Before X Factor there was New Faces, before Masterchef ... Graham Kerr, before Country Calendar there was ... er, Country Calendar. This collection picks the screen gems from the decade that gave Kiwi pop culture, "miniskirts, teenagers — and television." Peter Sinclair, Sandy Edmonds, Howard Morrison, and Ray Columbus star. Do your mod's nod and C'mon!
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."
After a young woman (Denise Maunder) falls pregnant, she decides to go against the tide of advice from her family and unsympathetic welfare authorities by keeping her baby. Misery and hardship ensues. Director Paul Maunder brought kitchen sink drama to NZ television with this controversial National Film Unit production. The story can claim to have effected social change, stirring up public debate about the DPB for single mothers. Keep an eye out for a young Paul Holmes as a wannabe lothario. Maunder writes about making it in this piece. Costa Botes writes about it here.
Gritty, award-winning drama, set in Auckland suburbia. Danny and Raewyn's relationship is skating close to the edge. And so are their finances. Though the physical attraction between them remains, Raewyn is growing tired of encouraging Danny to make more effort. Then one night alcohol and memory collide with an order of black-market meat, and everything turns on its head. One of the most acclaimed episodes of the About Face series, Danny and Raewyn won funding after another episode fell through.
It's April 1966 when young Massey student Peter (Hurst, sporting period mop and moustache) makes a surprise visit back home at the farm during study break, and is quickly put out by the archaic social mores: "ya taken to wearing a bra as well?". It's also Anzac Day, and his newfound pacifism and career plans soon put him on a collision course with his veteran father (Vere-Jones) in a surprisingly potent TV drama that pulls no punches — literally — in its depiction of a generation gap that proves irreconcilable.
Canadian-born to New Zealand parents, writer and director Alison Maclean helmed one of the most successful NZ Film Commission-funded short films of all time, Kitchen Sink, which debuted at Cannes and won eight international awards. A graduate of Elam School of Fine Arts, she has directed feature films Crush (which she also wrote) and Jesus’ Son. A director of commercials and television series including Sex and the City and Gossip Girl, Maclean divides her time between New York, Canada and New Zealand, and she is developing several feature films.
Cinematographer Stuart Dryburgh is the eye behind some of the most iconic images in New Zealand film. His first job in the industry was as a 'general assistant' on Middle Age Spread. From there he worked as a gaffer on films including Smash Palace, Goodbye Pork Pie and Came A Hot Friday, before becoming a fully-fledged cinematographer, learning much of what he knows from his mentor Alun Bollinger, who operated the camera for him on The Piano. Since shooting The Piano, Dryburgh has been working overseas, returning to film In My Father’s Den in 2004.
This low-budget feature fishtails after a Mum and her teenage kids, kicking around the far north one sleepy summer. Store Santa holiday jobs, teen romance, purloined cars, pet possums, and pot deals fill out the small town shenanigans plotline. Ray Woolf plays an undercover cop, and Calvin Tuteao is a kauri-hugging suitor. Director Peter Tait (who acted in Kitchen Sink) wrote the film to showcase the charisma of kids he was teaching at Taipa College. Made for under $20,000, the film “was bigger than Titanic” at Oruru’s Swamp Palace cinema and community hall.
In this performance-based High Dependency Unit (HDU) music video, directed by Dunedin musician and visual artist Nigel Bunn, a roving fisheye camera lens provides a suitably edgy vibe. The jittery black and white visuals evoke paranoia films like Repulsion, Eraserhead, and local classic Kitchen Sink. The clip builds up a broiling intensity, through judicious use of sped-up motion, original povs, and flash cuts that match the sonic boom tempo of HDU's trademark wall of sound.
Named after the German word for a type of gas chamber used in Nazi concentration camps, 'Gaskrankinstation' was the first single off Headless Chickens' second album Body Blow. Actor Peter Tait (Bogans, Kitchen Sink) stars as gas station attendant Ivan, whose desperate monologue drives the track, while the band play some comically tortured-looking instruments in the parking lot. Anita McNaught also makes a cameo appearance as the "lady newsreader" of Ivan's affections.