Award-winning series Revolution examined sweeping changes in 1980s New Zealand society. This second episode argues that in its first term in office, the Labour Government promoted neoliberal reform via illusory ideas of consensus and fairness, while PM David Lange mined goodwill from its indie anti-nuclear policy (famously in an Oxford Union debate, see third clip). The interviews include key figures in politics, the public service and business: an age of easy lending and yuppie excess is recalled, while those in rural areas recount the downside of job losses.
Of the four performers on this episode of Pulp Comedy, Sam Wills arguably makes the most lasting impression. His fast-talking magic show is a far cry from his mute act The Boy With Tape On His Face (aka Tape Face), which later became a sensation via TV's America’s Got Talent. Although his Pulp Comedy performance is a lot more vocal than the one that would make his reputation, his quirky use of props is familiar. Elsewhere on the show Mike Loder has a dangerous encounter with a wētā, Vaughan King talks beds, and host Paul Ego gets in trouble trying to order a coffee.
Director Rachel Davies subverts expectations in a confronting film about a young boy's relationship with an older man. In one continuous piece-to-camera shot a boy recounts his first sexual experiences at a scout camp. What is the relationship between the ambiguous identity of the subject (boy or girl? why does he have a man's voice?) and the gravity of what's being said? This intriguing confessional marked an impressive debut for Davies, who was only 21 when she made Sweetness. It received awards at the Sydney and San Francisco Film Festivals.
Postwar Māori, Pākehā and Pacific Island migrants made Ōtara the fastest growing area in New Zealand. But as local industries closed, it became a poster suburb for poverty and crime. This TV3 Inside New Zealand documentary sees eight successes from Ōtara telling their stories — from actor Rawiri Paretene and MP Tau Henare, to teachers and entrepreneurs. They reflect on mean streets, education, community and the Ōtara spirit. The first documentary from Ōtara-raised producer Rhonda Kite (who is also interviewed), it won Best Māori Programme at the 1999 NZ TV Awards.
Hosted by musician and artist Chris Knox, this series pairs Kiwi artists with communities to create epic works of art. Reuben Paterson, who is well-known for using glitter and big bold patterns, heads to Bethells Beach in West Auckland to create an optical illusion on the black sand shoreline. Locals, including mayor Bob Harvey, pick up shovels to create the masterpiece, racing against the clock before high tide arrives. A relaxed Paterson pushes on, despite plans going awry. "I’m so used to doing big art projects, we’ve got to think positive and that everything is possible.”
In writer/director Max Currie’s debut feature, a magician conjures his greatest illusion – a little boy – to try to help return happiness to his wife and family after the loss of their son. But the trick falls apart when a child abduction hunt closes in on them. Everything We Loved was funded through the NZ Film Commission’s Escalator film scheme, and produced by Tom Hern (The Dark Horse, I’m Not Harry Jenson) and Luke Robinson. It was chosen for the ‘New Voices/New Visions’ section of the Palm Springs Film Festival and premieres locally at the 2014 International Film Festival.
The second, double-sided Toy Love single 'Don't Ask Me' / 'Sheep' was released in April 1980 and reached number 10 on the Kiwi pop charts. That year the band signed a contract with Michael Browning — a former manager of AC/DC — and made the move to Sydney, the prize being a studio album and a way bigger audience, but disillusionment soon set in. Sheep jumps out of the gates with driving drums and guitars and lyrics about numbness and confusion, all confirming Toy Love's punk roots. The band wander aimlessly around city streets and rock out in a cramped flat. Punk lives!
This final edition of the 1992 celebration of New Zealand Rugby runs from grand slam success to the cusp of the professional era. But in-between, rugby and politics combusted. When the Springboks, representing apartheid South Africa, toured NZ in 1981, barbed wire, flour bombs and riot police were match fixtures. Kiwis were either for or against. The tour’s aftermath and public disillusionment with the sport found relief in 1987, when the All Blacks won the first Rugby World Cup; three undefeated years followed. Three NZRFU centennial tests close the series.
In this 1982 short film, Harry (Goodbye Pork Pie's Kelly Johnson) and Pheno (Donogh Rees) are bored Wellington rebels on a crime spree: tagging, stealing art and hijacking a bus to the badlands of nearby Makara Beach. It was the era of Muldoon, Springbok Tour protests, spacies and dole queues. The film captures the disillusionment of its youth, especially in the outcome of the duo's pursuit by a tyro cop (Duncan Smith). Johnson was fresh from Pork Pie, and Donogh Rees a young actor on the rise. Director Richard Riddiford went on to helm features Arriving Tuesday and Zilch.
The intrepid Ice TV trio — Jon Bridges, Nathan Rarere and Petra Bagust — head to Nelson to host the 1998 Montana New Zealand Wearable Art Awards. They meet the creators of the fantastic fashion catwalk extravaganza, whose garments are inspired by everything from Alice in Wonderland, roadkill, X-rays, birds, and the Buzzy Bee, to taniwha and Pasifika. The 'Illumination Illusion' section (designed to be seen in ultravoilet light) is a highlight. Bridges and Rarere revel in going behind the scenes of the 'bizarre bras' section, and Bagust tries on a possum-skin bikini.