Sons for the Return Home tells the story of a Romeo and Juliet romance between students Sione, a NZ-raised Samoan, and Sarah, a middle class palagi. Director Paul Maunder shifts between time and setting (London, Wellington, Samoa) in adapting Albert Wendt's landmark 1973 novel. Sons was the first feature film attentive to Samoan experience in NZ — alongside themes of identity, racism and social and sexual consciousness. In this excerpt Sione meets Sarah's parents, and his tin'a has him scrubbing their Newtown pavement prior to Sarah's reciprocal visit.
This episode of the six-part Our People, Our Century series explores the mix of cultures that Aotearoa-New Zealand has become. In these excerpts, a Chinese Kiwi family speaks of the racism they experienced, from the poll tax of the 1890s to their relative isolation — despite living in downtown Wellington. Artist Trevor Moffitt describes his father's “heavy silent disapproval” at his artwork; Moffitt went on receive acclaim for paintings that explore themes of New Zealand identity. Finally, mixed marriages between Māori and Pākehā shed some light on biculturalism.
Police drama Mortimer's Patch included a Māori sergeant (played by Don Selwyn) among its quartet of rural coppers, yet the series only rarely explored Māori topics. Penned by Greg McGee, this episode plots a small-town twist on questions of racism, abuse of privilege, and the horse-trading behind which cases go to court. After a theft at the local takeaways, one of a trio of young Māori reacts to the racist perpetrator — a Pākehā businessman — by breaking the law himself. The guest cast includes Frank Whitten (Outrageous Fortune), Selwyn Muru and Temuera Morrison, whose only line is "Honky. Smooth honky. Nasty".
This 2002 documentary explores contemporary Aotearoa from the perspective of Kiwis from a range of different (non-Māori, non-Pākehā) ethnic backgrounds. These citizens speak frankly about their experience of assimilation and stereotyping in a supposedly multicultural society, where ethnic food is beloved — but not ethnic difference — and where jokes and racism blur. Directed by Libby Hakaraia, the documentary screened on TV3 as part of doco slot Inside New Zealand. It was a follow up to 2000's The Truth about Māori, which looked at identity from a Māori perspective.
The last drama to be made in-house by TVNZ, The Champion was written by author Maurice Gee at the behest of producer Ginette McDonald after the success of their collaboration on The Fire-Raiser. Set in Henderson, West Auckland over three weeks in early 1943, it centres on 12 year old Rex (Milan Borich — later the lead singer in Pluto) and a black American GI billeted with his family. This tough, accomplished drama looks unflinchingly at racism and prejudice — both imported and local — and is ample testimony to the skills of its writer, cast and crew.
This short film finds four 90s teenagers caught in the vicissitudes of growing up in Hutt Valley suburbia. Rising tensions during a day hanging out at the local park see misfit Rory ignite a cracker bag of cravings for belonging, furtive sexual feelings, violence, racism and boredom. The combustive results of his misdirected teen spirit give the film’s title a grim irony. Fijian-born director Shahir Daud based the story loosely on his own teen experiences; Double Happy screened at Montreal Film Festival and was a Short of the Week website pick in May 2011.
The theme for 2016’s batch of Loading Docs was 'change'. This entry stretches the boundaries of documentary, as two high school students engage in an impassioned piece of performance poetry. Mount Albert Grammar School's Jahmal Nightingale and Joseph McNamara film themselves performing their own poetic clarion call for change. The two Gen-Z teens wander Auckland and muse on body image, booze, racism, sexism, and the apocalypse. Director Brendan Withy and producer Doug Dillaman first saw the duo at high school spoken word competition WORD - The Front Line.
A Political Game charts not only intense rugby rivalry between South Africa and New Zealand, but also the politics of racism that came increasingly to the fore. The signs were there during the Springboks first tour of New Zealand in 1921: a South African reporter was outraged white New Zealanders had supported a Māori side. In 1976 an All Black tour of South Africa sparked an African boycott of the Montreal Olympics; the 1981 tour saw violent protests. Starting with the historic All Blacks win in 1996, this excerpt jumps back in time to chart conflicts on and off the field, up until 1949.
The last novel by Taranaki author Ronald Hugh Morrieson revolves around a freezing plant worker (Peter McCauley) in an inter-racial marriage. The role of an English remittance man was expanded in a failed attempt to cast Peter O'Toole (the role ultimately went to NZ-born Bruce Spence). Morrieson's view of small town NZ is a dark one, as he explores racism, violence, murder, suicide and blackmail. Bruno Lawrence contributes to Jonathan Crayford's jazz-tinged score, and features in the wedding band. The freezing works scenes were shot at the defunct plant in Patea.
The 60s and 70s saw an influx of Pacific Island migrants to New Zealand. This 2015 Tagata Pasifika special looks at the children and grandchildren of those adventurers, who are part of a “second migration” — from Aotearoa to Australia. Reporter Sandra Kailahi talks to families about the reasons why they made “the jump” (education, jobs, opportunity, “a better life than what I had in South Auckland”); the challenges they faced (contract work, floods, racism); the trade-offs (lack of community and culture) — and why some chose to come back ‘home’ to New Zealand.