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.

Packed with creatures and landscapes that quite simply boggle the mind, the Nature Collection showcases New Zealand's impressive menagerie of nature and wildlife films. Many of the titles were made by powerhouse company NHNZ, which began around 1977 as the Natural History Unit, a small, southern outpost of state television. In this backgrounder, Peter Hayden — who had a hand in more than a few of these classic films — guides viewers through just what the Nature Collection has to offer.

Journalist Kim Webby's Price of Peace is a portrait of Tūhoe activist Tame Iti, whose family Webby has known for 20 plus years. After the 2007 police raids, Iti was one of four to go on trial, accused of plotting terrorist activities. Webby’s film ranges widely from early land grievances to modern-day jail cells — and a police apology. NZ Herald reviewer Peter Calder praised the result for balancing a personal focus on Iti, with “a powerfully affecting” examination of the 2007 raids, which placed the raids in "the wider context of Tūhoe history and the process of reconciliation”. 

In this episode of the long-running nature programming slot on TV One, naturalist David Bellamy visits New Zealand’s “dinosaur forest” — Whirinaki. Bellamy brings his famed nature-boy enthusiasm to “a living cathedral that dates back 200 million years”. He explores the North Island forest’s “big five”: 60m+ rimu, mataī, kahikatea, miro and tōtara trees; and the ecosystem that they reign over, from kākā parrots to giant tree ferns. The intro is by Gael Ludlow and features the fondly-remembered Jean Michel Jarre synthpop track that was Our World’s signature.

To mark its first 25 years, TVNZ commissioned independent producer Ian Mackersey to chronicle a day in its life as the national broadcaster. Coverage is split between the often extreme lengths (and heights) gone to by technicians maintaining coverage, and the work of programme makers — including the casts and crews of McPhail and Gadsby and Country GP. The real drama is in the news studio during the 6.30 bulletin (with light relief from the switchboard) in this intriguing glance back at a pre-digital, two channel TV age during the infancy of computers.  

This documentary presents insight into the man most New Zealanders know as the Māori radical with a moko. Delving beyond the sensational headlines, it presents Tame Iti in the context of his whānau and beliefs. Iti tells his own story: from growing up in his beloved Urewera, and his role in organisation Ngā Tamatoa, to heroes (Rua Kenana, Che Guevara), moko, match-making and a late-starting art career. Iti’s children reflect on an activist father who “is a kid at heart”. Chelsea Winstanley's documentary screened on TV2, before Iti’s arrest during the infamous 2007 ‘Urewera raids’.

This NFU film visits the remote Urewera to explore the world of the Tūhoe people. Their independence and identity have been challenged by historical tensions with Pākehā, and now modernity — as ‘children of the mist’ leave for education and jobs (at the mill, in the city). A tribal outpost in Auckland is visited, along with law student James Milroy. At a Ruatoki festival the debate is whether young people should manage tribal affairs. For director Conon Fraser the film (partly narrated by Tūhoe) revisited the subject of his last Looking at New Zealand episode.

This feature film follows Māori medicine woman Paraiti (played by singer Whirimako Black) on a rare visit to Auckland from her Urewera home. She meets a Māori servant (Rachel House) and is drawn into helping a wealthy Pākehā woman (Outrageous Fortune’s Antonia Prebble) with a scandalous, life-threatening secret. The tale of culture clash and deception in settler Aotearoa was directed by Mexican Dana Rotberg (Otlia Rauda), who adapted the story from Witi Ihimaera novella Medicine Woman. Producer John Barnett was also involved in the adaptation of Ihimaera’s Whale Rider.

This much praised documentary revisits the subject of a film Vincent Ward made in 1978, aged 21. That film, In Spring One Plants Alone, told the story of 80-year-old Puhi, who lived with her schizophrenic son in the isolated Urewera. The follow-up — part detective documentary, part historical reenactment — focuses on Puhi's life. She married the son of Māori prophet Rua Kenana, had 14 children, and after a run of tragedies, believed herself to be cursed. This excerpt goes “way out there in the bush” to the Maungapohatu community where Rua “made the city of God on Earth”.

This first episode of the award-winning Māori Television series looks at the influence of the idea of 'the village' on Māori architecture. Architect Rau Hoskins is guide; he ranges from traditional designs, such as Rotorua's Whakarewarewa thermal village, to Rua Kenana's extraordinary circular meeting house — with its club and diamonds decor — built on an Urewera mountainside. Hoskins ends up at Wellington's 26 metre high Tapu Te Ranga Marae, made from recycled car packing cases. The episode won Best Information Programme at the 2011 Aotearoa Film and TV Awards.