Celebrating the 75th anniversary of government filmmakers the National Film Unit, this NFU collection pulls highlights from the 280+ wartime newsreels, tourism promos and Oscar nominees on NZ On Screen. Curated by NFU expert Clive Sowry, the collection includes backgrounders by Roger Horrocks, plus Film Unit alumni Sam Pillsbury, Paul Maunder, Arthur Everard and Lynton Diggle.
Brian Brake is regarded as New Zealand's most successful international photographer. But before heading overseas to work for photo agency Magnum and snapping iconic shots of Picasso and the Monsoon series for Life magazine, he was also an accomplished composer of moving images. He shot or directed many classic films for the NFU, including NZ's first Oscar-nominated film.
In 1865, Wellington became the Kiwi capital. In the more than 150 years since, cameras have caught the rise and fall of storms, buildings, and MPs, and Courtenay Place has played host to vampires and pool-playing priests. Wind through our Wellington Collection to catch the action, and check out backgrounders by musician Samuel Scott and broadcaster Roger Gascoigne.
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.
Animated plasticine. Talking chickens. Dancing Cossacks. Plus old favourites bro'Town, Hairy Maclary and Footrot Flats. From Len Lye to Gollum, feast on the talents of Kiwi animators. In his backgrounder to the Animation Collection, NZ On Screen's Ian Pryor provides handy pathways through the frogs, dogs and stop motion shenanigans.
This special edition of the National Film Unit’s long-running monthly magazine series looks at some of the “people, places and events filmed by our cameramen during the years 1941 - 1962”. The NFU’s 21st birthday review — compiled by David H Fowler — ranges from wartime newsreels to the post-war boom (factories, dams, industrial agriculture), from salvos to Snell. With war ever present there’s a focus on the macro, but details make events relatable to Kiwi theatre-goers: NZ soldiers playing rugby in Korea or ciggies hanging from Ballantyne’s firefighters’ lips.
Escaping the city to camp themselves in rural Foxton, four 20-something idealists set about living off the land. But they bring their urban anxieties with them, and an act of violence forces the commune into isolation and extremism. Teasing tense drama from familiar settings — as if Pasolini took the reins of a Country Calendar special — this maverick Paul Maunder-directed NFU film shines a harsh light on the contradictions of the frontier spirit with stylistic daring. Rarely-seen (TVNZ never screened it), Landfall marked Sam Neill’s feature debut.
Pictorial Parade began two years after the demise of the NFU’s Weekly Review. It was another 10-minute magazine programme, but this time monthly, rather than weekly. It was the NFU’s major product for the next 20 years. In 1950 the NFU had been moved from under the wing of the Prime Minister’s Dept to be controlled by the Tourist and Publicity Dept. The Pictorial Parade was seen as a move away from the political in government film-making, and a return to the promotional role of the early scenic films.
Despite the misleading numbering, this October 1942 film marked the first of the National Film Unit's long-running Weekly Review series. The NFU had been established a year earlier to promote the war effort via newsreels screened in movie theatres. In a meta first clip, Kiwi soldiers watch an NFU film in a makeshift outdoor cinema. Then war readiness is demonstrated via army exercises — including on Waitangi Treaty Grounds, where “Māori and Pākehā are working together, mounting machine guns for their common defence.” Finally: Red Cross parcels are prepared for NZ prisoners of war.
An elegiac profile of artist Eric Lee-Johnson, by Maurice Shadbolt, is the high point of this NFU magazine film. Johnson gave up a lucrative commercial career to pursue his vision of a New Zealand art moving beyond European tradition; and he is observed chronicling abandoned homesteads and churches, built in remote reaches of Northland's Hokianga harbour by early Pākehā settlers. There's light relief in coverage of a chimpanzees' tea party at Wellington Zoo, while a suitably breathless piece looks at a new industry manufacturing fibreglass boats.