Everything in: Screen
In partnership with All My Friends, we have invited four writers to reflect on the themes, locations and stories explored in the video series Niu Gold Mountain. First off, Ruby Macomber responds to the music video Movin’, by Gwen Lin, Tyrun Posimani and Yin-Chi Lee, set in Lim Chhour Foodcourt.
Rachel Barker reviews X, a squeal-inducing slasher filmed in Aotearoa, and what it has to say about our fears of elderly bodies.
Tulia Thompson goes behind the scenes of Nina Nawalowalo's directorial debut in film, 'A Boy Called Piano: The Story of Fa’amoana John Luafutu',
and the mana and trust necessary when working with stories of trauma.
Tulia Thompson reviews Kāinga, an anthology film by eight Pan-Asian writers and filmmakers, debuting at the NZIFF.
Film critic Rachel Barker is brought to her knees by the subtle Queer threads in Jane Campion’s The Power of the Dog.
Country Calendar was one of Briar Pomana’s comfort television shows. She grapples with the realisation it romanticises colonial cottage-core lifestyle on what once was Indigenous land.
Nam Woon Kim reviews Disney's latest film, Turning Red, and unpacks the complexities of representation in a multi-billion-dollar industry.
Chye-Ling Huang and James Roque are two Asian millennial creatives, activists and best friends who’ve decided to confront the elephants in their bedrooms – why have they only dated Pākehā people? Naomii Seah sits down with them to chat about love, dating and unconscious bias as Asians in Aotearoa.
Ahead of its nationwide release, Ana McAllister on dystopian futuristic Indigenous sci-fi film Night Raiders.
From luxury real estate, to fashion, to catty drama, Selling Sunset really has it all. Sinead Overbye uses the show as a bit of escapism and imagines what Selling Pōneke would be like.
A new documentary series captures the richness of the lives of families who provide an essential service to local communities in Aotearoa: affordable cooked food.
In reviewing Asghar Farhadi’s A Hero, filmmaker Ghazaleh Golbakhsh contextualises Iran–US relations, censorship and the popularity of Iranian films.
Jordan Hamel delivers a desperate plea to get our most ignored celebrities onto everyone’s favourite reality show.
An eclectic mix of budding film reviewers takes up the challenge set by the Show Me Shorts Film Festival to have a film fest in their lounge.
Filmmaker Tom Augustine’s heavy hitters, made in Aotearoa, big-screen classics, women in film, weird and wonderful, and under-the-radar picks for this year’s film festival lineup.
IceKuini with Oldman_shesus from Oldman Gaming, Kai_nine_ from Mahi Dogs and Akadjblaze aka DJ Blaze talk about livestream gaming.
Sinead Overbye with her gorgeous boo, filmmaker Alesha Ahdar, on making a film that the takatāpui community is proud of.
Filmmaker and documentary fanatic Alesha Ahdar responds to three films in Season 8 of Loading Docs: Night Ride, Fifty Percent and Wind Song and Rain.
A serial binge watcher hungry for Pacific stories, Lana Lopesi reflects on its spike on TV and why she’s here for it.
Sinead Overbye tunes in from the comfort of her kāinga to write about the gems she found in this year's Doc Edge Festival.
Curator Nina Finigan on the exhibition Love & Loss and how the digital and paper messages we pen to our loved ones transmute the limitations of time and space.
At the NATIVE Minds sessions at the Māoriland Film Festival a call went out: It’s time for rangatahi to bring themselves to the table.
Shilo Kino talks to Briar and Miriama Grace-Smith, co-director and co-art director of the movie Cousins, about story sovereignty and what it’s like having one of the country’s most celebrated writers as your nana.
Ana McAllister sees parts of herself and her whānau reflected in Mata, Missy and Makareta, characters from the movie Cousins, directed by Ainsley Gardiner and Briar Grace-Smith.
When the world is falling to pieces, sometimes you need to escape into something ridiculous. The Pantograph Punch team brings you our favourite bad TV.
Sweet and quippy, without too many surprises - Amanda Jane Robinson reviews Baby Done.
Tom Augustine on a damning depiction of traditional New Zealand masculinity.
Ko Jacqueline Carter e kōrero ana mō te pai me te reka o ngā kiriata poto nō roto o te kohikohinga i te tau 2020.
Edie Freeman looks at the troubling representation of transgender people in film and media.
Vanessa Crofskey thought of glass art as embarrassing kitsch paperweights sold in gift shops. Until she watched the hot new glass-blowing show on Netflix.
Where do art films fit into a film festival? Vanessa Crofskey reviews Art Shorts at the NZIFF and is left confused by curatorial decisions.
Our top picks from this year’s New Zealand International Film Festival programme, At Home – Online.
Essa Ranapiri on how amazing it is (and how sad it is that it is amazing) to watch Rūrangi, a film created by, for, and starring trans people.
Auckland-based film critic Amanda Jane Robinson has curated a film festival you can host from your couch.
Julie Zhu challenges empty rhetoric in her speech at the Power of Inclusion film industry summit.
Miriama Aoake reflects on the complexity and hilarity of Aroha Bridge, and how no other series has captured such uncanny representations of her whānau.
Annaleese Jochems on why, after so many seasons of sadism and superficiality, Love Island is still her favourite show.
Our top picks from this year’s New Zealand International Film Festival
The best film of the season might be one that’s not even in the NZIFF. What makes a horror comedy spectacular enough to win big internationally? Vanessa Crofskey reviews.
Twenty-six years after The Piano, Doug Dillaman goes to Cannes and finds that New Zealand films are conspicuously nowhere to be seen.
Following the success of Waru, Lana Lopesi talks strength, shorthand and home with two of the writer-directors behind the highly anticipated film Vai.
Already a lover of cinema and the sea, Doug Dillaman considers Dr. Erika Balsom's new book and curatorial projects within a wider world of watery imagery on screen.
Doug Dillaman and the unlikely, unconventional and uncommon family as featured in the New Zealand International Film Festival.
A selection of films we think are worth celebrating from the 2018 New Zealand International Film Festival spanning fashion, censorship, cultural critique and of course Merata Mita.
Nearing the start of the New Zealand International Film Festival, Doug Dillaman considers what role the festival plays in this changing era of film.
Joseph McAlpine shines a light on national treasure and cinematographer Fred Renata.
How can we keep up in the Golden Age of ad-free streaming?
All good things must come to an end. And so should auteur theory, if cinema is to advance.
From the unprecedented unearthing of toxic behaviour to changes in distribution, Doug Dillaman and Jacob Powell look at the year that was film.
