This short documentary observes a day in the life of Auckland’s David Lange Care Home. Near wordless, the impressionistic film tracks the residents, workers, sounds and rhythms of a world many New Zealanders inhabit: aged care accommodation. Directors Nick Mayow and French-born Prisca Bouchet met while working as editors; both have grandparents in rest homes. Today follows on from their award-winning doco Le Taxidermiste. Chosen for the London Short Film Festival, Today was made as part of Loading Docs, a series of shorts created for online screening.
This advertisement was part of a 70s campaign promoting New Zealand for New Zealanders. This episode targets the elderly with the narration encouraging seniors to take a closer look at the country they've spent all their lives in but never really seen. Scenic wonder and relaxation is the focus as a bus-borne group of elderly folk travel on a southern tiki tour. This Queenstown is generations away (in both senses) from bungees, rafting and world adventure tourism capital status; with a trip in the gondola to the Skyline the most likely to set pulses racing here.
The Fantasy Cave is a DIY Disneyland built in the town of Dannevirke. Created by a group of older locals known as ‘Cave Dwellers’ as a Christmas-themed grotto in 1989, the cave has evolved to become a quirky tourist attraction, encompassing animatronics and astral light displays. Directed by Michelle Savill (Ellen is Leaving) and cinematographer Matt Henley, this 2015 Loading Docs short introduces us to the horse-headed retirees and their homespun wonderlands, and the happiness they find in “making stuff”.
A dog-goddess effigy possessing aphrodisiac powers is the quarry for a cast of oddball pursuers in this caper comedy — from a cosmetics tycoon to a duo of doctors using retirees as guinea pigs in a quest for eternal youth. The dog's handler is geeky Billy, aided by his girlfriend Gus and their bull terrier Cyclops. The chaotic Auckland romp was the debut feature for Gregor Nicholas (he would go on to helm acclaimed short Avondale Dogs and feature film Broken English). This excerpt features a take on Space Odyssey's docking scene, as interpreted by Benny Hill.
“An ironic comedy about a disconnected New Zealand family” is the tagline to this early Alison Maclean short. Recently widowed Nan (Yvonne Lawley) assesses her life and the roles prescribed by her family as she readies a Sunday roast. Her new plans — “I won’t be able to make the Christmas Cake this year” — rattle the shackles of her Old Testament-bashing husband and her ex-All Black son. Nan was a comeback leading role for Lawley after time away raising a family. Written with playwright Norelle Scott, Maclean’s short screened with the About Face TV series.
Director Justin Pemberton takes this love song by Paul Casserly and Fiona McDonald (from fourth Strawpeople album Vicarious) and transforms it into an exercise in noir influenced, brooding unease. His video takes place over a night at a rural motel (with McDonald as a receptionist, and Casserly up to no good with a range of medical equipment). A tarot card-reading, yoga-practising new-ager, a traveller with unexplained cages, and random appearances from stringed instrument-playing senior citizens contribute to the growing sense of disquiet.
A lover of gardens from childhood with a diploma in horticulture, Maggie Barry spent four years on the news frontline as co-host of National Radio’s Morning Report from 1986 to 1989. As presenter of TV hit Maggie’s Garden Show she was the face of NZ gardening for 12 years. After time in freelance journalism and radio she was elected MP for North Shore in 2011, and became a cabinet minister in 2014.
Although Harry Lavington's acting career spanned four decades on stage and screen, he is probably best known for a single role: that of baker and family man Ken Paget, on long-running New Zealand soap Close to Home.
The tagline runs: "The story of unemployment in New Zealand" and In A Land of Plenty is an exploration of just that; it takes as its starting point the consensus from The Depression onwards that Godzone economic policy should focus on achieving full employment, and explores how this was radically shifted by the 1984 Labour government. Director Alister Barry's perspective is clear, as he trains a humanist lens on ‘Rogernomics' to argue for the policy's negative effects on society, "as a new poverty-stricken underclass developed".