This NZ Music Month collection showcases NZ music television, spun from a playlist of classic documentaries and beloved music shows. From Split Enz to the NZSO, Heavenly Pop Hits to Hip Hop New Zealand, whether you count the beat or roll like this, there’s something here for all ears (and eyes). Plus music writer Chris Bourke gets Ready to Roll with this pop history primer.
This collection celebrates Kiwi comedy on TV: the caricatures, piss-takes, and sitcoms that have cracked us up, and pulled the wool over our eyes for over five decades. From turkeys in gumboots and Fred Dagg, to Billy T, bro'Town and Jaquie Brown. As Diana Wichtel reflects, watching the evolution of native telly laughs is, "a rich and ridiculous, if often painful, pleasure."
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.
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.
The Dominant Species is a loopy look at the relationship between people and cars in 1975 Aotearoa ... from an alien's eye view. Nifty animation and special effects intersperse the automotive anthropological survey of Mark IIs, VWs, anti-car activism and car-washing. There's a dream sequence involving a ladykilling Jesus Christ atop a car, and Wagner's Ride of the Valkyries scores a rugby match traffic jam (also used in a famous scene in Apocalypse Now). Filmheads will note the tripped out assembly is flush with formative industry talents (see this guide by director Derek Morton).
Mystery and menace abound in this debut film from Alison Maclean (Crush, The Rehearsal). Made when Maclean was an Elam art student, the experimental short plays with gender and racial stereotypes by constantly thwarting narrative expectations. What there is of a plot consists of a woman emerging from the sea and a 'centrepiece' pursuit leading to a confrontation between two characters: a man and a woman. Scripted, shot and edited by Maclean, it marked the beginning of a fertile collaboration between Maclean and producer Bridget Ikin.
Artist Sam Hamilton describes his experimental feature as an “independent inquiry” into 10 celestial bodies found in The Milky Way. The Arts Foundation New Generation award-winner splices together images ranging from psychedelia to performance art to physics — shot on 16mm film across NZ and Samoa. The film's centrepiece is a sequence of dancer Ioane Papali’i with his limbs tethered to a tree. Newshub's Matthew Hutching praised Apple Pie's debut screening at the 2016 NZ Film Festival: “an absorbing, playful rumination on scientific patterns across our galaxy.”
"I like to pull rabbits out of hats to surprise people". So said young director David Blyth, before unleashing Angel Mine. Inspired partly by the surrealism of Luis Buñuel, Blyth's inventive debut is one of a handful of Kiwi experimental feature films to win mainstream release. Featuring a whitebread suburban couple and their liberated alter egos, the film explores ideas of consumerism, sexuality, the media, and taboo-breaking. The film excited criticism from Patricia Bartlett, and a notorious addition to its R18 certificate: "contains punk cult material."
This film is an account of a 13-year-old boy's shoplifting escapade. It is narrated by a teen voice (Madeleine Sami) while adult actors act out the drama as kids. What starts out as teen shenanigans (a porn stash is accrued with the five-finger discount) turns unsettling as a beating is doled out by Dad as punishment. The contrast between the naive voice and what is seen on screen - shot in hand-held close ups - is grimly memorable. An early short from Gregory King, this disquieting tale of domestic abuse was selected for NZ and Melbourne Film Festivals.
In Boy, a college-aged rent boy exposes the truth about the death of a girl in a hit and run accident. Using typography that hovers on screen in place of dialogue, flares of bold colour, dioramic frames, and brutal portraiture reminiscent of Dianne Arbus, director Welby Ings creates a powerful, exquisite perspective on the silent claustrophobia and sexual violence of small town New Zealand. The film gained acclaim both at home and internationally. Accolades included Best Short Film at Cinequest in the United States.