This 1946 film surveys New Zealand housing: from settler huts to Ernest Plischke’s modernist flats. Architect William Page bemoans sun-spurning Victorian slums with their unneeded “elaboration”. But more fretful than fretwork is a housing crisis that sees 26,000 families needing homes, with owning or renting out of reach of many. Michael Savage’s pioneering (but war-stalled) state housing scheme and newly-planned suburbs offer hope. Fed by wood and cement, NZ can build again with brio: “For a home is the basis of the simple things that make victory worthwhile.”
Veteran weatherman Jim Hickey sums up A Flying Visit at the start of the first episode: “We’re going to be visiting some of the more unusual and out of the way places, and I’ll be chatting with the locals and they can tell me what makes their little place tick”. He touches his Cessna 182 down on NZ’s northernmost airstrip, meets a pig hunting nana, flies by the lighthouse and Ninety Mile Beach, then crosses to Russell to meet a boogie-boarding dog, a lawn-mowing goat, a uniquely-painted ute — and check out some history. Then it's a flying visit to giant kauri Tāne Mahuta and its kai cart.
A wandering fortune teller parks her house truck in Hokitika on a mission to find the daughter she gave up for adoption. This is Magik. One of her first clients, a young happily married chemist's assistant, is seeking a solution to her infertility. This is Rose. Magik, too, is resolved to have another child, but without having to keep the father around. They embark on a joint odyssey for love, sex and pregnancy in writer/director Vanessa Alexander’s feature debut (made when she was 28). David Stratton in Variety praised the film’s "disarmingly sweet treatment".
The immortal Count Homogenized, a vampire with a white afro and cape and a lust for milk, lodged himself in the hearts of a generation of Kiwi kids. After first portraying the vampire in A Haunting We Will Go, actor Russell Smith took centre stage in 1983's It is I Count Homogenized. This follow-up series transfers proceedings from the haunted house trappings of the original to a suburban dairy, where Homogenized continues his mission to get his teeth into what matters: the milk. Trivia: the series was made in association with the NZ Milk Promotion Council.
Seven stand-alone contemporary dramas, collected together under one umbrella. The stories in this television series showcase a fresh wave of 1980s independent filmmakers. They cross the gamut from gritty kitchen sink dramas and oddball tales of Kiwi heroes, to Jewel's Darl, an acclaimed romance staring future transsexual MP Georgina Beyer. Five of the About Face directors went on to make feature films; 23-year-old Jennifer Ward-Lealand's performance in Danny and Raewyn won a GOFTA award.
This TVNZ production screened at the end of 1989, just before the 150th anniversary of the signing of the Treaty of Waitangi. Filmed at Government House, presenter Ian Johnstone oversees passionate kōrero as a panel of youngsters, academics and Māori and Pākehā elders debate the place of New Zealand’s founding document. Don Selwyn and Angela D’Audney explore its history, and Sir Paul Reeves begins by musing on chief Te Kemara’s famous about-turn, when, after first opposing the Treaty, he turned to Hobson and said: “How d’ye do Mr Governor”.
In this cult surf film — this excerpt is the first seven minutes — Andrew McAlpine gets in the Chevy, chucks the longboard on the roof and follows a group of pioneering riders on a mission around New Zealand and Australian coastlines, from Piha to Noosa. Filmed from 1965 - 1967, the Kiwi Endless Summer evoked a laid-back era where the ride was the prize. The classic surfing scenes — some filmed from an onboard camera housed in a DIY perspex case — are scored to surf rock and interspersed with sunburnt, bikini-clad relics of 60s beach culture.
A flagbearer for Māori storytelling on primetime television, E Tipu e Rea (Grow up tender young shoot) was a series of 30 minute dramas touching on a range of Māori experiences of the Pākehā world — from rural horse-back riding and eeling, to urban hostility and cultural estrangement. It marked the first anthology of Māori television plays, and the first TV production to use predominantly Māori personnel. E Tipu e Rea's mandate and achievement was to tell Māori stories in a Māori way.
Toi Whakaari acting graduate Rachel House, ONZM, won her first theatre award in 1998, around the time she debuted on screen as co-star of short film Queenie and Pete. Since then she has shown her gift for comedy and drama in The Life and Times of Te Tutu, Whale Rider, and White Lies — and won new fans as a child welfare officer on a mission, in Hunt for the Wilderpeople. She was the voice of Moana's eccentric grandma in Disney hit Moana, and has been a panellist on Ask Your Auntie. House has also directed often for the stage: in 2012 she helmed a te reo version of Troilus and Cressida, at London's Globe Theatre.
In the mid 1970s the Chatham Island black robin was the world's rarest bird. With only two females left, the conservation ante was extreme. Enter saviour Don Merton and his Wildlife Service team. Their pioneering efforts ranged from abseiling the birds (including the 'Eve' of her species, 'Old Blue') down cliff faces, to left-field libido spurs. This 1988 Listener Film and TV award-winner united two earlier Wild South documentaries, and updated the robin’s rescue story to 1987. It originally screened on Christmas Day 1987, before being modified for this 1989 edition.