For this screen showcase of NZ visual arts talent, critic Mark Amery selects his top documentaries profiling artists. From the icons (Hotere, McCahon, Lye) to the unheralded (Edith Collier) to Takis the Greek, each portrait shines light on the person behind the canvas. "Naturally inquisitive, with an open wonder about the world, they make for inspiring onscreen company."
The decade of fondue and flares also cooked up colour television. Our black and white living room icons — from Selwyn Toogood to Space Waltz — melted into a Kiwi kaleidoscope of Top Town, Grunt Machine, and Close to Home. And 'our stories' and rights fights — boks, hikoi, nukes and 'nam — echoed onscreen (Sleeping Dogs, Tangata Whenua). Ready to roll?
Innocent Gert, who works in a rubbish dump, can't believe his luck when he's ordered by his boss to take his beautiful mute daughter, Princess Plum, to meet her prospective husband. The two set off on a mythical quest through a fairytale Far North landscape. On the way they encounter freaks and monsters, and experience danger and romance. In an unusual reversal, the voices and music for Woodenhead were all recorded before filming. This surreal second feature from Elam art school grad Florian Habicht took Aotearoa to the arthouse with unprecedented weirdness and wonder.
In 1979, Red Mole was New Zealand's best-known alternative theatre troupe. During two seasons in New York, they wowed audiences with their Dada-influenced shows. "All possible elements of theatre and spectacle are employed by the skilful members of the group." (The Villager). In this 16mm film directed for the National Film Unit by soon-to-be-famous actor Sam Neill, the group takes a surreal journey through actual and imaginary New Zealand. Neill would later collaborate with editor Judy Rymer on Cinema of Unease.
In Geoff Steven's Kiwi riff on the European art film, a vulcanologist (Brit character actor Nigel Davenport) roams the Volcanic Plateau accompanied by a journalist, a photographer and escapees from a cholera quarantine. Steamy philosophical musings and symbolic intent made for a marked departure from the realism of the NZ feature film renaissance (e.g. Steven’s own Skin Deep). The second feature produced by John Maynard (The Navigator), this moody allegorical tale was co-scripted by Czech writer/designer Ester Krumbachova and Czech-based Kiwi Michael Havas.
Sensuous expressions of landscape and the human form made Edward Bullmore (aka Ted Bullmore) a pioneer of surrealism in New Zealand art. This Kaleidoscope report interviews the painter’s colleagues and family, and surveys the artist’s life and career: from an unlikely mix of Balclutha farm boy, Canterbury rep rugby player and Ilam art student, to success in 60s London – exhibiting with René Magritte and Salvador Dali, and having his works used by Stanley Kubrick in film A Clockwork Orange – before returning to teach in Rotorua (and obscurity), and his untimely death in 1978.
Lucinda (Danielle Cormack) lives a fairytale life with dairy farmer Rob (Karl Urban), and his 117 cows. But after a freak car accident she decides to test Rob's love for her by trying to make him angry. He passes her tests until a quilt goes missing from their bed; the price of getting it back is high. Harry Sinclair's follow-up to Topless Women Talk about their Lives is quirky and romantic, but not especially fantastical — yet it won a trio of awards at specialist fantasy film festivals overseas. The fulsome soundtrack is performed by the Moscow Symphony Orchestra.
In this National Film Unit-produced 'documentary' a circus sets up at the beach. Made for the Ministry of Works to stir debate about the use of coastal land, director Michael Reeves' wiggy treatment of the subject situates the film in the 'frustrated auteur meets sober commission' NFU tradition. Ringmaster Ian Mune is a seaside Willy Wonka canvassing claims to the coast. Demands of development, recreation, and housing are dramatised — including a bizarre look at stranger danger in suburbia, and a graphic illustration of the risks of off-mains sewerage treatment.
From The Phoenix Foundation’s second album Pegasus, ‘Hitchcock’ is an eerie “electro noir” instrumental tribute to the great film director. Reuben Sutherland’s remarkable clip (which he shot, directed, animated and edited) features a choreographed army of Russian Lada cars — created out of images shot with a stills camera and layered 90 times. What follows is a surreal, conservation-themed revisiting of the Cold War as the electric powered Ladas of the ‘Petrol Crimes Bureau’ are pitted against a gas guzzling 4x4 (bedecked with the Stars and Stripes).
This was the first Crowded House video to be made in New Zealand. Auckland director Kerry Brown and producer Bruce Sheridan wanted to emphasise the surreal, fantasy elements of the song, using distinctly NZ imagery. Locations included beaches and dense bush on the West Coast, the plains of Central Otago and the Victorian architecture of Oamaru. Scenes of an Anzac Day ceremony and marching girls also highlight the homeland setting. Brown took inspiration from Salvador Dali paintings for the psychedelic effects added in post-production.