The inventions of Bill Hamilton dominate this instalment of long-running cinema series Pictorial Parade. Hamilton tests his pioneering jet boat on Canterbury's Ohau River, while new inventions including a hydraulic digger are put to the test on the hard rocky soils at Irishman Creek. Meanwhile on the production line in Christchurch, engineers and machinists are hard at work getting graders and loaders in top working order. Also featured is a new diesel railcar on New Zealand’s train network, and the crew of the HMNZS Hawea and HMNZS Black Prince training in the Cook Strait.

In this short a wandering flock of geese find harbour in a rainy day puddle. They give delight to Juliet, staring out the window of her state house until her axe-wielding neighbour approaches the birds with less sanguine intentions. She’s unimpressed when boyfriend Martin doesn’t act in order to avoid confrontation. When a family arrives looking for their pets, the neighbour shrugs off the enquiries, and it’s up to Martin to prove himself. Adapted from a story by Jo Sole, the Annalise Patterson-directed short was invited to Venice and Hof film festivals.

Man. Dog. Sheep. This was an unlikely formula for Kiwi TV gold. A Dog's Show was familiar as a homespun in its long-running Sunday slot. The show featured sheepdog trials from around the country, with commentary provided by the wise, bearded John Gordon. In the final from a 1981 series, four farmers wield sticks and whistles, and put their dogs through their paces to wrangle the "sticky sheep". It's 1981, but the only riots here are ovine. Trivia: the opening tune is a version of the song 'Flowers on the Wall', also used in the film Pulp Fiction.

Salmonella Dub’s roots, dub, and drum’n’bass cocktail is shaken up on this single from their fifth album One Drop East. John Chrisstoffels’ energetic video won Juice TV’s Best R’n’b/Urban award in 2003. It borders on the claustrophobic as the camera gets right in amongst the band and an enthusiastic audience (swathed in appropriately rasta red, gold and green lighting). An apple-munching brass section might be a first but it’s megaphone-wielding singer Tiki Taane who is the centre of attention as he toasts up a storm.

Host Paul Holmes looks back on the life of “the Colin Meads of cricket” — the big hearted, Excalibur-wielding Lance Cairns; although the celebration is just as often of his enthusiastic fondness for the game’s social side. A cavalcade of cricket stars (Chappell, Botham, Lillee, Marsh, Hadlee, Coney, Chatfield, Crowe and son Chris) reminisce — with the remarkable sixes in his innings at Melbourne in 1983 coming in for special attention. Cairns’ profound deafness and the death of his daughter in a level crossing accident provide a more serious note.

Set at the apex of the magnificent Te Mata Peak, Ed Davis' spectacular one shot wonder appears devilishly loaded. Opening on a transmitter tower, we pan to discover our brooding hero slouched in front of TV. Cropping to widescreen allows Davis to cleverly frame the action and draw focus, as our axe wielding hero busts a valve, unleashing a world of hurt upon the offending appliance. Backing away from the dispute, amidst breathtaking scenery, we close on the root of evil - the loathsome tower.

After tackling documentaries about sporting legends and surveillance, Kiwi director Justin Pemberton (Chasing Great) began his most ambitious project yet. Inspired by the brick-sized bestseller by French economist Thomas Piketty, Capital in the 21st Century examines the disproportionate amount of cash and power wielded by a small global minority. The French-Kiwi co-production blends talking heads (including Piketty and Nobel Laureate Joseph Stiglitz) and pop culture imagery of the rich and famous. Jean-Benoît Dunckel (from French duo Air) supplies the music. 

Barney Blackfoot (Ian Watkin) is a mean stepfather who married Billy and Lucy's mother under false pretenses, later revealing his evil nature. Barney is helped in his exploits by his friend (a moving wardrobe), and together they set out to destroy Lucy and Billy's happy home. Designed in soft sculpture (Cabbage Patch Kids style) and filmed in live action with special effects, this Yvonne Mackay-directed short film is aimed at children and is without dialogue or narration. The early Gibson Group film was scripted by Ian Mune and scored by Jack Body.