The enormous significance to Māori of marae, as places of belonging where ritual and culture can be preserved, is explored in this Pita Turei-directed documentary. Made in conjunction with the NZ Historic Places Trust, it chronicles the programme to restore marae buildings and taonga around the country — and the challenge of maintaining the tribal heritages expressed in them. As well as visiting some of NZ's oldest marae, one of the newest also features — Tapu Te Ranga, in Wellington’s Island Bay, which is being built from recycled demolition wood.
Made for the Post Office, this 1971 National Film Unit documentary offers a potted history of New Zealand, using postage stamps as the frame. Director David Sims ranges from Māori rock drawings, to Tasman and Cook. Once Pākehā settlers arrive, the film offers a narrative of progress (aside from two world wars) leading to nationhood and industry. Archive photographs, paintings, Edwardian-era scenes and reenactments add to the subjects illustrated on the stamps. The stamps include New Zealand’s first: a full-face portrait of Queen Victoria by Alfred Edward Chalon.
This collection looks at some of New Zealand's most significant national tragedies. Spanning 150+ years, it tells stories of drama, caution, hope and recovery — from the 1863 wreck of the Orpheus at Manukau Heads, to Tarawera, the Wahine, Erebus, Pike River and Christchurch. In the backgrounder, Jock Phillips writes about the collection, and the "common sequence" to disaster.
This web series profiles nine Ngāi Tahu artists, all working in different mediums. Weavers Reihana Parata and Morehu Flutey-Henare, and carver Fayne Robinson use traditional designs and materials like flax, feathers, stone, pounamu and wood, while conceptual artist Nathan Pohio uses 'found' objects like old photographs, presenting them in different contexts so they speak to a new audience. From photographer Fiona Pardington's 'memento mori' imagery to painter Simon Kaan's serene landscapes, each artist draws inspiration from the land and its wairua (spirit).
This 1982 Kaleidoscope report interviews artist Theo Schoon, on his return to New Zealand after a decade in Sydney and Bali. Schoon was a pioneer as a Pākehā engaging with Māori design, melding modernist and Māori motifs (e.g. moko and kowhaiwhai patterns). He discusses his earlier estrangement from the New Zealand art world ("talking to the deaf"), his eight years documenting Māori cave drawings ("art galleries of a sort, art galleries that I'd never been conscious of"), growing and carving gourds, and being inspired by Rotorua’s geothermal activity. Schoon died in 1985.
This award-winning film looks at the strange and ethereal world of New Zealand's limestone areas. The rocks and caves reveal ancient whale fossils, moa hunter art — and evolutionary one-offs (like giant carnivorous snails) that live in a limestone world. The film goes into the darkness to find glow-worms, cave wētā, albino crayfish and skeletons of moa who met their death falling down tomos (shafts). In underground cathedrals, exquisite formations formed by the alchemy of water and limestone are captured. There is also footage of Waitomo Caves and Te Waikoropupu Springs.
This documentary revisits six eventful weeks in 1949. Led by cameraman Brian Brake, an all-star art team — James K Baxter as scriptwriter, composer Douglas Lilburn and painter John Drawbridge (all under 30; Drawbridge was 19) — attempt to make a 'cinematic poem' about an ascent of Mt Aspiring. Baxter's notes on the trip evolved into his poem In the Matukituki Valley. Aspiring features a lost script, Drawbridge's memories (he recalls storyboards for a snow cave light show here) and a surprise ending. View footage of the never-completed film after the excerpt.
This 2002 documentary explores the stories behind one of Aotearoa’s most beloved songs: ‘Pokarekare Ana’. Claims for the authorship of the waiata aroha are examined, and Kiwis famous and lesser known reflect on the song’s place in the culture. Directed by Chas Toogood, the doco features classic performances: from St Joseph’s Girls’ Choir singing in the Waitomo Caves in 1960, to Inia Te Wiata going low in English, Kiri Te Kanawa soaring in concert, Hinewehi Mohi enlisting a 30,000 strong league crowd as backing singers, and sailing away in a 1987 America’s Cup campaign song.
Beth Tredray began working in sound at Radio New Zealand, and the National Film Unit. Often on contract to TVNZ, she worked on shows Close Up and Top Town. Going freelance as a sound recordist in the early 90s, she began moving into sound design in the mid 2000s. Since then Tredray has designed the soundtracks for hit documentary Tickled and Emmy-nominated telefilm The Golden Hour.
Roger Donaldson is notable for spearheading the New Zealand film renaissance with Sleeping Dogs (1977). He has been busy directing in Hollywood for much of the period since. Donaldson's first Kiwi story since acclaimed drama Smash Palace (1981) was Burt Munro biopic The World’s Fastest Indian (2005) — the most successful New Zealand film on home soil until the arrival of Taika Waititi's Boy in 2010.