Celebrating the 75th anniversary of government filmmakers the National Film Unit, this collection pulls highlights from the 370+ wartime newsreels, tourism promos and Oscar nominees from the NFU which can be watched on NZ On Screen. Curated by NFU expert Clive Sowry, the collection includes backgrounders by Roger Horrocks, plus Film Unit alumni Sam Pillsbury, Paul Maunder, Arthur Everard and Lynton Diggle.
Presented by Paul Holmes, this documentary follows the team of 13 Kiwi competitors at the Barcelona 1992 Paralympics. Swimmer Jenny Newstead won four gold medals and broke world records, but for this small team the focus was on personal bests as they headed into a more professional era. There's triumph and disappointment, mixed with the message that these were elite athletes competing strongly against the rest of the world. The lessons learned in Barcelona would lead to a much stronger showing four years later in Atlanta.
This collection is a celebration of the eccentric, exuberant career of NZ screen industry frontrunner Tony Williams. As well as being at the helm of many iconic ads (Crunchie, Bugger, Spot, Dear John) Williams made inventive, award-winning indie TV documentaries, and shot or directed pioneering feature films, including Solo and cult horror Next of Kin.
Packed with creatures and landscapes that quite simply boggle the mind, the Nature Collection showcases New Zealand's impressive menagerie of nature and wildlife films. Many of the titles were made by powerhouse company NHNZ, which began around 1977 as the Natural History Unit, a small, southern outpost of state television. In this backgrounder, Peter Hayden — who had a hand in more than a few of these classic films — guides viewers through just what the Nature Collection has to offer.
Actor Kevin Smith could do it all; from brooding like Brando in a Tennessee Williams play, through Xena, to the gentle romantic lead of Double Booking, and self-parody in Love Mussel. Collected here are selections from a career cut short (he died in a 2002 film-set accident). Plus tributes from James Griffin, Michael Hurst, Geoffrey Dolan and Simon Prast.
As a showcase history of Christchurch on screen this collection is backwards looking; but the devastation caused by the earthquakes gives it much more than nostalgic poignancy. As Russell Brown reflects in his introduction, the clips are mementos from, "a place whose face has changed". They testify to the buildings, culture and life of a city now lost, but sure to rise.
It started with grunge and ended with Spice Girls; Di died, Clinton didn't inhale and the All Blacks were poisoned. On screen, Ice TV and Havoc were for the kids and a grown-up Kiwi cinema delivered a powerful triple punch. Tua's linguistic jab proved just as memorable, Tem got a geography lesson and Thingee's eye popped and reverberated around our living rooms.
"Another adventure with Tim" is how one of Tim Wallis’ friends wryly puts it. The "adventure" came about when Wallis combined an “expensive toy”, and a noxious pest: using helicopters to recover deer shot by hunters in inaccessible South Island backblocks. Next deer were captured alive, to stock deer farms; a multi-million dollar industry was born. At the peak of his operations, Wallis had a fleet of 35 helicopters. The aerial shots in and around Milford Sound are magnificent. The stories he tells of his many crashes are 'she'll be right' Boy's Own classics.
To cast the many faces in this video, director Greg Page put up an advertisement in an Asian food hall. The clip combines band PanAm rock and rolling in a warehouse, with shots of various Asian women larking around in a photo booth, and leaving (subtitled) messages for the band. Director and musician Greg Page has gone on to direct dozens more music videos (including clips for The Datsuns and Elemeno P), animated shorts, and 2003 horror movie The Locals.
This slow-burning Ian Morris/Dave Dobbyn song was the B-side of Th’Dudes first single ‘Be Mine Tonight’. Music videos for both songs were shot in a day at TVNZ’s Christchurch studios, in the era before the music video boom – back when, as Dave Dobbyn puts it, “the state made your videos”. A relatively straightforward performance piece, with some outsized masks for visual relief, it has the band largely entering into the spirit of things — with the exception of Dobbyn who shows up at one point with a strange spot on his forehead, before managing a manic stare.