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 later mute act, The Boy With Tape On His Face (aka Tape Face), which in 2016 became a viral sensation via TV's America’s Got Talent. Although his Pulp Comedy performance is significantly more vocal than the one that would make his reputation, his quirky use of props remains familiar. Elsewhere on the show Mike Loder has a dangerous encounter with a wētā, and host Paul Ego gets in trouble trying to order a coffee.

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.

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.

Sculptor Neil Dawson — who later created major public art works including The Chalice in Cathedral Square and Ferns in Wellington’s Civic Square — is profiled in this episode from an arts series made for TVNZ. Dawson is just as enthusiastic and engaged building a tree house for his son as he is preparing an exhibition of his work. These pieces are small and deceptively simple as they explore texture and optical illusion, but his larger ambitions are also roused by a space on Auckland’s Victoria Street.

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.

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.

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.”

The title belies this profile (made for TV rock show Radio with Pictures) of Chris Knox and Alec Bathgate in their early days as the Tall Dwarfs. They traverse their past in legendary punk band The Enemy — with compelling performance footage — and the influential but ill-fated Toy Love. Knox’s seething disillusionment with the music industry is rapidly evolving into the DIY ethos that will reshape NZ alternative music. He is also typically confrontational as they busk in The Octagon while the closing acoustic performance is worth the price of admission on its own.

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.