This collection celebrates all things equine on New Zealand screens. Since the early days of the colony, horses have been everything from nation builders (Cobb & Co) to national heroes (Phar Lap, Charisma) to companions (Black Beauty) to heartland icons. Whether work horse, war horse, wild horse, or show pony, horses have become a key part of this (Kiwi) way of life.
Actor Kevin Smith could do it all; from brooding like Brando in a Tennessee Williams play, through Xena, to the gentle romantic lead of Double Booking, and self-parody in Love Mussel. Collected here are selections from a career cut short (he died in a 2002 film-set accident). Plus tributes from James Griffin, Michael Hurst, Geoffrey Dolan and Simon Prast.
This collection rounds up almost every music video for a number one hit by a Kiwi artist; everything from ballads to hip hop to glam rock. Press on the images below to find the hits for each decade — plus try this backgrounder by Michael Higgins, whose high speed history of local hits touches on the sometimes questionable ways past charts were created.
This NZ Music Month collection showcases NZ music television, spun from a playlist of classic documentaries and beloved music shows. From Split Enz to the NZSO, Heavenly Pop Hits to Hip Hop New Zealand, whether you count the beat or roll like this, there’s something here for all ears (and eyes). Plus music writer Chris Bourke gets Ready to Roll with this pop history primer.
This collection is a celebration of the eccentric, exuberant career of NZ screen industry frontrunner Tony Williams. As well as being at the helm of many iconic ads (Crunchie, Bugger, Spot, Dear John) Williams made inventive, award-winning indie TV documentaries, and shot or directed pioneering feature films, including Solo and cult horror Next of Kin.
This collection celebrates rugby in New Zealand as it has been seen onscreen: from classic bios and tour docos, to social history, dramas and protest. In the accompanying backgrounders, broadcaster Keith Quinn looks at the on air history of rugby in NZ; and playwright David Geary asks if rugby is a religion, and argues it is a good test of character.
This 1983 film looks at New Zealand in World War II, via a compilation of footage from the National Film Unit’s Weekly Review newsreel series, which screened in NZ cinemas from 1941 to 1946. It begins with Prime Minister Savage’s “where Britain goes, we go” speech, and covers campaigns in Europe, Africa and the Pacific, and life on the home front. The propaganda film excerpts are augmented with narration and graphics giving context to the war effort. Helen Martin called it "a fascinating record of documentary filmmaking at a crucial time in the country’s history".
Rip it Up editor and hip hop supremo, Philip Bell (DJ Sir-Vere) drops his Top 10 selection of Aotearoa hip hop music videos. The clips mark the evolution of an indigenous style, from the politically conscious (Dam Native, King Kapisi) to the internationalists (Scribe, Savage). It includes iconic, award-winning efforts from directors Chris Graham, Jonathan King, and more.
This documentary comprehensively traces the history of skiing and winter sports in New Zealand. From Mannering and Dixon, who used homemade skis in an almost-successful ascent of Mt Cook and the hut-building pioneers of recreational ski clubs in their pre-Gore-tex garb, to commercial ski fields and lifts, superb archive footage shows the advances. New Zealand teams at the Winter Olympics in Oslo in 1952 and Sarajevo 32 years later had come some way from the days when carrier pigeons were used to report snow conditions from Canterbury's ski fields to Christchurch.
Prelude to Aspiring was the first National Film Unit title directed by legendary photographer Brian Brake, soon after he joined the Unit in 1948. It follows a group of climbers up the Matukituki Valley, west of Wanaka, towards Mt Aspiring for the opening of a new hut and a trudge through snow to resurrect a flattened shelter high up Mt French. The autumn alpine scenery is breathtaking even in black and white, and the film perfectly performs its role as one of a series of promotional ‘documentaries' made by the NFU.