This collection showcases Aotearoa Lesbian, Gay, Bisexual and Transgender screen production. The journey to Shortland Street civil unions, rainbows in Parliament and the Big Gay Out is one of pride, but also one of secrets, shame and discrimination. As Peter Wells writes in this introduction, the titles are testament to a — joyful, defiant — struggle to "fight to exist".
Sam Neill has acted in forgotten Kiwi TV dramas (The City of No) and classic Kiwi movies (Sleeping Dogs, The Piano, Hunt for the Wilderpeople). His career has taken him from the UK (Reilly: Ace of Spies) to Hawaii (Jurassic Park) to dodgy Melbourne nightclubs (Death in Brunswick). As Neill turns 70, this collection celebrates his range, modesty and style — and the fact he was directing films before winning acting fame. In these backgrounders, friends Ian Mune and Roger Donaldson raise a glass to a talented, self-deprecating actor and fan of good music and pinot noir.
Released in February 1969, this National Film Unit documentary offers an impressionistic view on the making of sheet glass. Director Lynton Diggle follows the raw materials (sand, limestone, dolomite) to a Whangarei factory, where they’re combined with broken glass. There, men in protective gear look like they’re enacting an alchemical ritual, as the ‘frit’ mixture is melted in the “punishing heat” of a crucible. Then it’s transferred to the drawing chamber where a toffee-like wall of glass is pulled up for cooling and slicing. Ambient sounds are used to forge a percussive score.
This episode of the long-running religious programme focuses on Auckland's Anglican Cathedral of the Holy Trinity. It features hymns from the Holy Trinity Choir and Auckland Choral Federation. The Graeme Thomson-hosted show also discusses the history and architecture of the cathedral following the completion of its nave in 1995. Built on land bought by Bishop Selwyn in 1859, the completed cathedral reflects the undulating landscape of Auckland, combining Gothic and Polynesian elements.
A stylish title sequence sets the tone for this NFU short on motor racing in the early 60s. Shot during the golden age of the sport, it begins with amateurs competing in Dunedin's 'round the town' race (won by future Formula One champ Denis Hulme), then shifts north to Auckland for the New Zealand International Grand Prix. 60,000 spectators watch world champ Jack Brabham and local hero Bruce McLaren battle for the title. Also included are classic summer shots of the world's top drivers relaxing on the beach, and Australian racer Arnold Glass teaching McLaren to waterski.
In the third episode of The Big Art Trip the little green car heads first to Piha, where hosts Nick Ward and Douglas Lloyd-Jenkins interview hip-hop artist King Kapisi. After that they visit jewellery and multimedia artist Lisa Reihana at her K Road apartment, discuss contemporary furniture with designer Kim Martinengo and drop in on hot glass artist Stephen Bradbourne. They also check out art in a corporate setting before meeting sculptor Emily Siddell, and finish up by visiting painter Andy Leleisi’uao at his home studio in Mangere.
The opening track from the second Jean-Paul Sartre Experience album indicates a significant change in tone for the band — more layered and expansive, and less angular than some of their earlier recordings. The video was directed and edited by John Chrisstoffels, who shot the stained glass windows and tile mosaics in Christchurch's Anglican Cathedral. JPSE vocalist and bass player Dave Yetton created the pulsing and spiraling video feedback effects. The band appears only fleetingly — in individual close-ups, filmed off a television screen by Chrisstoffels.
In this 1985 Kaleidoscope edition, reporter Terry Carter meets many of those behind Auckland's 80s construction boom, and examines a cityscape where old landmarks are rapidly being demolished and replaced by mirror glass high-rises. Interviewees include property developers of the day like Mainzeal and Chase Corporation’s Seph Glew; a councillor who argues that commercial interests are dominating; and architect Ivan Mercep and interior designer Peter Bromhead, who critique the buildings’ architectural and civic qualities and their “Dallas TV set” aesthetics.
This classic sports mishap from the 1974 Commonwealth Games sees weightlifter Graham May fall flat on his face after passing out while holding a 187.5kg barbell over his head. Despite the fall May went on to win gold in the super heavyweight (110kg+) division, and weightlifting gained a local profile due to his and the NZ team's success. The mustachioed Kiwi’s face-plant became a staple of blooper reels worldwide: from the long-running 'It's moments like these …' Minties ad campaign to the title sequence for ABC’s Wide World of Sports on US TV. May died in 2006.
An elegiac profile of artist Eric Lee-Johnson, by Maurice Shadbolt, is the high point of this NFU magazine film. Johnson gave up a lucrative commercial career to pursue his vision of a New Zealand art moving beyond European tradition; and he is observed chronicling abandoned homesteads and churches, built in remote reaches of Northland's Hokianga harbour by early Pākehā settlers. There's light relief in coverage of a chimpanzees' tea party at Wellington Zoo, while a suitably breathless piece looks at a new industry manufacturing fibreglass boats.