Beneath her twinset, repressed housewife Gwyneth (Mandy McMullin) is close to the edge: of attacking the dishwasher, and giving in to lust (thanks to neighbour Kevin Smith). Especially after learning the husband has done the dirty on her. Based on a Fiona Farrell story, Mon Desir blends fantasy, satire and domestic tragedy. Writer/director Nicky Marshall scratches under the fingernails of Kiwi small towns, to reveal “what happens behind the facade of wholesome goodness and normality”. Mon Desir was chosen for the 'Un Certain Regard' section of the Cannes Film Festival.
This edition of the 1970s current affairs show sees reporter Joe Coté investigating women in politics. A potted history of the trailblazers — from suffragist Kate Sheppard to Māori MP Whetu Tirikatene-Sullivan (first to have a baby while in office) — leads to wide-ranging conversations with contemporary women in politics. Future Christchurch mayor Vicki Buck (here a 19-year-old council candidate) and others from across the spectrum, talk about ongoing struggles for equality: education, empowerment, abortion, childcare support, and the ‘old boys’ network.
Alison (Mary Regan from Heart of the Stag) sets out from Auckland to visit her mother (Elizabeth McRae), who lives alone in the family house. The upcoming reunion triggers strong memories for mother and daughter alike. As an 18-year-old, Alison was angry when her mother felt obliged to support her father's wish that Alison not bother going to university. For creator Shereen Maloney, the film touches on the tensions arising when succeeding generations have differing choices available to them. An experimental short from the anthology series About Face.
“An ironic comedy about a disconnected New Zealand family” is the tagline to this early Alison Maclean short. Recently widowed Nan (Yvonne Lawley) assesses her life and the roles prescribed by her family as she readies a Sunday roast. Her new plans — “I won’t be able to make the Christmas Cake this year” — rattle the shackles of her Old Testament-bashing husband and her ex-All Black son. Nan was a comeback leading role for Lawley after time away raising a family. Written with playwright Norelle Scott, Maclean’s short screened with the About Face TV series.
This show was possibly the most controversial edition of the Heartland series. Gary visits the sometimes maligned working class dormitory suburb, and hits sports fields, local homes and Tupperware parties. In this full-length episode he meets everyone from cheerful league coaches and builders remembering the challenges of getting supplies up the hill, to the woman many would not forget: Chloe Reeves, with her squeaking voice, distinctive fashion sense and tiger slippers. There is also a fleeting glimpse of future All Black Piri Weepu holding a school road safety lollipop.
Lindsay Perigo and TV producer Allison Webber have a heated discussion about the portrayal of women in the media in this 1986 current affairs show. Webber says females are sick of being portrayed as sex symbols or tidiness-obsessed housewives. Webber was representing Media Women; the organisation was campaigning for better media coverage, and running its first NZ conference. Also interviewed are Dominion journalist Judy Pehrson, advertising guru Terry Christie, and Mr Wrong director Gaylene Preston (who talks about double standards in casting movie roles).
This short Auckland-shot interview for arts show The Edge screened as Holly Hunter was appearing in two Oscar-nominated roles: The Piano and The Firm. Hunter discusses playing a hitman-hiring housewife, and joining Tom Cruise in The Firm. Weighing up past roles, she cherishes Raising Arizona and Broadcast News, but feels that The Piano is “the most original story that I've been involved in”, and Jane Campion is “one of the great directors.” In March 1994 Hunter would win an Oscar for Best Actress (alongside Piano Oscars for co-star Anna Paquin, and for Campion's screenplay).
The fierce cold and awesome isolation of Antarctica is evoked in this 1980 NFU survey of scientific projects and life on New Zealand’s Ross Dependency. Geological and wildlife work is counterpointed by domestic details: a “housewifely” cleaning regime, an impressive liquor order, time-marking beards, and radio chatter at odds with the desolation. There’s poignant footage of one of the last sightseeing flights before the Erebus disaster; and the doco grapples with the uneasy possibility that research may lead to exploitation of the continent’s natural resources.
When people think of Ginette McDonald, they often think of one of New Zealand’s most defiant and famed purveyers of Godzone English, Lynn of Tawa. But for McDonald, Lynn is only one part among many. Alongside an acting career which began when she was still a teenager, McDonald has also worked as a producer, director and presenter.
After her husband is jailed, matriarch Cheryl West (Robyn Malcolm) decides the time has come to set her family on the straight and narrow. But can the Wests change old habits? So begins the six-series long saga of the Westie dynasty. Hugely popular at home (beloved by public, critics and awards-nights alike), and imitated overseas, Outrageous Fortune has been a flag-bearer for TV3 and contemporary NZ telly drama; the series proved — in all its grow-your-own glory — that genre TV in NZ could be so much more than overseas stories pasted to a local setting.