A rod and rally race is the angle for this 1969 light comedy. Legendary angler ‘Maggots’ McClure lures “glamour boy” lawyer and fishing novice Applejoy (Peter Vere-Jones) into a contest to catch three trophy fish in Russell, Taupō, and Waitaki. The old dunga versus Alvis ‘Speed 20’, north versus south duel transfixes the nation; snags, shags and scenic diversion ensue. Directed by noted UK documentary maker Derek Williams, the caper was made with NFU help and funded by energy company BP. It showed with Gregory Peck western The Stalking Mood in New Zealand theatres.
This collection celebrates all things equine on New Zealand screens. Since the early days of the colony, horses have been everything from nation builders (Cobb & Co) to national heroes (Phar Lap, Charisma) to companions (Black Beauty) to heartland icons. Whether work horse, war horse, wild horse, or show pony, horses have become a key part of this (Kiwi) way of life.
This collection celebrates more of the legendary TV moments that Kiwis gawked at, chortled with, and choked on our tea over. In the collection primer Paul (Eating Media Lunch) Casserly chews on rapper Redhead Kingpin’s equine advice to 3:45 LIVE! and mo’ memorable moments: from a NSFW Angela D'Audney to screen folk heroes Colin McKenzie and the Ingham twins.
From the icons (Sky Tower, Otara Market, Rangitoto, The Bridge), celebs, clans and stereotypes (Jafas), to the streets (Queen St, K Road), and Super City suburbs (Ferndale, Mt Raskill, Morningside), this collection celebrates Auckland onscreen. Reel through the moods and the multicultural, metro, muggy charms of New Zealand’s largest city. In this backgrounder, No. 2 director Toa Fraser writes about Auckland as a place of myth, diversity and broken jaws.
Bill Sevesi was the 'Godfather' of Polynesian music in New Zealand; his impact can be heard in the strum of ukeleles in classrooms across the country. In this 24-minute film Sevesi (born Wilfred Jeffs) narrates his life story, including his childhood in Tonga, making his first guitar, and his role in bringing Pacific Island music into the dance halls of 1940's and 50's New Zealand. Sevesi's bands mixed Hawaiian steel guitar with pop tunes of the day, resulting in sunny hits like 'Kissing Hula'. Watch out for uke player Sione Aleki, Tonga's answer to Jimi Hendrix.
With a total budget of $150 and some favours, this miniature space odyssey — winner of the Viewer's Choice award at 2002's Handle the Jandal contest— packs a supernova sized punch. With slick miniature work (skills honed on the sets of The Lord of the Rings and King Kong), director Olly Coleman achieves a tranquili mood that is in perfect harmony with the track. The Rhian Sheehan track features vocals by Lotus Hartley.
For her first feature, writer/director Gillian Ashurst wanted a “big wide road movie; big skies; big long roads.” Cruising the Canterbury landscapes are small-town dreamers Alice (Heavenly Creature Melanie Lynskey) and Johnny (future Almighty Johnson Dean O’Gorman). But the duo’s adventures go awry after encountering a charming American cowboy. Reviews were generally upbeat: praising the talented cast, plus Ashurst’s ability to mix moods and genres. Snakeskin won five awards at the 2001 NZ Film and TV Awards, including best film and cinematography.
In this second feature from filmmaker Martin Sagadin, two women inch towards romance until the arrival of a stranger seeking a bed for the night changes the dynamic. Sagadin's adopted city of Christchurch is like a fourth character in the story; as the women (played by Alayne Dick and Illinois-born Hannah Herchenbach) walk and talk, the sunlit streets of the city take on different moods. Sagadin's experimental feature Oko na Roki was part of the 2018 NZ International Film Festival. Sagadin has also directed videos for Christchurch musicians Marlon Williams and Aldous Harding.
Episode four, series four of this Māori artists’ profile series, tracks eminent photographer Fiona Pardington. In this extract Pardington works with her brother Neil, and discusses her life path: her Māori roots, wanting to be a photographer at age six, art school, and the hard road to making a living as an artist. Describing her medium as one of mood and depth, her search is for a balance of knowledge and wairua. Includes images of her stunning interpretations of cultural taonga, such as specimens of esteemed (and extinct) huia birds, and carved pounamu.
‘Buddy’ is a mean and distorted classic, and director Stuart Page’s video matches the menacing mood with imagery that includes bad-arse motorbikes, underwater sea creatures, and skulls. Grainy, grungy, great.