This collection celebrates all things equine on New Zealand screens. Since the early days of the colony, horses have been everything from nation builders (Cobb & Co) to national heroes (Phar Lap, Charisma) to companions (Black Beauty) to heartland icons. Whether work horse, war horse, wild horse, or show pony, horses have become a key part of this (Kiwi) way of life.
On 8 June 1987 Nuclear-free NZ became law. This collection honours the principles and people behind the policy. Norman Kirk: "Should I take the view that because they'll react against us that we shouldn't stand up for ourselves? I don't think New Zealand's a doormat. I think we've got rights — we're a small country but we've got equal rights, and we're going to assert them."
This NFU documentary looks at working lives of a crew of Wellington rubbish collectors aka 'the dusties'. With an insightful dustie narrating, the film follows the team on their rounds, beginning early morning with the seagulls at the depot. Then it's into the trucks and off to face occupational hazards: irate householders, sodden winter sacks, and notoriously steep hills. Our dustie muses on everything from health benefits and job perks (discarded beer, money and toasters!) to cleanliness. This classic observational film ends with a tribute folk song.
This short explores subtle tensions in a relationship between an artist and his model. To the young beauty who has arrived to model nude, the aging painter (played by the director Jonathan Brough’s father) initially appears decent and respectful. But when she demands to see the painting before he is ready, and he refuses, his intentions are questioned. Based on a short story by American Bernard Malamud, this understated two-hander was invited to play at Cannes, in a special 1994 season of Kiwi shorts. It was Hawera-raised Brough’s second (self-funded) short.
In the second part of this controversial, no-holds-barred portrait, Neil Roberts looks at Robert Muldoon’s tenure as Prime Minister — and claims that his best days were behind him before he took power. He examines Muldoon’s brutally divisive leadership style which saw him at odds with officials, ministers, unions, the media and any social group that opposed him. The tumultuous events of 1984 that resulted from Muldoon’s desperate attempts to cling to power — calling a snap election and all but refusing to leave office after his defeat — are explored in depth.
Rosemary Edmonds (Annie Whittle) is a photographer, mother and middle-distance runner. A project photographing the rare yellow-eyed penguin sends her to a remote Otago cottage. On arrival odd happenings become increasingly menacing. Rosemary refuses to be intimidated. But events escalate, sending her running from her unknown assailant to the phone box for help in the race of her life. Bird-watching, stranger danger and feminist film theory line up for a time trial in Melanie Read's first feature, for which 20 of the 29-strong production crew were women. Marathon champ Allison Roe — who trained Whittle for the film — makes a brief cameo.
In this Mo’ Show edition Mark Williams and Otis Frizzell explore Kingston, Jamaica with their tour guide — poet and singer Italee (an appearance that led to her being cast in a series of NZ rum TV adverts). She introduces them to reggae stars Luciano, Dean Fraser and Buju Banton (who, like any good scientist, refuses to disclose the secrets of his work); and a visit to Hellshire Beach allows them to sample its celebrated (and dangerous-looking) Jamaican style fried fish and pastry. After watching Italee perform in a club, the pair take to the stage themselves.
This headline-grabbing 1979 documentary examines inequality via interviews with an unemployed student, a young widow and a Porirua family of eight; plus visits to a Fijian village and a Hong Kong housing estate. The film's arguments that business and government monopolies had caused poverty in “egalitarian New Zealand”, and that NZ trade practices had added to it elsewhere, displeased Prime Minister Robert Muldoon. State television refused to screen the Greg Stitt-directed documentary; CORSO, the charity who commissioned it, was removed from the government’s funding list.
This excerpt from the first episode of James Belich’s award-winning history of Māori vs Pākehā armed conflict looks at growing Māori resentment, after the signing of the Treaty of Waitangi. The focus is on Ngā Puhi chief Hōne Heke, who sees few concessions to partnership. He is especially incensed by the refusal of the British to fly a Māori flag alongside the Union Jack. His celebrated acts of civil disobedience directed at this symbol of imperial rule flying over Kororāreka (now Russell) lead to the outbreak of war in the north.
In this Gallery episode David "Mr Current Affairs" Exel politely interrogates Labour Prime Minister Norman Kirk on his first 250 days in office; ranging from Britain's changing role in the Commonwealth to Kirk's weight loss. Dairne Shanahan comments on the PM’s image and Ross Stevens weighs in on broken election promises. Exel became Gallery host in 1971, when Brian Edwards quit after NZBC refused to screen a notorious pilot for an Edwards-fronted show (then-Finance Minister Rob Muldoon sparring with young critics Tim Shadbolt, Chris Wheeler and Alister Taylor).