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New Zealand Noir

1 May – 4 July 2010

In conjunction with ‘Unnerved: The New Zealand Project’ at GoMA, the Gallery’s Australian Cinémathèque presents a program of films reflecting the unique visions of New Zealand filmmakers. Capturing the power of the New Zealand landscape, filmmakers featured in the program untangle the discordant elements of family and place, national and personal identity, and cultural heritage. New Zealand Noir focuses on the stories, locations and characters which feature strongly in New Zealand cinema. 

PRESENTING SPONSOR:

newzealand.govt.nz


 

Mark Albiston
New Zealand b.1972
Louis Sutherland
New Zealand b.1970
Run 2007 Ages 10+

Run 2007 Ages 10+

Sat 19 Jun 1.30pm and Sat 26 Jun 3.00pm (Short film program 2 screens in the following order: Careful with that Power Tool 2009,Two Cars, One Night 2003, Noise Control 2008, Avondale Dogs 1994, Nature’s Way 2006, Run 2007) / Cinema A

35MM, COLOUR, STEREO, 15 MINUTES, NEW ZEALAND, ENGLISH / DIRECTOR: MARK ALBISTON / PRODUCER: ROBIN MURPHY / SCRIPT: LOUIS SUTHERLAND / CINEMATOGRAPHY: SIMON BAUMFIELD / EDITOR: MICHAEL HORTON / PRINT SOURCE/RIGHTS: NEW ZEALAND FILM COMMISSION 

‘A Samoan brother and sister, who live in fear of their over-protective widowed father, learn that only together can they show him that he is their biggest obstacle. Run was awarded an Honourable Mention at Festival de Cannes Shorts Competition 2007.’ Louis Vuitton Hawaii International Film Festival 2008

The Six Dollar Fifty Man 2009 Ages 10+

The Six Dollar Fifty Man 2009 Ages 10+

Wed 30 Jun 6.00pm (with Sleeping Dogs) / Cinema A

Sat 5 Jun 3.00pm and Fri 11 Jun 6.00pm (Short film program 1 screens in the following order: Fog 2006, Careful with that Axe 2008, The Murder House 1998, This is Her 2009, The Lethal Innocents 2006, Aphrodite's Farm 2008, The Six Dollar Fifty Man 2009) / Cinema A

35MM, COLOUR, STEREO, 15 MINUTES, NEW ZEALAND, ENGLISH / DIRECTORS/SCRIPT: MARK ALBISTON, LOUIS SUTHERLAND / PRODUCER: WENDY CUTHBERT / CINEMATOGRAPHY: SIMON BAUMFIELD / EDITORS: MIKE BRIDGMAN, NATHAN HICKEY / PRINT SOURCE/RIGHTS: NEW ZEALAND FILM COMMISSION 

‘Set in the 70’s, The Six Dollar Fifty Man follows the exploits of 8 year old Andy – a dreamer with “superhuman” powers. When confronted with schoolyard bullying Andy must get real to protect himself and his only friend, Mary. The Six Dollar Fifty Man is Mark Albiston and Louis Sutherland’s third short film collaboration and the first they have officially co-directed. The Six Dollar Fifty Man won a Special Distinction at the Festival de Cannes, France. ‘ MIC | Toi Rerehiko - Media and Interdisciplinary Arts Centre

Armagan Ballantyne
New Zealand b.1972
The Strength of Water 2009 M

The Strength of Water 2009 M

Sun 2 May 3.00pm and Fri 14 May 6.00pm (with O Tamaiti) / Cinema A

35MM, COLOUR, STEREO, 86 MINUTES, NEW ZEALAND, ENGLISH / DIRECTOR: ARMAGAN BALLANTYNE / PRODUCERS: FIONA COPLAND, KARL BAUMGARTNER / SCRIPT: BRIAR GRACE-SMITH, ARMAGAN BALLANTYNE / CINEMATOGRAHPY: BOGUMIL GODFREJOW / EDITOR: ELIZABETH KING / PRINT SOURCE/RIGHTS: HOPSCOTCH FILMS 

‘Kimi and Melody are twins, the middle children in a family of Maori chicken farmers. Their lives are forever changed when Tai, a drifter, moves into his grandfather's abandoned house, now considered tapu (defined here as 'prohibited by human contact'). The film's main characters are outsiders who struggle to deal with the legacies of their families and a terrible accident that rattles the entire village. The landscape of the starkly beautiful Hokianga coast comes alive for the cameras of first-time director Armagan Ballantyne and the Polish cinematographer Bogumil Godfrejów. Together with the haunting score, the shots of the striking North Island coast amplify the moving performances of the film's young actors. The first feature screenplay by award-winning New Zealand playwright Briar Grace-Smith, The Strength of Water uses magical realism to provide a powerful and sensitive look at life and loss in a rural Maori community.’ Justin Stein - Honolulu International Film Festival 2009

Warrick Attewell
New Zealand
The Murder House 1998 Ages 5+

The Murder House 1998 Ages 5+

Sat 5 Jun 3.00pm and Fri 11 Jun 6.00pm (Short film program 1 screens in the following order: Fog 2006, Careful with that Axe 2008, The Murder House 1998, This is Her 2009, The Lethal Innocents 2006, Aphrodite's Farm 2008, The Six Dollar Fifty Man 2009) / Cinema A

35MM, COLOUR, STEREO, 13 MINUTES, NEW ZEALAND, ENGLISH / DIRECTOR: WARRICK ATTEWELL / PRODUCER: NORMAN ELDER / SCRIPT: KEN HAMMON / CINEMATOGRAPHY: MARK OLSEN / EDITOR: JOHN GILBERT / PRINT SOURCE/RIGHTS: NEW ZEALAND FILM COMMISSION

‘In the New Zealand of the 1960s, dental dinosaurs walked the Earth. Armed with agonising low-speed rotary drills, poorly trained dental nurses lurked like institutional torturers on the grounds of the nation's schools. The kids back then had a name for the school dental clinic: they called it The Murder House. ‘ New Zealand Film Commission 

Kirsty Cameron
New Zealand b. 1963
The Lethal Innocents 2006 Ages 15+

The Lethal Innocents 2006 Ages 15+

Sat 5 Jun 3.00pm and Fri 11 Jun 6.00pm (Short film program 1 screens in the following order: Fog 2006, Careful with that Axe 2008, The Murder House 1998, This is Her 2009, The Lethal Innocents 2006, Aphrodite's Farm 2008, The Six Dollar Fifty Man 2009) / Cinema A

35MM, COLOUR, STEREO, 10 MINUTES, NEW ZEALAND, ENGLISH / DIRECTOR/SCRIPT: KIRSTY CAMERON / PRODUCER: MICHELE DRISCOLL / CINEMATOGRAPHY: JAC FITZGERALD / EDITOR: KARRYN DE CINEQUE / PRINT SOURCE/RIGHTS: NEW ZEALAND FILM COMMISSION 

‘Rita, a 15 year old girl who dances to a different beat, is relentlessly bullied by the queen bees. When they kill her cat, they go one step too far.’ New Zealand Film Commission 

Jane Campion
New Zealand b. 1954
An Angel at my Table 1990 PG

An Angel at my Table 1990 PG

Wed 26 May 6.00pm and Sun 30 May 2.00pm / Cinema A

35MM, COLOUR, STEREO, 154 MINUTES, NEW ZEALAND, ENGLISH/SPANISH (ENGLISH SUBTITLES) / DIRECTOR: JANE CAMPION / PRODUCERS: BRIDGET IKIN, GRANT MAJOR, JOHN MAYNARD / SCRIPT: LAURA JONES / CINEMATOGRAHPY: STUART DRYBURGH, ALLEN GUILFORD / EDITOR: VERONICA JENET / PRINT SOURCE: NATIONAL FILM AND SOUND ARCHIVE / RIGHTS: HIBISCUS FILMS 

Told in three-parts An Angel at My Table presents the turbulent life of New Zealand poet and writer Janet Frame. An intensely shy and socially awkward outsider with a rich inner world this moving biographical drama is an evocative exploration of an unconventional woman and her emergence as a successful writer. Set against the bucolic New Zealand landscape An Angel at My Table was first New Zealand film to be screened at the 1990 Venice Film Festival where it won five awards including the Grand Special Jury prize.

The Piano 1993 M

The Piano 1993 M

Fri 25 Jun 6.00pm and Sat 3 Jul 3.00pm / Cinema A

35MM, COLOUR, STEREO, 122 MINUTES, NEW ZEALAND, ENGLISH/BRITISH SIGN LANGUAGE/MAORI (ENGLISH SUBTITLES) / DIRECTOR/SCRIPT: JANE CAMPION / PRODUCER: JAN CHAPMAN / CINEMATOGRAHPY: STUART DRYBURGH, ALUN BOLLINGER / EDITOR: VERONICA JENET / PRINT SOURCE: NATIONAL FILM AND SOUND ARCHIVE / RIGHTS: JAN CHAPMAN PRODUCTIONS, TF1

‘"The Piano" is much like its remarkable heroine, Ada (Holly Hunter), a mute (but not deaf) young Scots widow who, with her 9-year-old daughter, travels to the New Zealand bush to marry a man she has never met. Ada's husband-to-be calls her "stunted." The film looks deceptively small, but in character it's big and strong and complex. Here's a severely beautiful, mysterious movie that, as if by magic, liberates the romantic imagination.’ New York Times

Niki Caro
New Zealand b. 1967
Sure to Rise 1994 Ages 10+

Sure to Rise 1994 Ages 10+

Wed 23 Jun 6.00pm (Wed screening with Out of the Blue) / Cinema A

Sun 20 Jun 1.00pm and Sun 4 Jul 1.00pm (Short film program 3 screens in the following order: Kitchen Sink 1989, Playing Possum 1999, O Tamaiti 1996, Possum 1997, Still Life 2001, Undergrowth 2009, Sure to Rise 1994) / Cinema A

35MM, COLOUR, STEREO, 15 MINUTES, NEW ZEALAND/UNITED KINGDOM, ENGLISH / DIRECTOR/SCRIPT: NIKI CARO / PRODUCER: OWEN HUGHES / CINEMATOGRAHPY: SIMON RABY / EDITOR: CHRIS PLUMMER / PRINT SOURCE / RIGHTS: NEW ZEALAND FILM COMMISSION 

‘The story of April, a child-like recluse, who finds a broken man in the sand while beachcombing. She takes him home to live with her in a fringe dwelling. But this tiny semi-industrial area called Paradise is being threatened by the expansion of industry, and its inhabitants forced to move on.’ New Zealand Film Commission 

Roger Donaldson
New Zealand b. 1945
Sleeping Dogs 1977 M

Sleeping Dogs 1977 M

Sat 19 Jun 3.00pm and Wed 30 Jun 6.00pm (Wed screening with The Six Dollar Fifty Man) / Cinema A

35MM, COLOUR, MONO, 107 MINUTES, NEW ZEALAND/UNITED KINGDOM, ENGLISH / DIRECTOR: ROGER DONALDSON / PRODUCER: ROGER DONALDSON / SCRIPT: IAN MUNE, ARTHUR BAYSTING / BASED ON THE NOVEL ‘SMITH’S DREAM BY CHRISTIAN K. STEAD / CINEMATOGRAPHY: MICHAEL SERESIN / EDITOR: IAN JOHN / PRINT SOURCE/RIGHTS: NEW ZEALAND FILM COMMISSION 

'Sleeping Dogs heralded the new wave of New Zealand feature films in the late 1970s, and was a key factor in the establishment of the New Zealand Film Commission. It was also the first New Zealand film released in the US, and it launched the international careers of director Roger Donaldson and lead actor Sam Neill.' NZ Onscreen

'I think Sleeping Dogs has something important to say about New Zealand. Civil liberties are declining fast in this country. Although there haven't been any events as violent as those in the movie, there have been plenty of indications in the last few years that N.Z is becoming a constricted democracy. In N.Z, as in other countries, there are people who are prepared to have total disregard for the rights of individuals, people who feel that the end justifies the means. If Sleeping Dogs has a lesson, it is that we should beware of giving anyone too much power in the belief that he won't abuse it. If power is not controlled, then it very likely will be abused' Roger Donaldson interviewed by Roger Horrocks in, "Worth the Ulcers", Craccum, October 3,1977

Peter Jackson
New Zealand b. 1961
Heavenly Creatures 1994 M

Heavenly Creatures 1994 M

Sat 1 May 3.00pm and Wed 5 May 6.00pm / Cinema A

35MM, COLOUR, STEREO, 108 MINUTES, NEW ZEALAND, ENGLISH / DIRECTOR: PETER JACKSON / PRODUCERS: JIM BOOTH, PETER JACKSON / SCRIPT: FRAN WALSH, PETER JACKSON / CINEMATOGRAPHY: ALUN BOLLINGER / EDITOR: JAMIE SELKIRK / PRINT SOURCE/RIGHTS: NEW ZEALAND FILM COMMISSION

‘Thrilling and provocative, Heavenly Creatures is the highly acclaimed, true life story of the shocking crime that stunned a nation. When circumstances bring together two bright and highly imaginative teenage schoolgirls they quickly form an unwavering bond creating a fantasy world that only they can share. However their parents, disturbed by the intensity of their friendship, threaten to keep them apart. In retaliation, the girls vow to stay together no matter what obstacles are placed in their way, devising a secret plan that leads to shocking consequences.’ 22nd Foyle Film Festival

Christine Jeffs
New Zealand b. 1963
Rain 2001 MA

Rain 2001 MA

Wed 19 May 6.00pm and Sun 23 May 1.00pm (with Fog) / Cinema A

35MM, BLACK AND WHITE/COLOUR, STEREO, 92 MINUTES, NEW ZEALAND, ENGLISH / DIRECTOR/SCRIPT: CHRISTINE JEFFS / PRODUCER: PHILIPPA CAMPBELL / CINEMATOGRAPHY: JOHN TOON / EDITOR: PAUL MAXWELL / PRINT SOURCE/RIGHTS: RIALTO DISTRIBUTION

‘Set in the summer of 1972 at an underpopulated seaside spot where adolescent protagonist Janey and her family have rented a holiday cottage, the film swiftly establishes the mellow feel, lazy rhythms and agreeable idleness of the place. Janey and her kid brother Jim spend their days swimming, fishing and playing on the beach, while their mother Kate and father Ed laze around sipping bourbon and preparing for boozy parties at night with other vacationers.

Even before her father becomes aware of it, Janey learns of the affair between her mother and Cady, an itinerant photographer who moors his boat nearby... Indifferent to the advances of a local boy her own age, Janey instead enters naively and without much forethought into competition with her mother for Cady’s attention... Fulford-Wierzbicki skilfully negotiates the balance between girlish innocence, headstrong attitude and the burgeoning awareness of how to use her sexuality, while Peirse (Heavenly Creatures) conveys a poignant sense of an unsettled woman no longer getting anything out of her marriage. Young Murphy is a delight, bringing fresh, natural spark to his every scene…’ New Zealand International Film Festival

Florian Habicht
Germany b. 1975
Woodenhead 2003 Ages 18+

Woodenhead 2003 Ages 18+

Wed 9 Jun 6.00pm and Sun 13 Jun 1.00pm (with Canaries in Colour + Better Military Modelling) / Cinema A

35MM, BLACK AND WHITE, STEREO, 90 MINUTES, NEW ZEALAND, ENGLISH / DIRECTOR/SCRIPT/PRODUCER: FLORIAN HABICHT / CINEMATOGRAPHY: CHRISTOPHER PRYOR / EDITOR: FLORIAN HABICHT, CHRISTOPHER PRYOR / PRINT SOURCE: NEW ZEALAND FIOLM COMMISSION / RIGHTS: NEW ZEALND FILM COMMISSION, FLORIAN HABICHT 

‘A truly unsettling, visually inventive, stylistically thrilling and quite marvellous diamond in the rough. Woodenhead takes the traditional fairy tale and re-processes it through the minds of filmmakers like Canadian master of the peculiar Guy Maddin and animators of the arcane, the Quay Brothers. Incredibly, all of the dialogue and location sound for Woodenhead was completed first and the images shot to fit a crazed reversal of accepted practice’. James Hewison Melbourne Film Festival

Rubbings from a Live Man 2007 MA15+

Rubbings from a Live Man 2007 MA15+

Sun 13 Jun 3.00pm and Wed 16 Jun 6.00pm (with At Home with the Ants) / Cinema A

35MM, COLOUR, STEREO, 75 MINUTES, NEW ZEALAND, ENGLISH / DIRECTOR/SCRIPT: FLORIAN HABICHT / PRODUCERS: PHILIPPA CAMPBELL, FLORIAN HABICHT / CINEMATOGRAPHY: CHRISTOPHER PRYOR / EDITORS: CHRISTOPHER PRYOR, FLORIAN HABICHT / PRINT SOURCE/RIGHTS: NEW ZEALND FILM COMMISSION, www.picturesofanna.com

‘Warwick Broadhead, veteran performer of arch, cracked “theatricals” seems unlikely ever to share a joint in a hot pool with the Demolition Derby racers of Florian Habicht‘s previous Kaikohe Demolition. What they do have in common is the reckless, self-exposing flamboyance that excites Habicht‘s eager eye for revelry in the face of restriction. Broadhead has been performing on stages as big as the Botanic Gardens and as intimate as private parties for years, but he‘s never allowed his work to be recorded. He has now been induced by Habicht and his cinematographer/editor Chris Pryor, to re-enact some of the key moments in his far from ordinary life for this film. Calling on a cast of talkative alter-egos, not least a vile and shrewish God, he revisits his straitened childhood in 50s Kiwi suburbia, his ecstatic 60s in San Francisco and a heap of trauma, exaltation and grief ever since. There are many documentaries that might be said to be performed by their subjects. Few push that element of performance so far or confront it with such intense curiosity as Habicht has here. The combination of rawness and artifice with which Broadhead re-enacts grave personal trauma is disconcerting, and there‘s no guessing where it‘s taking him. Tidy emotion is the last thing you should be seeking from Habicht and Broadhead‘s exhilarating carnival of laughter, tears and death-cheating stunts.’New Zealand International Film Festival

Jill Kennedy
Scotland b. 1981
New Educational Series -  Canaries in Colour 2007 All Ages

New Educational Series - Canaries in Colour 2007 All Ages

Wed 9 Jun 6.00pm and Sun 13 Jun 1.00pm (with Better Military Modelling + Woodenhead) / Cinema A

DIGITAL ANIMATION, COLOUR, STEREO, 3:29 MINUTES, NEW ZEALAND / DIRECTOR/ANIMATOR/SCRIPT/PRODUCER/EDITOR: JILL KENNEDY / SOUND: JOHN PAYNE / PRINT SOURCE/RIGHTS: NEW ZEALAND FILM COMMISSION

New Educational Series - Canaries in Colour is a nostalgic pastiche of found graphic material from AV learning programs of the 1970s. The viewer is taken on a psychedelic journey through a book of canaries, with animated excursions through scrolling landscapes of the Scottish Highlands, through the Waitomo Caves of New Zealand and back again.’ New Zealand Film Commission

New Educational Series -  Better Military Modelling 2008 All Ages

New Educational Series - Better Military Modelling 2008 All Ages

Wed 9 Jun 6.00pm and Sun 13 Jun 1.00pm (with Canaries in Colour + Woodenhead) / Cinema A

DIGITAL ANIMATION, COLOUR, STEREO, 6:54 MINUTES, NEW ZEALAND / DIRECTOR/ANIMATOR/SCRIPT/PRODUCER/EDITOR:  JILL KENNEDY / SOUND: JOHN PAYNE / PRINT SOURCE/RIGHTS: JILL KENNEDY

The New Educational Series is a specific re-animation of outmoded instructional and educational materials. Objective pictorial information is collaged into fantastical environments where the old-school aesthetic is reinvigorated with stop-motion techniques and sweeping movements of the camera.

Jill often sources imagery from second-hand books, the resulting video animations providing a rich visual pastiche of diagrams and illustrations set to music specifically composed for the work. The images hearken back to forgotten knowledge, private memories and re-examine a trove of yesterday’s conventional truths.

Better Military Modelling follows the story of red-coat soldiers navigating a battlefield submerged in an aquarium. Like Canaries (New Educational Series (part one): Canaries in Colour), a school of jeweled fish flicker in and out of view, their correctly labeled names appearing briefly on the screen, prompting a subliminal biology lesson. Each scene swells with unexpected conflicts and turns of events. The wealth of detail in her work allows the animations to be fresh upon several repeat viewings’. Young Sun Han, Unlimited: A Year of City Art Rooms, City Art Rooms 2008, (Tauranga Art Gallery)

New Educational Series -  At Home with the Ants 2009 All Ages

New Educational Series - At Home with the Ants 2009 All Ages

Sun 13 Jun 3.00pm and Wed 16 Jun 6.00pm (with Rubbings from a Live Man) / Cinema A

DIGITAL ANIMATION, COLOUR, STEREO, 9:45 MINUTES, NEW ZEALAND / DIRECTOR/ANIMATOR/SCRIPT/PRODUCER/EDITOR: JILL KENNEDY / SOUND: JOHN PAYNE / PRINT SOURCE/RIGHTS: JILL KENNEDY

The final film in Jill Kennedy’s New Educational Series - At Home with the Ants continues her exploration with found illustrations. Kennedy collaborated with sound artist John Payne throughout the three films in the series.   

Jonathan King
New Zealand
Black Sheep 2006 MA 15+

Black Sheep 2006 MA 15+

Fri 7 May 6.00pm and Sun 9 May 1.00pm / Cinema A

35MM, COLOUR, STEREO, 86 MINUTES, NEW ZEALAND, ENGLISH / DIRECTOR/SCRIPT: JONATHAN KING / PRODUCER: PHILIPPA CAMPBELL / CINEMATOGRAPHY: RICHARD BLUCK / EDITOR: CHRIS PLUMBER / PRINT SOURCE/RIGHTS: ICON FILM DISTRIBUTION 

Described by filmmaker Jonathan King as a ‘zombie sheep splatter horror’ Black Sheep is a light-hearted if gory horror-comedy of genetic testing gone wrong. Driven from the family farm by the traumatic death of his father and dysfunctional relationship with his spiteful brother, sheep phobic Henry Olsen must return home to sever ties permanently. When he discovers his brother’s hapless genetic engineering experiments have created a strain of killer flesh-craving zombie were-sheep Henry must reassess his fears and help save the farm. Featuring special effects by the Weta Workshop, this debut feature film is an endearing homage to the zombie/werewolf genres while retaining the black self-mocking humour found in New Zealand comedy.  

Sam Neill
Northern Ireland b.1947
Judy Rymer
Australia b. 1953
Cinema of Unease 1995 M

Cinema of Unease 1995 M

Sun 2 May 2.00pm and Sat 8 May 3.00pm / Cinema A

35MM, COLOUR, STEREO, 52 MINUTES, NEW ZEALAND, ENGLISH / DIRECTORS/SCRIPT: SAM NEILL, JUDY RYMER / PRODUCERS:  PAULA JALFON, GRANT CAMPBELL, VINCENT BURKE / CINEMATOGRAPHY: ALUN BOLLINGER / EDITOR: MICHAEL HORTON / PRINT SOURCE/RIGHTS: NEW ZEALAND FILM COMMISSION

Described by actor-director Sam Neill as a ‘uniquely strange and dark film industry’ Cinema of Unease follows Neill as he interprets the growth of the New Zealand’s film industry from the early optimistic travelogues of the 1950s to the dark undercurrents of anti-authoritarian individualism beginning in the mid-1970s to today. Commissioned by British Film Institute as part of the ‘Century of Cinema seriesCinema of Unease interweaves clips from thirty-three feature films of New Zealand cinema including Sleeping Dogs, Once Were Warriors, Heavenly Creatures, Angel at My Table and The Piano reflecting their unique cultural voice.

Gregor Nicholas
New Zealand b.1959
Avondale Dogs 1994 Ages 12+

Avondale Dogs 1994 Ages 12+

Sun 23 May 3.00pm and Fri 28 May 6.00pm (with Broken English) / Cinema A

Sat 19 Jun 1.30pm and Sat 26 Jun 3.00pm (Short film program 2 screens in the following order: Careful with that Power Tool 2009,Two Cars, One Night 2003, Noise Control 2008, Avondale Dogs 1994, Nature’s Way 2006, Run 2007) / Cinema A

35MM, BLACK AND WHITE, STEREO, 15 MINUTES, NEW ZEALAND, MAORI/ENGLISH / DIRECTOR: GREGOR NICHOLAS/ PRODUCER: STEPHANIE BAUER / SCRIPT: GREGOR NICHOLAS, JIM WILKINS / CINEMATOGRAPHY: IAN PAUL / EDITOR: DAVID COULSON / PRINT SOURCE/RIGHTS: NEW ZEALAND FILM COMMISSION

Set in the welfare end of New Zealand's suburbs, Avondale Dogs traces the conflicting carefree days and  uncertainty of childhood, director Gregor Nicholas creating a delicate unfolding of love, loss and coming of age. 

Broken English 1996 MA

Broken English 1996 MA

Sun 23 May 3.00pm and Fri 28 May 6.00pm (with Avondale Dogs) / Cinema A

35MM, COLOUR, STEREO, 90 MINUTES, NEW ZEALAND, ENGLISH/SERBO-CROATIAN/MAORI/JAPANESE (ENGLISH SUBTITLES) / DIRECTOR: GREGOR NICHOLAS / PRODUCER: ROBIN SCHOLES / SCRIPT: GREGOR NICHOLAS, JOHANNA PIGGOT, JIM SLATER / CINEMATOGRAPHY: JOHN TOON / EDITOR: DAVID COULSON / PRINT SOURCE/RIGHTS: ROADSHOW ENTERTAINMENT

‘Nina lives with her family in a Croatian migrant enclave in the suburbs of Auckland. Brought to New Zealand by her mother Mira after the outbreak of war in her homeland, Nina faces a new life in a new land. Nina's relationship with her domineering father Ivan becomes strained when she falls in love with a young Maori name Eddie. In an attempt to escape the overpowering influence of her father, she marries a Chinese political refugee for money and leaves home. Ivan learns of Nina's marriage of convenience and is enraged when he discovers Nina is pregnant to Eddie. Desperate to reassert his control over Nina, Ivan risks alienating his entire family when he tries to tear Nina away form the man she loves.’ New Zealand Film Festival

Alison Maclean
Canada b.1958
Kitchen Sink 1989 Ages 15+

Kitchen Sink 1989 Ages 15+

Fri 4 Jun 6.00pm and Sat 12 Jun 3.00pm (with Vigil) / Cinema A

Sun 20 Jun 1.00pm and Sun 4 Jul 1.00pm (Short film program 3 screens in the following order: Kitchen Sink 1989, Playing Possum 1999, O Tamaiti 1996, Possum 1997, Still Life 2001, Undergrowth 2009, Sure to Rise 1994) / Cinema A

35MM, COLOUR, STEREO, 14 MINUTES, NEW ZEALAND, ENGLISH / DIRECTOR/SCRIPT: ALISON MACLEAN / PRODUCER: BRIDGET IKIN / CINEMATOGRAHPY: STUART DRYBURGH / EDITOR: DAVID COULSON / PRINT SOURCE: NEW ZEALAND FILM COMMISSION / RIGHTS: HIBISCUS FILMS

‘The relationship that developed between the woman and the man/monster was reminiscent of myths and fairy tales. Containing almost no dialogue, Kitchen Sink presented the story as a dreamlike succession of events. Cleverly structured, the film returned again and again to a few motifs - hair, water, eye and razor - reminiscent of early surrealist films such as Un Chien Andalou. These images, reinforced by an eerie soundtrack, had a gut-level impact on audiences, who gasped, laughed, and screamed.’ Roger Horrocks, Film In Aotearoa New Zealand, Victoria University Press, 1996.

Crush 1992 M

Crush 1992 M

Fri 21 May 6.00pm / Cinema A and Sat 29 May 3.00pm / Cinema B

35MM, COLOUR, STEREO, 97 MINUTES, NEW ZEALAND, ENGLISH / DIRECTOR: ALISON MACLEAN / PRODUCER: BRIDGET IKIN / SCRIPT: ANNE KENNEDY, ALISON MACLEAN / CINEMATOGRAPHY: DION BEEBE / EDITOR: JOHN GILBERT / PRINT SOURCE: NATIONAL FILM AND SOUND ARCHIVE / RIGHTS: HIBISCUS FILMS

‘The publicity material for Crush runs the cutline ‘definitely not a love story.’ How right they are. This is a malevolent little modern fable featuring a sexually ambidextrous femme fatale, an awkward adolescent who is ready for her first crush, an over-the-hill novelist, and a journalist who suffers head injuries in a car crash and recovers throughout the film. An unusual story with four main characters, the narrative is complex and surprising in its turn of events. Lane, the brash, unpredictable and antisocial seductress, leaves the scene of the accident caused by her reckless driving, and proceeds to invade the lives of novelist Colin and his 15-year-old daughter, Angela, first by inviting the infatuated teenager on a wild night of debauchery and then by seducing her father. The plot turns really strange when Angela discovers the unconscious journalist in the hospital and begins to confide in her. As the journalist recovers, Angela begins to plant the seed of paranoia about the enormity of Lane’s cruelty. Deadpan and matter-of-fact in its execution, the film builds a strange sense of perversity existing very naturally within an acutely observed, very real social context – which become less and less real as it unravels. Director Maclean claims as her influences Sam Fuller, Luis Buñuel, and writer Jane Bowles for their disconcerting blend of the banal and the grotesque. Exploring the dark side of sexual identities and the shifting power of relationships, Crush winds its way to a deeply satisfying climax.’ Kay Armatage, Toronto International Film Festival, 1992

Grant Major
New Zealand b.1955
Undergrowth 2009 Ages 10+

Undergrowth 2009 Ages 10+

Sun 20 Jun 1.00pm and Sun 4 Jul 1.00pm (Short film program 3 screens in the following order: Kitchen Sink 1989, Playing Possum 1999, O Tamaiti 1996, Possum 1997, Still Life 2001, Undergrowth 2009, Sure to Rise 1994)

35MM, COLOUR, STEREO, 10 MINUTES, NEW ZEALAND, ENGLISH / DIRECTOR: GRANT MAJOR / PRODUCER: DAN SALMON / SCRIPT: GRANT MAJOR / CINEMATOGRAPHY: JOHN CAVILL / EDITOR: TIM WOODHOUSE / PRINT SOURCE/RIGHTS: NEW ZEALAND FILM COMMISSION 

‘A man wakes to discover his life is overgrown and the outside world is getting in. To restore order he must return to the family home to confront his memories. As his memories confront the world before him the man must face the possibility that finding his parents may bring a self-realisation that he is not ready to confront.’ Melbourne International Film Festival

Brad McGann
New Zealand b.1964
Possum 1997 Ages 12+

Possum 1997 Ages 12+

Wed 12 May 6.00pm and Sun 16 May 12.30pm (with In My Father’s Den) / Cinema A

Sun 20 Jun 1.00pm and Sun 4 Jul 1.00pm (Short film program 3 screens in the following order: Kitchen Sink 1989, Playing Possum 1999, O Tamaiti 1996, Possum 1997, Still Life 2001, Undergrowth 2009, Sure to Rise 1994) / Cinema A

35MM, COLOUR, STEREO, 12 MINUTES, NEW ZEALAND, ENGLISH / DIRECTOR/SCRIPT: BRAD MCGANN / PRODUCER: TREVOR HAYSOM / CINEMATOGRAHPY: LEON NARBEY / EDITOR: CHRIS PLUMMER / PRINT SOURCE/RIGHTS: NEW ZEALAND FILM COMMISSION

Director Brad McGann (In My Father's Den) creates a portrait of deteriorating domestic life of a Pākehā (white) family in rural New Zealand. Their distanced relationship to the land they live on and the remoteness of their lifestyle echoes their isolation from each other.

In My Father’s Den 2004 MA

In My Father’s Den 2004 MA

Wed 12 May 6.00pm and Sun 16 May 12.30pm (with Possum) / Cinema A

35MM, COLOUR, STEREO, 126 MINUTES, NEW ZEALAND, ENGLISH / DIRECTOR: BRAD MCGANN / PRODUCERS: TREVOR HAYSOM, DIXIE LINDER / SCRIPT: BRAD MCGANN / BASED ON THE NOVEL ‘IN MY FATHER’S DEN’ BY MAURICE GEE / CINEMATOGRAHPY: STUART DRYBURGH / EDITOR: CHRIS PLUMMER / PRINT SOURCE/RIGHTS: ICON FILM DISTRIBUTION

‘Brad McGann’s gripping psychological mystery is a tragedy reverberant with New Zealand life. The film tells the story of Paul, an internationally successful war photographer who’s seen – and photographed – too much of the world. He returns, after the death of his father, to the small Central Otago town he fled as a youth. With his dry, cutting delivery of Paul’s every pithy line, charismatic British actor Matthew Macfadyen brings cosmopolitan edge to a New Zealand archetype, the man alone. Paul’s contemporaries who stayed behind, notably his older brother, and his first girlfriend Jackie, greet the prodigal with mixed feelings. Staying longer than intended, he picks up a temporary job at the district school. His young nephew and Jackie’s precocious 16-year-old daughter, Celia, are less guarded, tantalised by the cryptic figure from their parents’ past. Paul senses a kindred spirit in the pushy Celia. Her ambitions to explore the world breathe some life into the embers of his own enthusiasms. When she goes AWOL, local insinuations about Paul’s interest in her become outright accusations. As fears for Celia grow, so does the appalling atmosphere of recrimination, stoked by Paul’s contempt for his accusers and his refusal to betray his young friend. Incredibly suspenseful, the film takes us with him to the brink of nervous collapse as he struggles to extricate the truth from a densely compacted legacy of resentment, greed, deceit and shame.’ New Zealand International Film Festival

Ian Mune
New Zealand b. 1941
What Becomes of the Broken Hearted? 1999 MA

What Becomes of the Broken Hearted? 1999 MA

Sun 27 Jun 3.00pm and Fri 2 Jul 6.00pm / Cinema A

35MM, COLOUR, STEREO, 100 MINUTES, NEW ZEALAND, ENGLISH / DIRECTOR: IAN MUNE / PRODUCER: BILL GAVIN / SCRIPT: ALAN DUFF / BASED ON HIS NOVEL ‘WHAT BECOMES OF THE BROKEN HEARTED?’ / CINEMATOGRAPHY: ALLEN GUILFORD / EDITOR: MICHAEL HORTON / PRINT SOURCE: NEW ZEALAND FILM COMMISSION / RIGHTS: UNIVERSAL PICTURES

‘The 1994 drama "Once Were Warriors” told the sad but compelling tale of Jake and Beth Heke, victims of violence and alcoholism in New Zealand's Maori community. "What Becomes of the Broken Hearted?” picks up the story several years later. Jake is up to his old tricks. He and his fists are a regular feature at McClutchy's Bar. He has turned his back on his family after his wife Beth and their children left him to seek a life beyond violence and uncertainty. But after Nig, his eldest son, is killed in a gang fight, Jake has an explosive confrontation with his family which sets him on a downward spiral. Rejected by his family and his new girlfriend, banned from his home away from home at the bar, and humiliated in front of his mates, Jake crumbles. Just when it seems everyone has had enough of Jake Heke, he encounters two Maori brothers, who equal him in power and strength but regard his fighter's life as a foolish waste. The pair set him on the path to redemption …’ New Zealand Film Awards 1999

Geoff Murphy
New Zealand b. 1946
Utu 1983 M

Utu 1983 M

Sat 26 Jun 1.00pm and Sat 3 Jul 1.00pm / Cinema A

35MM, COLOUR, 100 MINUTES, NEW ZEALAND, ENGLISH, MAORI (ENGLISH SUBTITLES) / DIRECTOR/PRODUCER: GEOFF MURPHY / SCRIPT: KEITH ABERDEIN, GEOFF MURPHY / CINEMATOGRAHPY: GRAEME COWLEY / EDITORS: MICHAEL HORTON, IAN JOHN / PRINT SOURCE/RIGHTS: NEW ZEALAND FILM COMMISSION

‘The year is 1870. In the lush forests and mist-covered farmlands of New Zealand, a war is raging between British government troops and the Maori peoples whose lands they want to confiscate. Te Wheke (Anzac Wallace) is a European-educated Maori scout for the British army. When his own, supposedly "friendly village," is razed and his people killed in a tactical error on the part of the British, his eyes are suddenly opened to the absurdity of his position. Te Wheke vows "utu," and proceeds to exact his ritual revenge on the British--any British. Throughout the action, mimicry and irony converge to reflect the Maori and British cultures back on one another. Murphy takes an almost ribald pleasure in the grotesqueness of the history he depicts, so that nothing--neither his hero, nor their victims, nor their sad plight--is sacred or precious. Bruno Lawrence (The Quiet Earth, Smash Palace) and Merata Mita (director, Patu! and Bastion Point--Day 507) costar. Selected for Cannes Film Festival, 1983.’ Pacific Film Archive

Gaylene Preston
New Zealand b.1947
Perfect Strangers 2003 M

Perfect Strangers 2003 M

Sun 16 May 3.00pm and Sat 22 May 3.00pm / Cinema A

35MM, COLOUR, STEREO, 100 MINUTES, NEW ZEALAND, ENGLISH / DIRECTOR/SCRIPT: GAYLENE PRESTON / PRODUCER: ROBIN LAING / CINEMATOGRAPHY: ALUN BOLLINGER / EDITOR: JOHN GILBERT / PRINT SOURCE: NEW ZEALAND FILM COMMISSION / RIGHTS: TWENTIETH CENTURY FOX

‘A woman kidnapped by a secret admirer turns the tables on her captor with unexpected results in Perfect Strangers, an intriguing, virtually unclassifiable romantic thriller fantasy. Centering on another fine performance from Rachael Blake, the Aussie actress in Lantana, and featuring an enigmatic turn by Sam Neill (in his first Kiwi based film since The Piano 10 years ago), Gaylene Preston's generally taut and well directed picture is her best work in film to date ... Thematically, [Perfect] Strangers has links to Preston's accomplished first feature, Mr. Wrong (1984), a supernatural yarn in which a woman was menaced by a mysterious man. Both elements resurface here, but in a fresh, updated approach. Melanie lives alone, works in a fish and chips shop in a small city and spends her nights in bars where she and her girlfriends regularly pick up men. Lonely and unfulfilled, she drunkenly allows herself to be picked up by a handsome stranger whose name she never discovers. Opting to go back to his place, Melanie is surprised when the stranger takes her to a boat, where he offers her champagne before she falls asleep. She awakens to find they are at sea, heading for a small island where the man apparently owns a small cabin. Though she's concerned about not showing up at work, she allows the man to prepare a candlelit dinner for her. Although Melanie is sexually willing, the man refuses to go to bed with her, insisting that she love him and marry him. He reveals that he knows all about her life and, fancying himself a Prince Charming, wants to "rescue" her. When she scoffs at him, things turn nasty. Next, in the first of several unsettling reverses, Melanie turns the tables on the man, stabbing him in the stomach with a cooking knife. Almost immediately she realizes that, if he dies, she has no way of getting off the island, so she sets about helping staunch the blood. Several twists and turns follow, including the re-introduction of Bill, who was briefly seen in the bar. The film ends with an epilogue which draws together all the strands and moods of the film. Blake is sensational as the woman who proves to be a survivor, while Neill brings his customary charm, plus a dash of menace, to the role of the obsessive would-be lover. As the third participant in what is virtually a three-handed romance – albeit a very strange one – Tobeck is extremely effective, successfully transforming what at first seems to be a boozy, uncouth loudmouth into a more rounded character. Perfect Strangers is aces in all technical departments, handsomely photographed in Scope by Alun Bollinger and with a soundtrack that effectively conveys tension and shifts in mood.’ David Stratton, Variety

Peter Salmon
New Zealand b.1976
Playing Possum 1999 All Ages

Playing Possum 1999 All Ages

Sun 9 May 3.00pm and Sat 15 May 3.00pm (with Eagle vs Shark) / Cinema A

Sun 20 June 1.00pm and Sun 4 July 1.00pm (Short film program 3 screens in the following order: Kitchen Sink 1989, Playing Possum 1999, O Tamaiti 1996, Possum 1997, Still Life 2001, Undergrowth 2009, Sure to Rise 1994) / Cinema A

35MM, COLOUR, STEREO, 5 MINUTES, NEW ZEALAND / DIRECTOR/SCRIPT: PETER SALMON / PRODUCER: LIZ DIFIORE / CINEMATOGRAPHY: BRET NICHOLS / EDITOR: ANGELA JACKSON / PRINT SOURCE/RIGHTS: NEW ZEALAND FILM COMMISSION

A tale of determination and roadkill, redman and bluewoman race to claim the squashed possum prize. 

Fog 2006 Ages 15+

Fog 2006 Ages 15+

Wed 19 May 6.00pm and Sun 23 May 1.00pm (with Rain) / Cinema A

Sat 5 Jun 3.00pm and Fri 11 Jun 6.00pm (Short film program 1 screens in the following order: Fog 2006, Careful with that Axe 2008, The Murder House 1998, This is Her 2009, The Lethal Innocents 2006, Aphrodite's Farm 2008, The Six Dollar Fifty Man 2009) / Cinema A

35MM, COLOUR, STEREO, 14 MINUTES, NEW ZEALAND, ENGLISH / DIRECTOR: PETER SALMON / PRODUCER: RACHEL GARDINER / SCRIPT: NICK MAYOW / CINEMATOGRAPHY: GINNY LOANE / EDITOR: JABEZ OLSSEN / PRINT SOURCE/RIGHTS: NEW ZEALAND FILM COMMISSION

Growing up in a small fishing village, sixteen year old Ricky dreams of exploring the world beyond his father’s ambitions for the family business. Director Peter Salmon (Playing Possum) quietly investigates the turbulent emotions of duty, desire and coming of age.

Robert Sarkies
New Zealand b.1974
Out of the Blue 2006 MA 15+

Out of the Blue 2006 MA 15+

Sun 20 Jun 3.00pm and Wed 23 Jun 6.00pm (Wed screening with Sure to Rise) / Cinema A

35MM, COLOUR, STEREO, 102 MINUTES, NEW ZEALAND, ENGLISH / DIRECTOR: ROBERT SARKIES / PRODUCERS: TIM WHITE, STEVEN O'MEAGHER / SCRIPT: GRAEME TETLEY, ROBERT SARKIES / CINEMATOGRAPHY: GREIG FRASER / EDITOR: ANNIE COLLINS / PRINT SOURCE/RIGHTS: ICON FILM DISTRIBUTION 

Out of the Blue tells the true story of the Aramoana massacre in which, on November 13, 1990, unemployed gun collector David Gray shot and killed 13 people in the sleepy fishing village near Dunedin, Sarkies' own hometown. Despite Sarkies' personal connection to the tragedy, Out of the Blue is a film that tells the story of the horrific events without melodrama or emotional manipulation but gains remarkable, haunting power from the unadorned manner in which it places the viewer in the center of the massacre. Despite its straightforward, experiential approach to the narrative, Out of the Blue is still strongly cinematic, its stunning cinematography drawing attention to the beauty inherent in the darkest moments. Sensitively co-written by Sarkies and Graeme Tetley, the film features fine performances by Matthew Sunderland, who brings incredible humanity to his portrayal of David Gray, and 72-year-old debutante Lois Lawn, who plays Helen Dickson, the personification of pure good, with deeply moving sincerity.’ Nick Dawson, Filmmaker Magazine, 2007.

Jane Shearer
New Zealand b.1968
Nature’s Way 2006 Ages 15+

Nature’s Way 2006 Ages 15+

Sat 19 Jun 1.30pm and Sat 26 Jun 3.00pm (Short film program 2 screens in the following order: Careful with that Power Tool 2009,Two Cars, One Night 2003, Noise Control 2008, Avondale Dogs 1994, Nature’s Way 2006, Run 2007)

35MM, COLOUR, 10 MINUTES, NEW ZEALAND, ENGLISH / DIRECTOR: JANE SHEARER / PRODUCER: LEANNE SAUNDERS / SCRIPT: STEVE AYSON, JANE SHEARER / CINEMATOGRAPHY: ANDREW COMMIS / EDITOR: JACK HUTCHINGS / PRINT SOURCE/RIGHTS: NEW ZEALAND FILM COMMISSION 

‘A young girl is murdered and left for dead deep in native forest. The murderer’s first instincts tell him he’ll get caught, but as time goes on he thinks he’s got away with it. Unfortunately for him, first instincts are usually right as nature aids revenge.’ New Zealand Film Commission

Phill Simmonds
New Zealand b.1960
Noise Control 2008 Ages 12+

Noise Control 2008 Ages 12+

Sat 19 Jun 1.30pm and Sat 26 Jun 3.00pm (Short film program 2 screens in the following order: Careful with that Power Tool 2009,Two Cars, One Night 2003, Noise Control 2008, Avondale Dogs 1994, Nature’s Way 2006, Run 2007)

35MM, COLOUR, STEREO, 11 MINUTES, NEW ZEALAND, ENGLISH / DIRECTOR/SCRIPT/EDITOR: PHILL SIMMONDS / ANIMATION: PHILL SIMMONDS, GINA KIEL / PRODUCER: HUIA LAMBIE / CINEMATOGRAPHY: JEFF SIMMONDS, MIKE LOWE / PRINT SOURCE/RIGHTS: NEW ZEALAND FILM COMMISSION 

‘Having befriended the local children, a rooster pays the price for keeping the neighbours awake at night.  This tragic-comedy, told through animation and live action, is based on a true story.  The event became national and international news.’ New Zealand Film Commission 

Adam Strange
New Zealand b.1965
Aphrodite's Farm 2008 Ages 12+

Aphrodite's Farm 2008 Ages 12+

Sat 5 Jun 3.00pm and Fri 11 Jun 6.00pm (Short film program 1 screens in the following order: Fog 2006, Careful with that Axe 2008, The Murder House 1998, This is Her 2009, The Lethal Innocents 2006, Aphrodite's Farm 2008, The Six Dollar Fifty Man 2009)

35MM, COLOUR, STEREO, 15 MINUTES, NEW ZEALAND, ENGLISH / DIRECTOR: ADAM STRANGE PRODUCER: ANZAK TINDALL / SCRIPT: PETER FORCE / CINEMATOGRAPHY: JAMES COWLEY / EDITOR: PAUL MAXWELL / PRINT SOURCE/RIGHTS: NEW ZEALAND FILM COMMISSION  

‘The milk from Aphrodite’s Farm is truly a dream. What is the secret of the milk’s legendary creaminess? Mother knows the answer and protects her three enchanting daughters with a shotgun under her arm. But you can’t extinguish a smouldering heart.’ 60th Berlin International Film Festival

Jason Stutter
New Zealand
Careful with that Axe 2008 Ages 12+

Careful with that Axe 2008 Ages 12+

Sat 5 Jun 3.00pm and Fri 11 Jun 6.00pm (Short film program 1 screens in the following order: Fog 2006, Careful with that Axe 2008, The Murder House 1998, This is Her 2009, The Lethal Innocents 2006, Aphrodite's Farm 2008, The Six Dollar Fifty Man 2009)

35MM, COLOUR, STEREO, 2 MINUTES, NEW ZEALAND, ENGLISH / DIRECTOR/PRODUCER/SCRIPT/CINEMATOGRAPHY/EDITOR: JASON STUTTER / PRINT SOURCE/RIGHTS: NEW ZEALAND FILM COMMISSION

‘A young boy tries his hand at chopping firewood with his father’s razor sharp axe. He finds that the axe is incredibly heavy, so heavy that he balances himself by resting one bare foot on the chopping block…’ New Zealand Film Commission

Careful with that Power Tool 2009 Ages 12+

Careful with that Power Tool 2009 Ages 12+

Sat 19 Jun 1.30pm and Sat 26 Jun 3.00pm (Short film program 2 screens in the following order: Careful with that Power Tool 2009,Two Cars, One Night 2003, Noise Control 2008, Avondale Dogs 1994, Nature’s Way 2006, Run 2007)

HD DIGITAL, COLOUR, STEREO, 2 MINUTES, NEW ZEALAND, ENGLISH / DIRECTOR/PRODUCER/SCRIPT/EDITOR: JASON STUTTER / CINEMATOGRAPHY: PHIL BURCHELL / PRINT SOURCE/RIGHTS: NEW ZEALAND FILM COMMISSION

‘The highly anticipated sequel to, 'Careful with that Axe'... Power tools and children don't mix.’ New Zealand Film Commission 

Lee Tamahori
New Zealand b. 1950
Once Were Warriors 1994 MA

Once Were Warriors 1994 MA

Fri 18 Jun 6.00pm and Sun 27 Jun 1.00pm / Cinema A

35MM, COLOUR, STEREO, 90 MINUTES, NEW ZEALAND, ENGLISH/MAORI / DIRECTOR: LEE TAMAHORI / PRODUCER: ROBIN SCHOLES / SCRIPT: RIWIA BROWN / BASED ON THE NOVEL ‘ONCE WERE WARRIORS’ BY ALAN DUFF / CINEMATOGRAHPY: STUART DRYBURGH / EDITOR: MICHAEL HORTON / PRINT SOURCE/RIGHTS: ICON FILM DISTRIBUTION 

Once Were Warriors uses the tortured history of wife abuse in the Heke family—a family of working class Maoris in New Zealand—to speak a universal truth about the dark web of despair such intrafamily violence can spin…In a poor suburb of Auckland, Jake and Beth Heke live a life defined by drunken parties, unstable friendships, and confrontations with authorities. Jake, a complex man with a rascals’ charm, is weighted down by a quick temper, alcoholism, and an evil streak of male entitlement. Beth’s beauty has been scarred by broken dreams and Jake’s beefy fists. Yet her inner strength and desire to save her family make her the solid center around which Warriors’ story of tragedy and hope is constructed….From these threads, the Heke’s tale (based on Alan Duff’s novel) is unflinchingly woven by screenwriter Riwia Brown. Director Lee Tamahori, well-known in his native New Zealand for his innovative commercials, doesn’t turn his camera away from the uncomfortable moments. Though shot with bronze filters that compliment the actor’s skin tones, the scenes of Jake’s abuse of Beth will make the most hardened action movie fan flinch. No false heroism, no impersonal  brutality—we care deeply for all the Hekes, even Jake; all their humiliations sting our eyes and  our souls…By film’s end, the Heke’s—all save poor deluded Jake—have begun the process of rescuing themselves from the violence around them. By tapping into the rich legacy of nobility, pride, and love that is their Maori birthright, Beth and her children gain a sense of spiritual rebirth. Once Were Warriors is harsh and harrowing—but, ultimately hopeful about the human spirit’s capacity for renewal.’ Nelson George, The Criterion Collection, Online Cinémathèque film essays, 1995

Sima Urale
Samoa b. 1967
O Tamaiti 1996 All Ages

O Tamaiti 1996 All Ages

Sun 2 May 3.00pm and Fri 14 May 6.00pm (with The Strength of Water) / Cinema A

Sun 20 Jun 1.00pm and Sun 4 Jul 1.00pm (Short film program 3 screens in the following order: Kitchen Sink 1989, Playing Possum 1999, O Tamaiti 1996, Possum 1997, Still Life 2001, Undergrowth 2009, Sure to Rise 1994) / Cinema A

35MM, BLACK AND WHITE, STEREO, 15 MINUTES, NEW ZEALAND, SAMOAN (ENGLISH SUBTITLES) / DIRECTOR/SCRIPT: SIMA URALE / PRODUCER: CAROL J PAEWAI / CINEMATOGRAPHY: REWA HARRE / EDITOR: ANNIE COLLINS / PRINT SOURCE: QUEENSLAND ART GALLERY COLLECTION / RIGHTS: NEW ZEALAND FILM COMMISSION 

O Tamaiti offers a rare insight into Samoan family life and questions the ‘happy-haven’ image of the Pacific. Eleven-year-old Tino looks after his younger siblings while his parents fight out of frame. Urale uses a rich visual language and sumptuous black-and-white 35mm film to convey to the viewer the children’s world and point of view. O Tamaiti, which translates from Samoan as ‘the children’, won the Silver Lion (Best Short Film) at the Venice Film Festival in 1996.

Still Life 2001 All ages

Still Life 2001 All ages

Sun 20 Jun 1.00pm and Sun 4 Jul 1.00pm (Short film program 3 screens in the following order: Kitchen Sink 1989, Playing Possum 1999, O Tamaiti 1996, Possum 1997, Still Life 2001, Undergrowth 2009, Sure to Rise 1994) / Cinema A

35MM, COLOUR, STEREO, 11 MINUTES, NEW ZEALAND, ENGLISH / DIRECTOR/SCRIPT: SIMA URALE / PRODUCER: ANNA RASMUSSEN / CINEMATOGRAPHY: REWA HARRE / EDITOR: ERIC DE BEUS / PRINT SOURCE: QUEENSLAND ART GALLERY COLLECTION / RIGHTS: NEW ZEALAND FILM COMMISSION

Still Life is a beautifully filmed portrait of lasting love that offers a Polynesian view of pakeha (white) culture. Urale’s meticulous use of sound and production design creates a distinctly cinematic statement that comments on the invisibility of the elderly and asks the viewer to rethink attitudes to aging, love and death. Still Life was Best Short Film at the 2001 Montreal Film Festival, Canada. 

Taika Waititi (aka Taika Cohen)
New Zealand b. 1975
Two Cars, One Night 2003 PG

Two Cars, One Night 2003 PG

Sat 19 Jun 1.30pm and Sat 26 Jun 3.00pm (Short film program 2 screens in the following order: Careful with that Power Tool 2009,Two Cars, One Night 2003, Noise Control 2008, Avondale Dogs 1994, Nature’s Way 2006, Run 2007) / Cinema A

35MM, BLACK AND WHITE, STEREO, 12 MINUTES, NEW ZEALAND, ENGLISH / DIRECTOR: TAIKA WAITITI / PRODUCERS: CATHERINE FITZGERALD, AINSLEE GARDINER / SCRIPT: TAIKA WAITITI / CINEMATOGRAPHY: ADAM CLARK / EDITOR: OWEN FERRIER-KERR / PRINT SOURCE/RIGHTS: NEW ZEALAND FILM COMMISSION

‘Three children in two cars wait for their parents one night outside a rural pub. A little love story.’ New Zealand Film Commission 

Eagle vs Shark 2007 M

Eagle vs Shark 2007 M

Sun 9 May 3.00pm and Sat 15 May 3.00pm (with Playing Possum) / Cinema A

35MM, COLOUR, STEREO, 93 MINUTES, NEW ZEALAND, ENGLISH / DIRECTOR: TAIKA  WAITITI / PRODUCERS: CLIFF CURTIS, AINSLEY GARDINER / SCRIPT: TAIKA WAITITI, LOREN HORSLEY / CINEMATOGRAHPY: ADAM CLARK / EDITORS: JONATHAN WOODFORD-ROBINSON / PRINT SOURCE/RIGHTS: ICON FILM DISTRIBUTION

‘Bashful, awkward fast-food worker Lily has worshipped mulleted video game clerk Jarrod for months without the oblivious nerd ever catching on. When she shows up at his come-as-your-favorite-animal party in her flamboyant shark suit and demonstrates her awesome gaming skills, Eagle Lord Jarrod finally takes notice. Their romance barely has time to percolate before a long-simmering quest for revenge calls Jarrod back to his hometown. Once on his native turf, he becomes even more preening and self-deluded, while Lily’s shyness masks an iron will that refuses to surrender her long-cherished romantic dream even in the face of Jarrod’s boorish reality. Like Napoleon Dynamite, this geek-chic romantic comedy revels in its misfit characters’ social ineptitude and inappropriate behavior. Writer/director Taika Waititi’s debut feature is full of deadpan and ridiculous humor, but also offers something more as he turns his camera on a small-town corner of New Zealand rarely seen in the movies. The performances from leads Loren Horsley and Jemaine Clement and the large ensemble that portrays the couple’s families meld together in a comic symphony that is as much about character as it is about punch lines. A comedian and actor before he turned to filmmaking, Waititi has a gift for closely observing human behavior. As ludicrous as Lily and Jarrod’s world sometimes is, the people in it are never less than palpably, hilariously and sometimes poignantly real.’ Pam Grady: San Francisco International Film Festival. 2007

Vincent Ward
New Zealand b.1956
In Spring One Plants Alone 1980 Ages 15+

In Spring One Plants Alone 1980 Ages 15+

Wed 2 Jun 6.00pm / Cinema B and Sun 6 Jun 2.00pm / Cinema A

16MM, COLOUR, STEREO, 45 MINUTES, NEW ZEALAND, ENGLISH / DIRECTOR/SCRIPT/PRODUCER: VINCENT WARD / CINEMATOGRAPHY: ALUN BOLLINGER, LEON NARBEY / EDITOR: CHRIS LANCASTER / PRINT SOURCE/RIGHTS: NEW ZEALAND FILM COMMISSION

‘This is the story of Puhi, an aged Maori woman and Niki, her fully grown but wholly dependent son. The world they occupy is not a world of large events but the rituals of everyday life, traditions and interdependence. “In Spring One Plants Alone” documents the minutiae of their very enclosed existence. Filmed over a period of one and a half years, it emerges as a rare, haunting and powerful portrayal of their life together. This is the story of their rituals and of their survival. The small and disconnected instances that we encounter form a lone vision of the rifts and the bond between an old woman and her disturbed son.’ Vincent Ward

Vigil 1984 M

Vigil 1984 M

Fri 4 Jun 6.00pm and Sat 12 Jun 3.00pm (with Kitchen Sink) / Cinema A

35MM, COLOUR, STEREO, 90 MINUTES, NEW ZEALAND, ENGLISH / DIRECTOR: VINCENT WARD / PRODUCER: JOHN MAYNARD / SCRIPT: GRAEME TETLEY, VINCENT WARD / CINEMATOGRAPHY: ALUN BOLLINGER / EDITOR: SIMON REECE / PRINT SOURCE/RIGHTS NEW ZEALAND FILM COMMISSION

‘Vigil is the strongest, most personally inspired film to come out of New Zealand to date. In form and content, and in its detailed and immaculate concern with visual imagery, it establishes in a single blow the place of its creator, 27-year-old Vincent Ward, as a unique film talent. Vigil has been a time in the making. After completing two award-winning short features, A State of Siege (Golden Hugo winner at Chicago) and In Spring One Plants Alone (Grand Prix co-winner at Cinema du Reel in France) he began work on this, his first feature. It was four years in gestation before a 10-week shoot in a remote valley during a wet winter and early spring of 1983. Ward's landscape is archetypal New Zealand but universal as well. His four main characters, locked as certainly within themselves as within the primeval valley they occupy and farm, constantly confront each other and withdraw as in the manner of an ancient dance. Central figure is 11-year-old Toss, on the threshold of womanhood and caught in the tragedy of the death of her father and the coincidental arrival of a stranger, Ethan. It is primarily through her eyes, actions and interpretation of events, that the impact of Ethan's presence upon the household is registered. … The remarkable quality of the film is the way it gives fresh resonance to universal themes. Ward's canvas contains the detail of old woodcuts found in brassbound bibles. Hawks swoop like angels of death down the ravines of rain-forest mountains; the act of searing off lambs' tails assumes the significance of an age-old rite. The director is supported strongly in realization of his vision by the superb photography of Alun Bollinger, cameraman on Ward's two short features, and Jack Body's music, which never overpowers but blends subtly with sound effects and images. The acting of principals is never found wanting. Kerr, in a role that gives full rein to his skilled comic gifts, is particularly fine, while Stewart, an Australian actress, finds both the remoteness and innate sexuality within Elizabeth. Whitten personifies expertly the ominous aloneness of Ethan. But it is young Fiona Kay who is the essential touchstone of the piece and with her Ward has discovered a near-perfect alter ego. Her Toss is imbued with restless inner intensity that is always compelling. Her elfin quality resides in the truest sense of that description, mischievously supernatural, never cute. Vigil is filmmaking at its finest and most satisfying...’ Mike Nicolaidi, Variety, 2 May 1984

Rain of the Children 2008 M

Rain of the Children 2008 M

Wed 2 Jun 7.00pm / Cinema B and Sun 6 Jun 3.00pm / Cinema A

35MM, COLOUR, STEREO, 102 MINUTES, NEW ZEALAND, ENGLISH/MAORI (ENGLISH SUBTITLES) / DIRECTOR/SCRIPT: VINCENT WARD / PRODUCERS: MARGARET SLATER, TAINUI STEPHENS, VINCENT WARD / CINEMATOGRAHPY: LEON NARBEY / EDITOR: CHRIS PLUMMER / PRINT SOURCE/RIGHTS: RIALTO DISTRIBUTION 

‘Vincent Ward's (River Queen, Map of the Human Heart) deeply personal and incredibly moving film unravels and re-imagines the story of Puhi, the Tuhoe woman he documented in 1978 for his early film In Spring One Plants Alone. Then she was 80 and caring for her schizophrenic adult son, and Ward was 21, a young art student capturing her traditional way of life. While not the subject of his earlier film, Puhi believed herself to be cursed, and this unknowable curse is what preoccupies Ward now. Puhi, he discovers, was an extraordinary woman. Chosen by Tuhoe prophet Rua Kenana to marry his son, she survived the 1916 police raid on Rua's Maungapohatu community and went on to have 14 children. Cutting between early footage, his own to-camera narration, contemporary interviews with Tuhoe descendents, and magnificently recreated historical sequences (featuring Rena Owen as the older Puhi among a superb cast of Maori actors); Ward reveals both the heartrending background of Puhi's belief in the curse, and her lasting power over him.’ Clare Stewart, Sydney Film Festival 2008

Katie Wolfe
New Zealand b.1968
This is Her 2009 Ages 15+

This is Her 2009 Ages 15+

Sat 5 Jun 3.00pm and Fri 11 Jun 6.00pm (Short film program 1 screens in the following order: Fog 2006, Careful with that Axe 2008, The Murder House 1998, This is Her 2009, The Lethal Innocents 2006, Aphrodite's Farm 2008, The Six Dollar Fifty Man 2009)

35MM, COLOUR, STEREO, 12 MINUTES, NEW ZEALAND, ENGLISH / DIRECTOR: KATIE WOLFE / PRODUCERS: FELICITY LETCHER, RACHEL LORIMER / SCRIPT: KATE MCDERMOTT / CINEMATOGRAPHY: GINNY LOANE / EDITOR: LISA HOUGH / PRINT SOURCE/RIGHTS: NEW ZEALAND FILM COMMISSION 

‘As she watches her younger self in the throes of childbirth, Evie's deliciously wry commentary reveals exactly what life has in store for her new baby daughter, her loving husband, and the six-year-old 'bitch' who will one day steal his affections and destroy Evie's life.’ Sundance Film Festival