Writer Janet Frame (1924 - 2004) is an icon of New Zealand literature; her 'edge of the alphabet' use of language has seen her acclaimed as "one of the great writers of our time" (San Francisco Chronicle). This collection celebrates Frame's life and work on screen, from applauded Vincent Ward and Jane Campion translations to a rare TV interview with Michael Noonan.

The early 80s were the apex of the local beauty pageant — Lorraine Downes won Miss Universe in 1983, and more Kiwis watched the 1981 Miss New Zealand contest on TV than Charles and Di’s wedding. This 1984 Miss World New Zealand live telecast was legendary for host Peter Sinclair announcing the wrong winner (clip six). Miss Auckland Barbara McDowell’s runner up sash is swiftly swapped for a crown and she is (eventually) made the first part-Samoan Miss NZ. A retro delight is the beauties dancing to Cyndi Lauper’s ‘Girls Just Want to Have Fun’ in an Oamaru quarry.

This self-funded feature follows the travails of Lexi (Request Ahomana), a young Pacific Island Kiwi cleaning for a bitter elderly woman, and struggling to find her identity in the town of Oamaru. A meeting with a young man (Dean Hanns) provides her with a prospective ride out of town — but obstacles on that road include the young man's past, the gambling addict sister she shares a flat with, and finding the courage to chase her dreams. Lexi marks the first feature film written, directed and produced by Wayne Turner. In the excerpt, Lexis argues with her sister. 

This 1993 award-winner was the first Crowded House video made in New Zealand. Director Kerry Brown and producer Bruce Sheridan wanted to emphasise the surreal, fantasy elements of the song, using distinctly Kiwi imagery. Locations included beaches and dense bush on the West Coast, the plains of Central Otago and the Victorian architecture of Oamaru. Scenes of an Anzac Day ceremony and marching girls also highlight the homeland setting. Brown took inspiration from Salvador Dali paintings for the psychedelic effects that were added in post-production.

This web series profiles nine Ngāi Tahu artists, all working in different mediums. Weavers Reihana Parata and Morehu Flutey-Henare, and carver Fayne Robinson use traditional designs and materials like flax, feathers, stone, pounamu and wood, while conceptual artist Nathan Pohio uses 'found' objects like old photographs, presenting them in different contexts so they speak to a new audience. From photographer Fiona Pardington's 'memento mori' imagery to painter Simon Kaan's serene landscapes, each artist draws inspiration from the land and its wairua (spirit).

This Coming Home episode introduces two Kiwi "pioneers in their fields": psychologist John Money and horse expert Wayne McIlwraith. Colorado-based McIlwraith works on top racehorses around the globe, then goes climbing on his rare days off. Money was celebrated and criticised for his game-changing work on gender and sexuality. Returning for a visit downunder, he sets about donating his artworks to a museum in Gore. The episode was made soon after doubts were first raised about the success of Money's most famous case of gender reassignment, David Reimer. 

Fresh off roughly a decade of performing overseas, legendary Kiwi rock'n'roller Johnny Devlin sits down with The South Tonight's Spencer Jolly to talk about his Rock Revival tour of NZ. He recounts stories of past tours, where fans ripped shirts off his back, and notes his 1972 tour has also had its moments — some of the entourage were injured on last night's concert. Devlin seems in two minds about continuing touring: he talks about retiring from it if promoters won't pay for his family to join him. Devlin would still be performing when he toured with Ray Columbus in 2006, 34 years later.

Jeremy Wells brings Kenneth Cumberland-seque authority to this 'alternative' version of Kiwi history, which was made by many of the team that worked on Eating Media Lunch. The Unauthorised History plumbs TV and history archives to poke fun at the pretence of the past (and present). This episode examines artefacts to do with sex and Aotearoa. With tongue planted in check (and in other places) Wells revisits everything from pole-dancing in the "hellhole of the Pacific" — colonial-era Russell  — to randy Hutt Valley teenagers "getting laid" in the 1950s.

This Depression-era road movie tails teen runaway Kate (Greer Robson) as she tags along with World War I veteran Patrick (Aussie actor Peter Phelps) — also on the run after assaulting a repo man. The odd couple relationship grudgingly evolves as they narrowly escape the law, while crossing the southern badlands. Director Sam Pillsbury's film won wide praise; LA Times critic Kevin Thomas called it "pure enchantment". Robson's Listener award-winning turn followed her breakthrough role in Smash Palace. The film was nominated for another eight awards, including Best Film. 

This fresh, unhurried film is drawn from a substantial interview with renowned writer Janet Frame by Michael Noonan; filmed largely at at Frame’s then-home on Whangaparoa Peninsula. It was part of the Three New Zealanders series made to commemorate the 1975 International Year of Women — an early John Barnett production. The rare footage of Frame — here aged 50 — presents a confident writer in her prime, and negates any stereotypes about Frame's inarticulacy or shyness. Note: the segments from the programme dramatising some of Frame’s work are not included here.