This National Film Unit production was made to celebrate the golden jubilee of the Plunket Society. Plunket — aka ‘Karitane’ — nursing is a New Zealand system of ante-natal and post-natal care for mothers and infants, founded by Sir Truby King: “the man who saved the babies”. Featuring original nurse Joanne MacKinnon, the film follows Plunket from a time of high infant mortality to providing contemporary nursing to a New Zealand flush with postwar optimism: “a family country, where children grow happily in the fresh air and sunshine.”

“Only 40 hours by air from San Francisco and six from Sydney, Auckland New Zealand is on your doorstep.” In 1952, NZ tourism was also a long way from a core contributor to the national economy. A flying boat and passenger ship deposits visitors in the “Queen among cities” for this National Film Unit survey of Kiwi attractions. The potted tour takes in yachting, the beach, postwar housing shortage, school patrols, dam building and the War Memorial Museum, before getting out of town into dairy, racing and thermal wonderlands, where “you can meet some of our Māori people”.

This short profiles the work of Gisa Taglicht. A pioneer of women's rhythmical gymnastics, Taglicht advocated the benefits of physical exercise for women. Risqué at the time for the women’s skimpy outfits, the Wellington-set film sees women escaping machine and washing line oppression via a YWCA hilltop session: limbs reaching and stretching towards a stark sky. The National Film Unit's post-war Weekly Reviews became less overtly patriotic, and some, like this Michael Forlong-directed one, were unabashedly experimental. The score was composed by Douglas Lilburn.

This post-war film was made to showcase New Zealand to UK audiences. Directed by Michael Forlong, the NFU film is a booster’s catalogue of contemporary NZ life. The message is that NZ is a modern pastoral paradise: open for business but welfare aware. Nature is conquered via egalitarian effort; air and sea links overcome the tyranny of distance; and science informs primary industry. Māori are depicted assimilating into the Pākehā world. Sport, suburbia and scenic wonder are touted, and an NZSO performance shows that the soil can grow culture as well as clover. 

Subtitled ‘a conversation with my grandfather’, this animated short sees Joel Kefali (director of the music video for Lorde’s ‘Royal’) documenting memories of his Turkish 'Baba' arriving in 1951 Auckland. Sausage rolls, dances and the death penalty are animated via cut-out shapes, and scored to Baba’s colourful pidgin phrasing — “go to the hell!”. Noel Murray of US website The Dissolve praised the “ample artistry” of Kefali’s familial tribute. Baba was a part of Loading Docs: a series of low budget three-minute long films made for online release.

This NFU documentary showcases the hydroelectric power-generating might of the Waikato River. The ‘man harnesses nature’ narrative — shown via concrete, steel and earthmoving for dam building — highlights the path of the power: to drive farms, factories and Wellington’s electric trains. Director Cecil Holmes later wrote that post-war NZ was "a desperately poor country"; the film aimed to highlight Government efforts to overcome power shortages. After the 'satchel snatch' smear campaign of 1948, Holmes left for a highly regarded screen career in Australia. 

Directed by Annie Goldson (Brother Number One), this 1995 TV documentary explores the story of Cecil Holmes, who won Cold War notoriety in 1948 when he was smeared as a communist agent, while working as a director for the National Film Unit. This excerpt — the opening 10 minutes — revisits the infamous snatching of Holmes' satchel outside Parliament, his Palmerston North upbringing, war service, and the founding of the Government's National Film Unit. There are excerpts from a 1980 interview where Holmes describes his inspirations (including UK film Night Mail).

The God Boy is a portrait of a troubled teen Jimmy (Jamie Higgins) growing up in post-war small town New Zealand and wrestling with a repressive education and home front turmoil. Adapted from the Ian Cross novel by Ian Mune and directed by Murray Reece, the landmark film was the first NZ telefeature, gaining Feltex awards and front page reviews. With menace and Catholic guilt ever-present, it’s credited as a pioneer of what Sam Neill dubbed NZ’s “cinema of unease”. Higgins later starred in Australian TV show The Sullivans.

This postwar Weekly Review joins a welfare officer from the Crippled Children’s Society on her Wellington rounds: advising parents, chaperoning children to hospitals to undergo physical and speech therapy, and overseeing the supply of specialist footwear and splints. There’s also a Kiwi take on Heidi as a boy is offered a farm holiday, walking on crutches among the cows: “No care and treatment can substitute for the uplift of two weeks in the country.” Released in September 1948, the film was made by decorated war correspondent Stan Wemyss (grandfather of Russell Crowe).

In this two-part documentary celebrating 100 years of cars in New Zealand, actor Rima Te Wiata (Hunt for the Wilderpeople) sets out to find out what makes motoring such a beloved Kiwi pastime. Part one sees her looking at the early impact of cars, with interviewees reminiscing about the first time they saw a motor vehicle and the changes they brought about. Part two fast forwards into the second half of the 1900s: Te Wiata admires the freedom that cars brought in the 60s and 70s, learns about the Ford V8s of postwar New Zealand, and takes a cruise in a muscle car.