Hooks and Feelers tells the story of a painter haunted by an accident in which her son lost a hand. Written and directed by Melanie Rodriga, the 45-minute psychological drama explores guilt and reconciliation as the family adjusts to his disability. An adaptation of the short story by future Booker Prize-winner Keri Hulme, Hooks and Feelers starred jazz singer Bridgette Allen and Keith Aberdein (Smash Palace). It screened on TV in 1984. With producer Don Reynolds, Rodriga (then known as Melanie Read) would go on to make pioneering feminist thriller Trial Run (1984).
A profile of New Zealand artist Julia Morison, made in the year she became an Arts Laureate. Morison is filmed in her studio “forming order from the chaos of her materials”. She explains how her tools and materials guide her image making – which in her thirty-year career, has ranged across a variety of media. The film also features her lesser known work – her collaborations with fellow artist Heather Straka, which include a series of short films, and a project entitled Madame and the Bastard.
This black and white short film explores a relationship triangle — between a Māori woman, her boorish Pākehā husband, and the woman’s protective father, arguing over rights to a farm. It was made as an Auckland University masters project by Li Geng Xin; he wanted to tell a story using visual language, and choses the expressive mode of the silent film to do so. Māori instruments (taonga puoro) and piano are used on the soundtrack. Mrs Mokemoke was selected for the 2015 NZ International Film Festival, in the Ngā Whanaunga Māori Pasifika Shorts programme.
This 1997 Inside New Zealand documentary looks at the evolution of modern Māori political activism, from young 70s rebels Ngā Tamatoa, to Te Kawariki's protest at Waitangi Day in 1995. Directed by Paora Maxwell, it is framed around interviews with key figures (Syd Jackson, Hone Harawira, Ken Mair, Mike Smith, Annette Sykes, Eva Rickard, Joe Hawke). The interviewees explore events, and the kaupapa behind their activism, from thoughts on sovereignty, and the Treaty of Waitangi, through to symbolism (tree felling, land marches) and being kaitiaki of the environment.
David Sims' impressionistic National Film Unit short film explores the responses of four NZ painters to a landscape illuminated by a distinctive light, but yet to feel the full impact of human settlement. The award-winning film examines Brent Wong’s floating architectural shapes, Colin McCahon’s religious symbolism, Toss Wollaston’s earth-hued palette and Michael Smither’s hard-edged realism. Their works are taken from safe gallery confines and moved closer to their subject matter, while the words of writers (Katherine Mansfield, Charles Brasch, Bill Pearson) provide another angle.
Toss is an 11-year old girl living on a remote hill country farm. While out with her father herding sheep, he falls and is killed. Ethan, a bearded stranger appears, carrying his body, and plants himself on the farm. Toss fears he’s Lucifer and is confused when he and her mother become lovers. It is through Ethan, however, that Toss comes to terms with her father’s death and the first stirrings of womanhood. Vincent Ward’s debut feature was the first NZ film selected for competition at Cannes; LA Times’ critic Kevin Thomas lauded it as “a work of awesome beauty”.