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.
Arts Icon Geoff Murphy is the trumpet-player who got New Zealand yelling in the movie aisles. His road movie Goodbye Pork Pie was the blockbuster hit of the NZ film renaissance, and he completed an unsurpassed triple punch with Utu and Bruno Lawrence classic The Quiet Earth. From student heists to hobbits this collection pays tribute to the laconic wild man of Kiwi film.
Florian Habicht first won attention for 2003's Woodenhead, a fairytale about a rubbish dump worker and a princess. By then Habicht had already made his first feature-length documentary. Many more docos have followed: films that celebrate his love for people, and sometimes drift into fantasy. In this collection, watch as the idiosyncratic director meets fishermen, Kaikohe demolition derby drivers (both watchable in full), legends of Kiwi theatre and British pop, and beautiful women carrying slices of cake through New York. Ian Pryor writes here about the joys of Florian Habicht.
This collection celebrates Kiwi comedy on TV: the caricatures, piss-takes, and sitcoms that have cracked us up, and pulled the wool over our eyes for over five decades. From turkeys in gumboots and Fred Dagg, to Billy T, bro'Town and Jaquie Brown. As Diana Wichtel reflects, watching the evolution of native telly laughs is, "a rich and ridiculous, if often painful, pleasure."
This collection, launched to honour 10 years of NZ Fashion Week, celebrates Kiwi fashion on screen. From TV showpieces (B&H, Corbans) to docos on designers; Gloss to archive gold, from Swannies to Split Enz, taniko to foot fetish ... take a stroll down the catwalk of our sartorial screen past. Beauties include ex-Miss Universe Lorraine Downes and a teenage Rachel Hunter.
Brian Brake is regarded as New Zealand's most successful international photographer. But before heading overseas to work for photo agency Magnum and snapping iconic shots of Picasso and the Monsoon series for Life magazine, he was also an accomplished composer of moving images. He shot or directed many classic films for the NFU, including NZ's first Oscar-nominated film.
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.
Waking up with a vicious hangover after a big night out, Seff (Dahnu Graham) wanders Karangahape Road in need of keys to get into his house. Seeking only his flatmate and a flat white, Seff finds himself harrassed by all about a lewd act he has no memory of. Matters are made worse by the dubious company of Jeremy, who provides a running commentary while playing constant guitar. The black comic short was made as part of the K’ Rd Stories series, which celebrate the quirks and qualms of Auckland’s most notorious, and beloved road. Warning: contains some offensive language.
Chris Knox directs his own face in this video for his classic Kiwi love song. The camera gradually pulls out from an extreme close up of Knox's face to a living room full of family and friends. Jump-cutting on the beat, Knox, with trademark simple-but-effective style, effectively fuses lyrics, song and an impassioned performance. Interestingly, in his ScreenTalk interview, Knox says he now regrets using a solarising video effect in the later part of the clip.