Directed by Tony Williams, this documentary is a strong example of how to make engaging television out of a brief that might easily have been overly earnest. Nominally “a history of service clubs in New Zealand”, the footloose film explores a rich variety of organisations created to bring people together: from accordion players and air hostesses to flying saucer believers and Rotarians. The film celebrates a fundamental human need to ‘get together’. Poet Denis Glover provides sardonic commentary. It won the best programme of year Feltex Award.
This teledrama explores the tensions surrounding an elderly woman's tangi, as whānau members gather in a suburban house. Alienation of urban Māori — particularly son Paul (Jim Moriarty) — from iwi roots, and differing notions of how to honour the dead, are at the heart of the conflict between the mourners. A pioneering exploration of Māori themes, the Rowley Habib teleplay was one of three one-off dramas the playwright wrote (alongside 1978's The Death of the Land, and 1982's The Protesters) encouraged by director Tony Isaac. It screened in April 1980.
This series of portraits of Māori kaumatua, by Toby Mills and Moana Maniapoto, won Best Māori Programme at the 2000 NZ TV Awards. In this first episode, Kaa Rakaupai reminisces about catching crayfish with socks; master carver Paki Harrison spurns his family to follow his ambitions; Tawhao 'Bronco' Tioke's grandfather was jailed with prophet Rua Kenana; and Joan Mohi muses on being Pākehā and Māori. The millennial morehu ('survivors') talk of hopes for tamariki, and lament lost traditions — but not the bad old schooldays when they were forbidden to speak te reo.
Private Journeys / Public Signposts turns the camera on photographer Ans Westra. Dutch emigree Westra has captured iconic images of New Zealanders since the late 1950s, expressively observing Aotearoa societal changes, particularly Māori urban drift. This film explores her remarkable life and work, and includes commentary from family and friends, fellow photographers, and colleagues, as well as discussion of the Washday at the Pa controversy. Luit Bieringa, curator of Westra's retrospective photo exhibition, directed the film, his first.