Documentary She Shears profiles five women who blow away stereotypes and sexism in the traditionally male world of sheep shearing. Two are legends of the sport: Emily Welch and Jills Angus Burney (also a High Court barrister). The other three are hoping to make their mark with the blades at the sport's pinnacle: Masterton’s Golden Shears. The event has no separate gender categories. She Shears was directed by first-timer Jack Nicol, and produced by Breaker Upperers producers Ainsley Gardiner and Georgina Conder. It debuted at the 2018 NZ International Film Festival.
The second season of web series Dislawderly sees outspoken law student Audrey facing love and student elections, and preparing for a moot (a mock trial). Series creator and real life law student Georgia Rippin (who also stars) used responses from the law school’s 2016 gender survey to frame her storylines — like female students being chided for speaking in a high pitch in the courtroom. Dislawderly's mockery of sexism proved timely. The second season dropped two months after a scandal over how female student clerks had been treated at a major New Zealand law firm.
In this film two Kiwi larrikins, Sam and Jack (Alan Jervis and Pork Pie's Kelly Johnson) go on a road trip, seemingly fuelled by blokey banter. A pit stop at Hokonui Pub leads to shenanigans with a stolen road roller, varied shaggy dog stories and jail, before Sam has to return to the dreaded missus. The characters and scenarios were adapted from two of Barry Crump's novels featuring anti-hero Sam Cash: Hang on a Minute Mate and There and Back. Mate was made for TVNZ, and screened in late 1982. Pub spotters will appreciate the pub's high pressure hoses and five ounce glasses.
Brooke Clarkson races stock cars — a rare female in a male-dominated motorsport. After growing up watching her dad and uncle race, taking to the track herself seemed only natural. In this short documentary, Clarkson and her family are interviewed about the challenges she’s faced to get to the top, from her mother’s concerns, to outsiders arguing that girls shouldn’t be racing — they'll just get hurt. Now, at only 18 years old, she is racing one of the top stock cars in the country. The soundtrack includes ‘She Speeds’ — the classic track from Dunedin band Straitjacket Fits.
In this 2002 documentary director Brita McVeigh heads down the aisle to explore the world of air hostesses in air travel’s glamorous 60s and 70s heyday. Seven ex-“trolley dollies” recall exacting beauty regimes, controversial uniform changes, and the job’s unspoken insinuation of sexual availability. The cheese and cracker trolley becomes a vehicle that charts the changing status of women as McVeigh argues that — despite layovers in Honolulu, and a then-rare working opportunity for ‘girls’ — the high life concealed harassment, and struggles for equal rights and pay.
TVNZ's Loose Enz series was a series of 12 stand-alone dramas made in the early 1980s. This episode, directed by television trailblazer Caterina De Nave, chronicles married life for two neighboring couples who have very different relationship dynamics. Mary (a rare starring role for Shirley Duke) is trying to move into the working world now that her kids have grown up, much to the irritation of her controlling husband David. The couple next door have a much more equal relationship. Increasingly dark, this episode is a trenchant criticism of patriarchical mores of the time.
Looking at New Zealand was an early NZBC “pictorial magazine” show which explored “New Zealand’s backyard”. Produced by Conon Fraser, it was a staple of Sunday night 60s TV. In this edition the narrator introduces NZ’s unheralded scenic wonder: “its girls”, as he meets some of Miss New Zealand’s 1969 contestants. The women talk about their interests (“I adore frilly nighties”) and occupations (typist) in a style that is more Stepford Wives than Kate Sheppard. Miss Auckland Carole Robinson (not seen here), would go on to win Miss Photogenic at that year’s Miss Universe pageant.
Fresh from embarrassing the principal (Miranda Harcourt) on national television in season one of web series Lucy Lewis Can't Lose, Lucy Lewis (Thomasin McKenzie) discovers the school has gone Instagram crazy in series two. With her peers hooked on finding out who is labelled best and worst dressed, the fashion apathetic Lucy takes it upon herself to rid the school of this new cyberbullying…with some unintended results. When the whole school turns on her, Lucy's mates Ruby (Celia MacDonald) and Dave (Rāhiri Wharerau) help with a grand plan to set things right.
This NFU documentary visits a street in a relatively new sub-division in Meadowbank in East Auckland to provide a fascinating slice-of-life look at the early 1970s ideal of raising a family and owning a house in the suburbs. The subjects are a largely homogenous group — pākehā couples in their 20s or 30s with school aged children and a stay-at-home wife. Issues canvassed include paying the mortgage, raising children, social unrest, promiscuity and abortion; but the experience of women as housewives and mothers in the suburbs is the underlying story.
Rosemary (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. Despite menacing happenings, she refuses to be intimidated. Then events escalate, sending her running 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 movie, for which 20 of the 29-strong production crew were women. Marathon champ Allison Roe — who trained Whittle off-screen — makes a brief cameo.