Expressions of Sexuality examined the impact of the sexual revolution on New Zealand society in the late 1980s. In this episode, the trade-offs between married and single life (and the areas in between) are recounted through candid interviews with seven 'unattached' men and women, including a solo mother of five children and a celibate Catholic priest. Filmed in 1984, it took director Allison Webber two years to convince TVNZ that local audiences were 'ready' for what were still seen as taboo subjects.

Allison Webber's series Expressions of Sexuality looks at New Zealand society in the wake of the sexual revolution, as entrenched notions of Mum, Dad and the quarter-acre paradise are slowly replaced by an array of lifestyles and values. Its candid approach to taboo subjects was controversial — Webber fought for two years to have the programme screened after TVNZ deemed it too provocative. She would be vindicated when the series was nominated for Best Documentary Programme at the 1987 Gofta Awards.

This collection showcases Aotearoa Lesbian, Gay, Bisexual and Transgender screen production. The journey to Shortland Street civil unions, rainbows in Parliament and the Big Gay Out is one of pride, but also one of secrets, shame and discrimination. As Peter Wells writes in his introduction, the titles are testament to a — joyful, defiant — struggle to "fight to exist".

"I like to pull rabbits out of hats to surprise people". So said young director David Blyth, before unleashing Angel Mine. Inspired partly by the surrealism of Luis Buñuel, Blyth's inventive debut is one of a handful of Kiwi experimental feature films to win mainstream release. Featuring a whitebread suburban couple and their liberated alter egos, the film explores ideas of consumerism, sexuality, the media, and taboo-breaking. The film excited criticism from Patricia Bartlett, and a notorious addition to its R18 certificate: "contains punk cult material."

Crush is a tale of simmering sexuality set in Rotorua. Moral or sexual ambiguity pervades the narrative of conflicted desire. Its mix of blocked-up writer, spurting mud-pools, infatuated teen, eel farm, American femme fatale (Marcia Gay Harden), noir motels, limp pongas and wheelchairs, plays out in a symbolic NZ landscape not seen before (or since). Director Alison Maclean's debut feature (which she co-wrote with Anne Kennedy) played in competition at the Cannes Film Festival.

This black comedy sees Kiwi blokes Barry (Tim Gordon) and Kev (Jason Hoyte) set off into the sunrise for a day’s fishing. The ‘men alone’ glories of Godzone in a runabout are disrupted when they discover their attitudes towards domestic violence and sexuality are at odds. Director Adam Stevens adapted the story from a scene in Atrocities, a play written by Hoyte and Jonathon Brugh (aka Sugar and Spice). In 2001 Beautiful went to the New York, Melbourne and Montreal film festivals, before screening at Sundance; it won Best Short Film at the 2003 NZ Film Awards.

This documentary traces the life of intersex activist Mani Mitchell. 'Intersexual' is a term to describe a person with atypical combinations of the biological features that usually distinguish males from females. Mitchell's harrowing but ultimately inspiring story is told via candid and articulate interviews, as Mitchell talks about being made a "hospital freak show tour" by doctors, and growing up secretly 'middlesex'. The Dominion Post's Jane Bowron called Mani's Story "one of the great survivor stories". It won the 2004 Qantas Media Award for Best Documentary. 

This documentary about Māori writer Witi Ihimaera features him in conversation with filmmaker Merata Mita. Ihimaera traverses his life and writing career, emphasising the importance of family (particularly his mother and grandmother) and his overriding Māori identity. Aileen O'Sullivan's film features a star-studded assemblage of local literature — Keri Hulme, Albert Wendt, publisher Geoff Walker — and a dramatised excerpt from his novel Bulibasha ( featuring Rena Owen, Michael Hurst and Rawiri Paratene), shot roughly two decades before 2016 movie adaptation Mahana.

This entry in 2015 short film omnibus K' Rd Stories is billed as a “love story that’s not as simple as boy meets girl”. Directed by the multi-talented Nikki Si’Ulepa (Snow in Paradise), Aroha begins with Jade (played by K’ Rd denizen and Takatāpui presenter Ramon Te Wake) being stood up at a bar on the iconic strip. Jade’s spirits are lifted by an especially optimistic bartender (Hans Masoe), who muses about aroha, honesty and being open to experience — “I think he chickened out because he’s afraid of love”. But is the bartender’s advice too good to be true?