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Which clippings match 'New Zealand Cinema' keyword pg.1 of 3
14 AUGUST 2013

In Spring One Plants Alone: intimate portrait of a mother and her son

"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."

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16mm1980 • Alun Bollinger • Aotearoa New Zealand • Chris Lancaster • cultural traditionscultural valuesdirect cinemadisableddocumentary filmdocumentary truth • enclosed existence • everyday lifefeature-length documentaryFirst Nations • In Spring One Plants Alone (1980) • Indigenousinterdependenceintimate lives • intimate perspectives • intimate portrait • isolated communities • isolationiwiJack BodyLeon NarbeyMaoriMaori eldersMaori people • Maori woman • minutiae • New Zealand cinema • Niki • personal rituals • personal storyportrait of everyday life • Puhi • Queen Elizabeth II Arts Councilremote communitiessocial realismsocial reality • Stephen Upston • student filmstraditionsVincent Ward

CONTRIBUTOR

Simon Perkins
14 AUGUST 2012

Avondale Dogs: a young boy's relationship with his dying mother

"A young boy grapples with something bigger than he realises: the love within himself brought into focus through his relationship with his dying mother and this love's power of transcendence in times of pain and loss. A multi–award winning film."

(New Zealand Film Commission)

Fig.1 duration: 15 Minutes, ratio: 35mm, B&W, language: Maori Language.

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199435mmAotearoa New ZealandAustralasia • Avondale Dogs • black and white • Caleb Ross • children • Damien Lay • David Coulson • dying • dying mother • eel • Glynis Paraha • Gregor Nicholas • Ian Paul • Jim Wilkins • kiwi short filmslossMaori • Melinni Blake • motherNew Zealand cinema • Rhondda Findleton • short film • smokehouse • Stephen Hall • The Coming of Age of The New Zealand Short Filmyoung boyyoung girl

CONTRIBUTOR

Simon Perkins
13 AUGUST 2012

O Tamaiti: young boy who is expected to play guardian to his siblings

"Sima Urale's debut short film, beautifully realised in black and white, tells the story of a young Samoan boy who is expected to play guardian to his siblings. As his parents struggle in their new country, he is overwhelmed by the responsibility. When faced with his grief, the adults fail to recognise his pain. Poignant attention to details that convey a child's perspective (eg. the movement of a spacies game and shopping trolley are intercut) saw O Tamaiti win awards at film festivals around the globe, including the prestigious Silver Lion at Venice."

(NZ On Screen)

Fig. 1 Dir. Sima Urale, 15mins, NZ, 1996, black & white, 1.1:66

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1996Aotearoa New Zealandarcade gameattention to detailAustralasiababyblack and whitechildrenchilds perspectivechurch • Coke machine • coming of age • cot death • deathdebutfamily • female filmmaker • hospitalimmigrant • Kara Paewai • kiwi short films • new baby • New Zealand • New Zealand cinemaNew Zealand on Screen • O Tamaiti • PacificPacific IslanderPolynesianpregnancySamoan • sensitive portrayal • shopping trolley • short filmsiblings • Sima Urale • socialsoundSpace InvadersspaciesThe Coming of Age of The New Zealand Short Filmyoung boy

CONTRIBUTOR

Simon Perkins
12 AUGUST 2012

Eau De La Vie: a nouveau debutante's moral dilemma

"Set somewhere in the near future, this black tale tells of nouveau debutante Catherine, who is being initiated into her friends' sordid cafe society world. She must choose from a small group of pre–purchased performers who will entertain the diners for the evening – but the 'entertainment' leaves Catherine fighting to the death for what she believes is right."

(New Zealand Film Commission)

Fig. 1,2 Simon Baré (1994). "Eau De La Vie", duration: 13 minutes, 35mm, colour.

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199435mmAotearoa New ZealandAustralasiablack talecafe societycruelty • Dark Tales (compilation) • David Geary • death • debutante • dinnerdisturbing tale • Eau De La Vie • entertainment • Eric De Beus • ethical dilemma • gratification • high concept film • Janet Roddick • Jeff Boyd • Kirsty Hamilton • kiwi short films • Mick Rose • moral dilemmaNew Zealand cinemaNew Zealand Film CommissionorgasmPeter Daube • Richard Bluck • sadistic • Sarah Smuts-Kennedy • short film • Simon Bare • speculative fictionThe Coming of Age of The New Zealand Short Filmweirdness

CONTRIBUTOR

Simon Perkins
02 AUGUST 2012

The Lounge Bar: cyclic narrative kiwi short film from 1988

"The zenith of Don McGlashan and Harry Sinclair's legendary Front Lawn collaborations, this iconic Kiwi short follows two men and one woman on a rainy night at a deserted bar. Pivoting on amnesia and woven together by music, two timeframes are seamlessly combined and a darkly humorous plot unfolds. The film had a wide international release (Ireland to Norway, Germany to the USA) and was a finalist in the inaugural American Film Festival."

(NZ On Screen)

Fig.1 The Lounge Bar (1988), Don McGlashan, Harry Sinclair, Aotearoa New Zealand, 35mm 12 minutes.

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198835mmamnesiaAotearoa New ZealandAustralasiabar • caustic humour • chance meeting • Chinese puzzle box • cyclic narrativecyclical narrative • Dance to My Ten Guitars • diegetic sounddisturbing tale • Don McGlashan • Future Shorts • Grant Campbell • Harry Sinclair • head injury • headgear • John Gilbert • jukeboxkiwi short films • Kiwiana • Leon Narbey • lounge bar • Lucy Sheehan • memory loss • Monty PythonNew Zealand cinemanon-diegetic soundPeter Jackson • pretty spunky • short filmsongThe Coming of Age of The New Zealand Short Film • The Front Lawn • The Girl from Ipanema • The Lounge Bar • Theres a Man at The Bar Staring into Space • weirdness • Wellington Film Society

CONTRIBUTOR

Simon Perkins
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