This Kiwi neighbours at war ‘dramedy’ pitted the Rush family — newly arrived in Ponsonby —against the Shorts, who are long-time renters next door. Arthur Short (Patrick Wilson) is a Kiwi battler solo Dad, with two teenage daughters; Dimity Rush (Danielle Cormack) the right wing HR manager whose partner is an anaesthetist, with two teen sons. In this first episode, Dimity aspires to climb the property ladder by scheming to get the Shorts’ house as an investment doer-upper. The satire of gentrification screened on TV One on Friday nights. The cast includes Rose McIvor (iZombie).
Qantas-nominated 'dramedy' Rude Awakenings revolved around the conflict between two neighbouring families, living in the Auckland suburb of Ponsonby. Rush family matriarch Dimity (Danielle Cormack) has her eyes on climbing the property ladder, by acquiring the house next door (occupied by solo Dad Arthur and his teenage daughters). Created by Garth Maxwell (movie Jack Be Nimble), the 2007 series was produced by Michele Fantl for TV One. The Listener’s Diana Wichtel welcomed it as a rare contemporary satire on New Zealand television, but it only ran for a single season.
The Citroen DS is considered by many to be the sexiest car ever made, and in the closing scene of this Ivan Slavov-directed clip, its kooky hydraulic suspension is utilized to rude effect. Slavov's editing is deft, and with Katchafire's trademark laidback reggae rhythms thrumming through a smokey speakeasy, it makes for a suitably slinky music video.
In this highlights special culled from the first four years of Eating Media Lunch, presenter Jeremy Wells manages to keep a straight face while mercilessly satirising all manner of mainstream media. Leaping channels and barriers of taste, the episode shows the fine line between send-up and target. The 'Worst of EML' tests the patience of talkback radio hosts and goes behind the demise of celebrity merino Shrek; plus terrorist blooper reels, Destiny Church protests, Target hijinks, and our first indigenous porno flick (you have been warned: not suitable for children).
This 1962 National Film Unit short uses the relationship between Māori and manu (birds) as a platform to celebrate New Zealand bush birds — from food source and key roles in myth, to their general character. Legend of Birds was filmed on Kāpiti and Little Barrier Islands. Many of the images were captured by noted nature photographers Kenneth and Jean Bigwood, and the score is by composer Larry Pruden. The narration includes a rap-style tribute to the kākā parrot: “squarks about his indigestion, population and congestion … politics the current question”.
This Land of Birds edition sees Kiwi naturalist Sir Robert Falla train his binoculars on the black-backed gull, or karoro. Familiar to most New Zealanders from stealing their hot chips, it's one of the few natives to have boomed in numbers since humans arrived in NZ, after adapting to feeding in “the effluent of human affluence”. The film follows the large bird's life cycle and examines its relationship with people, from airports (birdstrike risk) to farms (where they help control insects but also scavenge lambs). Falla died soon after the film was completed.
This award-winning National Film Unit production soars on thermals with the world's largest seabird, the toroa or royal albatross. Director Grant Foster captures the majesty of the flyer with a three metre-plus wingspan (“as wide as two volkswagen cars parked side by side”); laments historic slaughter; celebrates conservation efforts (hat tipping legendary toroa custodian Dr Lance Richdale); and surveys the albatross's life cycle at its only mainland breeding colony on Otago Peninsula, from courtship and nesting to taking off on an epic oceanic OE.
Michele Fantl has produced a number of acclaimed telemovies, features and documentaries. Along the way, she has worked extensively with writer/directors Peter Wells, Stewart Main, Garth Maxwell and Fiona Samuel. Her screen credits include movies When Love Comes and 50 Ways of Saying Fabulous, and award-winning Katherine Mansfield tele-feature Bliss.
This 1974 primer on proper phone manner marks one of the earliest films directed by Sam Neill. Actor turned scriptwriter John Banas plays a polite eccentric calling a company about his telepathic machine, only to face rude behaviour at every turn. Among those failing to bring the nice are two future Gliding On actors: a mullet-haired Ross Jolly, and Grant Tilly, who would rather be eating his sponge finger. Also known as Telephone Etiquette, the film was made by the National Film Unit for the Post Office, back when telephone services were still under its command.
Christine Jeffs made her directing debut with this lush, high end (35mm film, Dolby sound) short film. Dorothy (Fiona Samuel), a lone swimmer, luxuriates in tranquil bliss at a deserted pool — only to have her solitude rudely interrupted by a squad of swimmers. A wordless, strikingly choreographed conflict ensues as Dorothy attempts to assert herself against the dehumanised aggression of the swimmers. Stroke was invited to international festivals including Cannes and Sundance; and Jeffs went on to direct feature films Rain and Sunshine Cleaning.