Service station worker Tania (Sophie Henderson) is a blonde-haired, blue-eyed woman who identifies as Māori, working to take her little bro Pi to Surfer’s to find their Dad. But flitting Pi causes plans to go awry. Directed by Curtis Vowell (his debut) the script was adapted by Henderson from her theatre monologue, and shot in 20 days via the NZFC’s low budget Escalator scheme. The twist on the Hine-nui-te-po myth was a breakout hit of the 2013 NZ Film Festival. NZ Herald critic Dominic Corry raved: “one of the freshest New Zealand films to come along in years”.

When people tell the amazing story of Kiwi legend Julian Harp, Nicky doesn't get a mention. Now, in one of the NZ screen's classic monologues, Nicky takes the opportunity to let us in on what really happened: her relationship with Julian, his plan to destabilize the Government via letterwriting campaign, and the couple's preparations for the day he achieved engineless flight and rose into the sky from the Auckland Domain, never to be seen again. Based on the classic short story by CK Stead, author of Smith's Dream (aka Sleeping Dogs). 

Alone in his cell, a deeply disturbed old man delivers a psychotic monologue, and reveals an alarming secret in this darkly funny claymation short from the workshop of Tom Reilly. Reilly made his first claymation short in 2001 and is one of just a few New Zealand animators using this technique. Three more shorts and a children's TV series won him the SPADA New Filmmaker of the Year Award in 2003. He is now directing live action TV and commercials and his documentary on a wesitie misfit car-yard operator — Gordonia — was released to positive reviews in 2010.

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.

This film documents Miranda Harcourt taking her stageplay Verbatim (written by Harcourt and William Brandt) to prison audiences. The play is a six-character monologue made up of accounts of violent crime, all performed by Harcourt. Director Shirley Horrocks captures the reactions of the prison inmates watching their own lives unfold on stage. Harcourt’s powerful performance is augmented with revealing testimonies of the broken men and women who agree to be interviewed. The documentary won the premier prize at the 1993 Media Peace Awards.

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.

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.

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.