In this early, Edinburgh-centric episode of arts show Frontseat, Flight of the Conchords return to the Edinburgh Fringe Festival for a sellout third season — although they argue the new show is “a shambles”. Also present at the fest are an array of Kiwi technicians, performers, and arts programmers. Meanwhile in his Marlborough vineyard, globetrotting cinematographer Michael Seresin critiques Kiwi society and its ugly towns, and calls NZ a “lonely, soulless sort of nation”. Also on offer: Artist Phil Dadson in Antarctica, and award-winning dancer Ross McCormack.

This series, made for use as a teaching resource in secondary schools by the NZ Music Industry Commission, was produced and directed by longtime Kiwi music champion Arthur Baysting. The full series featured 47 leading acts (including Don McGlashan, the Black Seeds, Nesian Mystik, Chris Knox and Fat Freddy's Drop) talking directly to the next generation of musicians about their music and careers. They offer intimate performances of classic songs, and heartfelt advice on subjects including songwriting, recording techniques, technology and the music industry.

Teenage gang girl Tarnz speaks with brutal honesty about her extraordinary life in this documentary. From Maraenui, Napier, Tarnz formed her own girl gang in her teens, amassed 13 convictions and was imprisoned three times. Gang Girl - Tarnz Story was a finalist at the 2007 Winnipeg Aboriginal Film Festival in Canada. It was made alongside another girl gang documentary, Mob Daughters; both documentaries were produced by Front of the Box Productions and screened on TV2. 

Pacific 3-2-1-Zero is a record of a performance of the eponymous work by renowned percussion group From Scratch. The work was devised in 1981 as a protest against nuclear testing and waste dumping in the Pacific. Ring-leader Phil Dadson, his players and their instruments — from whirling PVC pipes to biscuit tin lids — are arranged in the shape of the peace symbol. From Scratch's rhythms are cut with footage and facts of testing by director Gregor Nicholas to make for a resonant statement. The film won the Grand Prix at Midem’s Visual Music Awards 1994.

“When old and young come together to do this, it shows the strength of their convictions.” This film is a detailed chronicle of a key moment in the Māori renaissance: the 1975 land march led by then 79-year-old Whina Cooper. A coalition of Māori groups set out from the far north for Wellington, opposed to further loss of their land. This early Geoff Steven documentary includes interviews with many on the march, including Eva Rickard, Tama Poata and Whina Cooper. There is stirring evidence of Cooper’s oratory skills. Steven writes about making the film in the backgrounder.

This series sees Kiwi artists creating a new work while the cameras are rolling, in collaboration with a community that they have a personal connection with. Hosted by musician and artist Chris Knox, the series was produced by Gemma Gracewood and Neil Stichbury, from a concept by Luke Nola. Two seasons were produced for channels TVNZ 6 (2008) and TVNZ 7 (2009). Season one was nominated for Best Format/Reality Series at the 2008 Qantas Film and TV Awards. The artists included Lisa Reihana, Michel Tuffery, Phil Dadson, Karl Maughan and Seung Yul Oh.

In the one channel days of the early 1970s, the Survey slot was the place to find local documentaries. Topics ranged across the board, from social issues (alcoholism, runaway children) to the potentially humdrum (an AGM meeting) to the surprisingly experimental (music film The Unbelievable Glory of the Human Voice). After extended campaigning by producer John O’Shea, emerging independent filmmakers, including Tony Williams and Roger Donaldson, joined the party — bringing fresh creativity and new techniques to the traditional gentle, narration-heavy doco format.