Lala Rolls (Children of the Migration) wrote and directed this short film, which gives a view of family life from a child's perspective. A young girl (Chelsie Preston Crayford) is disturbed from sleep by the sound of adults arguing. She tries to shut out this grown-up world by pretending to be "adult" and taking care of the dinner wasting in the kitchen while her parents unwittingly carry on arguing.

Nina (Aleksandra Vujcic) has emigrated downunder from wartime Croatia. When she falls in love with Māori cook Eddie (Julian Arahanga) and marries a Chinese man who is trying to stay in NZ, her domineering father Ivan is furious. The second movie from Gregor Nicholas remains one of the few from NZ in which Pākehā culture hardly features. The result was one of the highest-grossing NZ films of the 1990s. International reviews praised its power and strong cast — especially Croatian discovery Aleksandra Vujcic ("instantly alluring" said Janet Maslin). Vujcic won one of five NZ Film awards.

Open Door is a unique form of community-based television that allows groups or individuals to apply to make a documentary programme about an issue that concerns them. This episode focuses on Burundian refugees living in New Zealand and the importance of reuniting families separated by ethnic conflict in their home country. A number of refugees share their stories and explain the way their lives have changed since coming to New Zealand and the efforts they go to bringing other family members here.     

In 1983, after riots in Sri Lanka ushered in an extended civil war, the number of arrivals from Sri Lanka to New Zealand rose dramatically. This episode, one of the most moving in the Immigrant Nation series, profiles two Sri Lankan families down under - one from the island's Sinhalese majority, one from the minority Tamils. Both families left home out of fear for their children's future. Amidst the challenge of a new culture, there is celebration too: including double marriage ceremonies which require multiple outfits, when a Tamal Christian marries a Hindu.

Qantas-nominated 'dramedy' Rude Awakenings revolved around the conflict between two neighbouring families, living in the Auckland suburb of Ponsonby. Rush family matriarch Dimity (Danielle Cormack) has her eyes on climbing the property ladder, by acquiring the house next door (occupied by solo Dad Arthur and his teenage daughters). Created by Garth Maxwell (movie Jack Be Nimble), the 2007 series was produced by Michele Fantl for TV One. The Listener’s Diana Wichtel welcomed it as a rare contemporary satire on New Zealand television, but it only ran for a single season.

In May 1995, 22-year old David Bain was convicted of murdering five members of his family with a rifle in their Dunedin home. Bain would spend over a decade in prison before being acquitted on all charges. National debate around the 1995 verdict was galvanised by the release of two conflicting books on the case — Joe Karam’s David and Goliath and James McNeish’s The Mask of Sanity. The former All Black and the writer go head-to-head in this often testy Holmes debate from 1997. Ten years later, the Privy Council quashed Bain’s 1995 conviction; he was acquitted in a 2009 retrial.   

"I get around. I know everything. Except your name." Kevin Smith made his television debut (in a speaking part) on this episode from the third series of Gloss, playing smirking DJ and man-about-town Damien Vermeer. Keen to rise above his working class origins, the character sets his sights on rich brat Chelsea Redfern within moments of meeting her. Smith left work at Christchurch's Court theatre for the role, when the decision was made to up the show's male quotient. Mikey Havoc also appears in this scene, as a member of his real-life band Push Push.

Gloss was a popular Kiwi television drama series made by TVNZ that screened in the late 80s; it combined a wealthy family, the Redferns, with a lucrative high-fashion magazine business. Yuppies, shoulder-pads and méthode champenoise abound in this cult "glamour soap". New Zealanders wanted to see themselves as less bottom of the world and more "here we come and we are sailing" (as the infamous Cup campaign song warbled), and Gloss was just what the era demanded.