This selection — in partnership with the NZ Film Commission — showcases award-winning examples of Kiwi short filmmaking. From the the tale of two men and a Cow, to the sleazy charms of The Lounge Bar, from Cannes to Ngawi; this collection is a celebration of "a beautiful medium for nailing an idea to the fence post with a piece of No.8 wire."
In 1865, Wellington became the Kiwi capital. In the more than 150 years since, cameras have caught the rise and fall of storms, buildings, and MPs, and Courtenay Place has played host to vampires and pool-playing priests. Wind through our Wellington Collection to catch the action, and check out backgrounders by musician Samuel Scott and broadcaster Roger Gascoigne.
This short National Film Unit documentary travels to Westland to meet the kōtuku or white heron. In Aotearoa, the kōtuku is known for its beauty and scarcity (the bird’s only NZ breeding colony is near Okarito Lagoon). The black and white film joins the ranger to go whitebaiting, as kōtuku arrive in spring. Kōtuku’s special place in Māori mythology is recounted, and legendary ornithologist Robert Falla checks out chicks in a crowded ponga fern nest. Directed by John Feeney, the film premiered in Christchurch in front of Queen Elizabeth, on her Coronation Tour.
Stalin’s Sickle takes Kiwi suburban paranoia to unexpected places as nine-year-old Daniel imagines his neighbour is feared Russian dictator Joseph Stalin. Set amidst 1962 Cold War conservatism, Daniel spots the south seas’ Stalin at church, spies on him to confirm his suspicions and schemes to send him on his way. But Daniel’s civil defence plan goes awry, leaving him with a worse threat to deal with. Based on the short story by Michael Morrissey, the Costa Botes-directed film won Grand Jury Prize at the prestigious Clermont-Ferrand Short Film Festival.
In colonial times drowning was so rife it was known as 'the New Zealand death'. This jaunty 1951 educational film is an effort to rid our lakes, rivers and seas of the unfortunate tag through cunning reverse psychology, as swimmers, fishermen and skylarking lads learn "how to drown". It eschews the confrontational realism of many a later PSA for the light-hearted approach: mixing lessons on water safety with silent film-style tomfoolery, gallows humour and the odd bit of sexual innuendo. Features footage of surf lifesavers using the now-archaic rope and reel.
Country GP was a major 80s drama series that charted the post-war years 1945 to 1950 in a rural central South Island town. Using fast-turnaround techniques that anticipated later series like Shortland Street, 66 episodes of Country GP were shot in 18 months at a specially built set in Whiteman’s Valley, Lower Hutt. It was groundbreaking as the first NZ series to cast a Samoan in a title role (Lani Tupu as Dr David Miller); but it also provided a nostalgic look back to an apparently kinder, gentler time than mid-80s New Zealand with its major social reforms and upheavals.
The title points the way towards this stylish short's film noir intentions, but a generic set up - a drifter rolls into a seedy motel diner — springs surprises as a tainted love time-travel plot unravels. Convincing performances from Leighton Cardno (Shortland Street's Dr Adam Heyward) as the eponymous Jet, burdened by murderous guilt, and Marissa Stott as the winsome waitress, realise a screenplay co-scripted by writer Chad Taylor. Black was directed by Kezia Barnett as part of a short film series to promote Schweppes by advertising agency Publicis Mojo.
This isn't an apartheid manual or minimalist design code, but a 1952 road safety film from the National Film Unit. The film follows 'Mrs White' and 'Mrs Black' leaving their respective homes (on foot) for a bridge evening. Mrs White wears visible clothing and faces the traffic (would a modern colour remake see a Mrs Fluoro?). Mrs Black dresses eponymously and walks with her back to the traffic. Predictable results ensue. Modern viewers who associate such character names with Reservoir Dogs will not be disappointed by the suspenseful denouement.
Sam Neill weaves portions of autobiography into an idiosyncratic, acclaimed yet controversial analysis of Kiwi cinema — from its crude beginnings, to the dark flowering of achievement seen in the breakthrough films of Peter Jackson, Lee Tamahori, and Jane Campion. Directed by Neill and Judy Rymer, as one of 18 films commissioned for the British Film Institute's Century of Cinema series, the award-winning documentary debuted at the 1995 Cannes Film Festival. The New York Times' Janet Maslin rated it a series highlight. The opening sequence looks at the role of the road in Kiwi film.
This NFU public safety film takes a jaunty approach to a serious subject as it shows road crossing dangers via bad examples. Mis-steps include walking off the footpath carelessly, crossing the road at oblique angles, 'dithering', and over-confidence. The humour may be physical and the narration pun-filled, but the lessons remain relevant, as pedestrian accidents on Wellington's and Auckland's 21st Century city bus lanes attest. Despite the big question promise of the title there is no Socratic dialogue about crossing the road or any consideration of chickens.