In the beginning — of both movies and books — is the word. Many classic Kiwi films and television dramas have come from books (Sleeping Dogs, Whale Rider); and many writers have found new readers, through being celebrated and adapted on screen. This collection showcases Kiwi books and authors on screen. Plus check out booklover Finlay Macdonald's backgrounder.
In this Koha story, reporter Temuera Morrison arrives on the East Coast to watch the making of Mauri, the first dramatic feature directed solo by a Māori woman. Writer/director Merata Mita argues that the 50s set drama is "about birth and death, and all that takes place between", and talks about how the film is important in giving Māori filmmaking experience, and a voice on screen. Actors Zac Wallace (Utu) and Eva Rickard are interviewed, while locals talk about the challenges of making movies. There are also glimpses of some of the Ralph Hotere-designed sets.
Merata Mita argued forcefully that the voices of Māori and of women were sorely lacking on-screen. Best known for her Springbok tour documentary Patu!, the straight-talking director and actor later set up an indigenous filmmaking programme in Hawai'i, and spoke about indigenous film around the globe. After Mita passed away in 2010, her youngest son Hepi began making a film about her — discovering new sides to his mother as he trawled through footage, and interviewed his older siblings. The feature-length documentary debuted at the 2018 NZ International Film Festival.
This episode of the Māori Television series about Aotearoa artists follows Māori screen pioneer Merata Mita. Mita produced vital work anchored in culture and community. This extract concentrates on the occupation of Bastion Point. Mita and protest leader Joe Hawke talk of how 25 May 1978 shaped her concerns as a filmmaker: "It was life, it was a transformation". The documentary includes footage from Bastion Point: Day 507, Patu, Mita's feature Mauri and Utu, and sees her running a lab for indigenous filmmakers. The episode was the 17th screened in Kete Aronui's fifth season.
The Camera on the Shore is a feature-length portrait of a man who argued eloquently for the rights of indigenous people to control the camera. Based on extensive interviews with Barry Barclay and those who knew him — and footage from his work — it traces the path of one of the first people to bring a Māori perspective to the screen. The documentary ranges from Barclay's early years in a monastery to speeches at his tangi, touching en route on landmark TV series Tangata Whenua, battling corporations on doco The Neglected Miracle, and behind the scenes conflict on Te Rua.
When his father dies, soldier Will Bastion (Temuera Morrison) returns home after 20 years. Tradition dictates he take on the mantle of tribal chief, but he's not interested. His brother Kahu (Lawrence Makoare) seizes the opportunity, but he's a drug-dealer with grand plans to get stolen land back. Worried about Kahu's provocative approach, Will must choose whether to face off against his brother. Melding horseback action and indigenous land rights, Crooked Earth marked the first NZ film for director Sam Pillsbury since 1987's Starlight Hotel. Variety called it "handsomely mounted and compelling".
The late Barry Barclay [Ngāti Apa] was one of New Zealand's most respected filmmakers. He directed such landmark titles as TV series Tangata Whenua, award-winning film Ngati, and The Feathers of Peace. Barclay was also a longtime campaigner for the right of indigenous people to tell their own stories to their own people.
In this documentary 'Naked Samoan' Oscar Kightley, and Māori radio/TV personality Nathan Rarere use DNA technology to trace their families' ancestry. They discover that their forebears originated in Taiwan before migrating to the Pacific via Vanuatu (and the Cook Islands, for those going on to Aotearoa). On the DNA trail they meet locals and find striking cultural similarities — even in Taiwan, where the indigenous people look Polynesian, and provide a haka-like welcome. The film won top honours at the International Oceania Documentary Film Festival in Tahiti.
In this series celebrating New Zealand's national parks, Peter Hayden travels through some of Aotearoa's most awe-inspiring environments. This episode — looking at the unique spiritual relationship between the Tūhoe people, and the birds and bush of Te Urewera National Park — was directed by Barry Barclay (Ngati). Barclay used his fourth cinema philosophy of indigenous filmmaking, "to tell the contemporary story of the park through their [Tūhoe] eyes". The film attracted controversy for its then exceptional use of te reo. Catherine Bisley writes about the Journeys series here.
Taaniko Nordstrom and her sister Vienna are the creative duo behind Soldiers Rd Portraits, who create customised vintage portraits for indigenous people and often work with Māori inmates, reconnecting them with their whakapapa. Wellington filmmaker Louise Pattinson directed and edited this short documentary for the Loading Docs series. She focuses on Soldiers Road working with a group of Māori teenagers trying to find their place in the world. The teenagers tell their stories through letters to tipuna (ancestors), traditional costumes and ta moko.