. The Kiwiana set purported to recreate McCormick’s Gisborne house (complete with a green vinyl La-Z-boy) to make guests — who ranged from Wayne Shelford, to Don ‘The Rock’ Muraco, Eva Rickard, and PJ O’Rourke — feel at home.

This courtroom drama sets in conflict opinions about the proposed sale of a block of Māori ancestral land. The arguments are intercut with footage of the 1975 land march, and Jim Moriarty comments on proceedings as a tangata whenua conscience. The drama shows its stage origins (it was adapted by Rowley Habib from his 1976 play) but it is passionate and articulate, and is notable as the first TV drama to be written by a Māori scriptwriter. The grievances aired echoed contemporary events, particularly the Eva Rickard-led occupation of the Raglan Golf Course.