This collection is a celebration of the eccentric, exuberant career of NZ screen industry frontrunner Tony Williams. As well as being at the helm of many iconic ads (Crunchie, Bugger, Spot, Dear John) Williams made inventive, award-winning indie TV documentaries, and shot or directed pioneering feature films, including Solo and cult horror Next of Kin.
Actor Kevin Smith could do it all; from brooding like Brando in a Tennessee Williams play, through Xena, to the gentle romantic lead of Double Booking, and self-parody in Love Mussel. Collected here are selections from a career cut short (he died in a 2002 film-set accident). Plus tributes from James Griffin, Michael Hurst, Geoffrey Dolan and Simon Prast.
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.
Great adverts are strange things: mini works of magic, with the power to make viewers smile, cry, and even buy. Kiwi directors have shown such a knack for making them, they've been invited to do so across the globe. But this collection is about local favourites; dogs on skateboards, choc bar robberies, ghost chips. NZ On Screen's Irene Gardiner backgrounds the top 10 here.
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.
Billy Taitoko James is a Kiwi entertainment legend. His iconic ‘bro’ giggle was infectious and his gags universally beloved. This collection celebrates his screen legacy, life and inimitable brand of comedy: from the skits (Te News, Turangi Vice), to the show-stealing cameos (The Tainuia Kid), and the stories behind the yellow towel and black singlet.
Director Nic Gorman won best short at the 2013 NZ Film Awards for zombie tale Here Be Monsters. With his first feature he shifts horror genres to the psychological thriller, as a mysterious new arrival (Vinnie Bennett) disturbs subantarctic island life for a husband and wife scientist team (Fantail's Sophie Henderson and Siege's Mark Mitchinson). Human Traces debuted at the 2017 NZ International Film Festival. NZ Herald reviewer George Fenwick praised the "stunning cinematography" and "impressive performances", arguing they helped produce a "fine debut" for Gorman.
Pre-dating Peter Jackson's arrival (Bad Taste) by three years, New Zealand's first horror movie sees Michael Hurst making his movie debut as he fights mutants (including Bruno Lawrence) on Waiheke Island. Hurst's character is out to avenge the mad scientist who forced him to kill his parents. A grand prize-winner at a French fantasy festival (with cult director Alejandro Jodorowsky on the jury), David Blyth's splatterfest marked the first of many horrors funded by the NZ Film Commission. It was also the first local showcase of the smoothly-flowing Steadicam camera.
The debut feature from writer-director Glenn Standring, The Irrefutable Truth about Demons sees anthropologist Harry Ballard (Karl Urban) threatened by a sinister cult. With the help of beautifully bizarre Bennie (Katie Wolfe) he endures a terrifying night as his friends are killed by demons. Or are they? Hounded by the memory of his dead brother, Harry suffers beatings, heart surgery and assault by cockroaches. Variety said Demons "conjures a creepy, brooding atmosphere and enough thrills to keep young horror enthusiasts glued." The film sold to more than 50 countries.
In director Garth Maxwell’s 1993 gothic horror twins Jack and Dora (late US actor Alexis Arquette and Kiwi Sarah Smuts-Kennedy) are separated while young; their adult reunion sees them battling the trauma of their past while being pursued by Jack’s sadistic step sisters. Complete with ESP,and a steam-driven hypnosis machine, Maxwell makes an exuberant and surreal contribution to the cinema of unease. New York Times’ Stephen Holden lauded the heady head-spinner as “a superior genre film” with a “feverish intensity that recalls scenes from Hitchcock and De Palma.”