This short National Film Unit documentary travels to Westland to meet the kōtuku or white heron. In Aotearoa, the kōtuku is known for its beauty and scarcity (the bird’s only NZ breeding colony is near Okarito Lagoon). The black and white film joins the ranger to go whitebaiting, as kōtuku arrive in spring. Kōtuku’s special place in Māori mythology is recounted, and legendary ornithologist Robert Falla checks out chicks in a crowded ponga fern nest. Directed by John Feeney, the film premiered in Christchurch in front of Queen Elizabeth, on her Coronation Tour.
Kōtuku Rerenga Rua (the second flight of the heron) explores the impact of a near-death experience on Kōtuku Tibble. The teacher and media personality (from te teo Rugby World Cup commentator, to running language lessons on TV show Pūkana) talks about being reborn as the husband, father and leader he believes he is destined to be. Co-directed by Tim Worrall and Aaron Smart (The Road to Whakarae), the short documentary was made in te reo Māori for web series Loading Docs. Sadly Kõtuku Tibble died in his sleep, a few months after Kōtuku Rerenga Rua was completed.
Broadcaster, teacher and Māori language advocate Kōtuku Tibble spent his life championing te reo. Tibble boasted a diverse CV — he had a hand in the launch of te reo pop group, Aaria, taught around the North Island for 28 years, and presented shows for television and radio over more than a decade. The father of two passed away on 24 September 2017, at the age of 53.
Face Value was a trilogy of monologues written by Fiona Samuel (Marching Girls, Home Movie), produced in 1995 for TV One’s Montana Sunday Theatre series. Featuring stellar performances by all three female leads, Carol Smith, Davina Whitehouse and Ginette McDonald (also the producer), the series is cleverly scripted and uses a simple, subtly changing domestic setting to emphasise the emotional states of the characters. The three women are very different, but as they tell their stories their experiences are parallelled.
Written by Fiona Samuel (Marching Girls, Bliss, Home Movie) and produced by Ginette McDonald for television’s Montana Sunday Theatre, Face Value is a trilogy of monologues delivered by three separate women. While each woman’s story and background are vastly different, they are all united by their shared quest to find happiness amidst personal trauma. In A Real Dog, Carol Smith’s performance is spot-on as Lynette, a conflicted new-age hippie who struggles to recreate harmony when a new flatmate (and her estranged boyfriend) moves in.
Written by Fiona Samuel, Face Value was a trilogy of monologues by three women with different stories to tell but who all share a quest for inner happiness. Ginette McDonald plays Steph, the pampered wife of a wealthy advertising executive in Her New Life. The action centres on Steph’s preparations for a friend’s daughter’s wedding while her husband is away on a business trip. The script cleverly subverts viewer expectations; and McDonald's performance delivers a fair dose of pathos from it. Her New Life was a finalist at the Banff and New York TV Festivals.
Written by Fiona Samuel and produced by Ginette McDonald, Face Value is a series of monologues by three women with very different stories to tell, but who share a quest for inner happiness. In House Rules, the inimitable Davina Whitehouse gives a poignant performance as Miss Judd, a housekeeper of 22 years who is forced to reassess her life and situation after her employer’s death. Propriety at all costs is the rule of the day. House Rules is another example of Samuel’s ability to create memorable and subtly complex female characters.
Renowned ornithologist and Dominion Museum head Robert Falla goes into the field to present this first edition of National Film Unit’s Land of Birds. His subject is the kōtuku or white heron, nesting in swamp forest by Ōkārito Lagoon, Westland — the only New Zealand breeding colony. In Māori lore the heron is the sacred 'He kotuku rerenga tahi' or 'bird of single flight', owing to its rare sightings. Grant Foster’s beautifully shot survey of the kōtuku’s Ōkārito summer housing screened on TV in 1972, and won a 1973 Feltex Award for Best Natural History Programme.
Gaylene Preston's documentary on writer Keri Hulme — filmed two years after Hulme shot to global fame on the back of her Booker Prize-winning novel The Bone People — is both a poetic travelogue of Okarito (the township where she resided for 40 years), and a sampler-box of affable musings on her writing process, whitebait fishing, the supernatural, and the 1200 pages of notes for her next novel, the elusive Bait. Leon Narbey's camera is aptly alert to the magical qualities of the coast, from the resident kotuku to the surf and birdsong peppering Hulme’s crib.
Winter is going. This impressionistic take on spring in Aotearoa focuses on details of regeneration, from the mountains to the sea. Director Ron Bowie and cameraman Grant Foster capture signs of the season: ice melt like tadpoles under snow grass, gannets nesting on their Cape Kidnappers tenement, fern koru unfurling, kōtuku and royal spoonbills perched in Ōkārito trees like Dr Suess characters, willow buds and kōwhai flowers. And of course, lambs and daffodils. The camera aptly obeys the title to end. Patrick Flynn (Don’t Let it Get You) composed the score.