This short black and white NFU ‘drama’ follows three young people on a road trip from Wellington. The trio are meant to be finding a seal colony, but in this early film from director Paul Maunder (Sons for the Return Home), the journey is the destination. The rambling adventure along the coast past Wainuiomata sees the trio discussing paua ashtrays, waning youth, marriage, the state of New Zealand television, and life in general.
Tag: NEW ZEALAND
Made on a wind-up Bolex camera, The Sound of Seeing announced the arrival of 21-year-old filmmaker Tony Williams. Based around a painter and a composer wandering the city (and beyond), the film meshes music and imagery to show the duo taking inspiration from their surroundings. The Sound of Seeing served early notice on Williams’ editing talents, his love of music, and his dislike of narration. It was also one of the first independently-made titles screened on Kiwi television. Composer/author Robin Maconie later wrote pioneering electronic music.
This BBC2-screened film is a look at the European art world of the late 1960s, and a meditation on the nature of art and the pricing of art, shot by Tony Williams. The origins of this film are suitably cosmopolitan. It was initiated by an Iranian student – and underwritten by Jeremy Fry from Cadbury Fry Hudson. Its focus is Takis, a Greek artist who creates kinetic sculptures out of discarded electronic objects (at times reminiscent of Len Lye’s work), and plans to mass produce cheaper versions of his work to make his art accessible. But will it still be art?
A group of children use a cabin as the meeting place where they gather to sing. When the owner of the place has financial difficulties and thinks of selling it, the friends will devise a way to earn money: they will dye the surrounding sheep in different colors and try to sell the wool as if it were a natural product.
Karemoana was the final destination of Manfred Signal, retired teacher of drawing, whose life was dedicated to nursing her dying mother, and instructing generations of young girls in the art of accurately depicting shadows. But now her mother has died and Manfred feels free to break away and begin life anew. She journeys ‘up north’, and begins to settle in her idyllic island home in a little white cottage near the sea. She had looked forward to savouring the feeling of aloneness, but her first long night in her new home is one of terror.
During what was meant to be a fun-filled camping trip, a group of teenagers meet a mysterious hermit who lives on the other side of a nearby bridge. As they set up camp, it becomes apparent that the man is definitely not happy to see them.
The last novel by Ronald Hugh Morrieson revolves around a freezing plant worker (Peter McCauley) in an interracial marriage. For this little seen movie adaptation, the role of an English remittance man was expanded in an attempt to cast Peter O’Toole (New Zealand-born Bruce Spence got the role). Morrieson’s view of small-town Aotearoa is a dark one, as he explores racism, violence, suicide and blackmail. Bruno Lawrence contributes to Jonathan Crayford’s jazz-tinged score, and features in the wedding band. The freezing works scenes were shot at the defunct plant in Patea.
SKIN DEEP is about the events which follow the arrival of a city masseuse hoping to start a new life in Carlton, an apparently sleepy and conventional country town. Her arrival is instigated by progressive-minded businessmen who are raising funds to invent a new image for the town, aimed at boosting a declining local economy. But conflicts and tensions arise amongst the local people.