“Excuse me gentlemen, but the guys seem to eat all the cake,” said renowned New Zealand director Jane Campion at the 2014 Cannes Film Festival. The New Zealand Film Commission states that between 2011-2016, 19% of feature film development applications that received funding specifically included a female director.
For a long time, New Zealand cinema was understood, both at home and overseas, through some of the discourses articulated in the documentary, ‘Cinema of Unease’: A Personal Journey (1995). Dr. Alfio Leotta asks, to which extent is the ‘cinema of unease’ still a valid construct to make sense of cinema in Aotearoa New Zealand?
Many expats will be familiar with dropping a “Tell him he’s dreaming,” only to receive blank looks from others. It’s unsurprising that when you live in a city like Berlin, there can be an inevitable pull toward those who effortlessly catch onto your jokes and pop culture references.
Internationally acclaimed New Zealand filmmaker Taika Waititi created films like What we do in the Shadows and Eagle vs Shark. From his academy award nomination for Two Cars, One Night, to having two of New Zealand’s highest grossing films Boy and Hunt For the Wilderpeople. How did he get there?
Author Frank Stark has said, “In the 115-year history of film in this country, more than half of all our feature films were made in just the past 10 years“. From The Lord Of The Rings to the latest internationally successful films as What we do in the shadows and Mahana, how did the ‘Jackson Effect’ finally become the foundation for a rise in national New Zealand film production?
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