NELSON 8 – 29 AUGUST 2018

NZIFF.CO.NZ

BOOK AT NZIFF.CO.NZ TICKET PRICES GENERAL INFORMATION GENERAL ENQUIRIES ✪ OPENING FILM – Woman at War For daily screening times, phone State Cinemas Nelson Festival Information Line Doors open at 7.30 pm. Film starts at 8.00 pm. (03) 548 0808 » All tickets $25.00 CENSORSHIP CLASSIFICATION A CODED SESSIONS G – Suitable for general audiences Sessions starting after 5.00 pm weekdays and all weekend sessions. PG – Parental guidance recommended for younger viewers » Adults $17.00 M – Unrestricted. Recommended as more suitable for mature audiences 16 years and over RP13 – Restricted to persons 13 years and over, unless they are accompanied by a parent or guardian » Film Society/Nurses/Students* $14.00 RP16 – Restricted to persons 16 years and over, unless they are accompanied by a parent or guardian R13 – Restricted to persons 13 years and over » Children (15 and under)/Senior Citizens (65+) $12.00 R16 – Restricted to persons 16 years and over B CODED SESSIONS R18 – Restricted to persons 18 years and over Sessions starting before 5.00 pm weekdays. Classifications will be displayed at the venue’s box office. Children’s tickets are available only for films classified G, PG and M. At the time of printing some films have not been rated. Until they receive a » Adults/Film Society/Nurses/Students $14.00 censor rating, they are considered R18 (unless clearly aimed at children) and can only be purchased by Senior Citizens (65+) $12.00 » and for people aged 18 and over. For more information please visit the ticketing and venue information » Children (15 and under) $12.00 page on our website. Please note that ID may be requested for restricted films. *CONCESSION DISCOUNTS (Students/Nurses/Film Society) SPONSORSHIP, BROCHURE AND WEBSITE ADVERTISING Students, Nurses and Film Society members are entitled to purchase one ticket per session at the discount rate. Student/ Staff/Membership ID is required – please ensure you bring it with you to the venue to present to staff on request; failure Contact: Sharon Byrne Ph: (04) 802 2570 to do so will result in the full price being charged for attendance. The concession price is not available to those holding Film Society three-film sampler cards. This concession is not available after 5.00 pm on Friday and Saturday evenings. NELSON PROGRAMME ADVERTISING Prices are GST inclusive and in NZD. Contact: Richard Hadfield Ph: (03) 548 3885 ext 8

BUYING TICKETS EXPLORE THE PROGRAMME ONLINE TICKETS ON SALE NOW www.nziff.co.nz Advance bookings are available for all NZIFF sessions. Seats are allocated on the basis of best available Find out more about the 50+ feature films and short film programmes we’ve selected for this year’s at the time of purchase. Book early to secure the best seats. NZIFF, access exclusive trailers and content, and curate your own shortlist and schedule of screenings to watch this winter. ONLINE www.statecinemas.co.nz (Suter page, booking fees apply) FOLLOW US ON SOCIAL MEDIA IN PERSON Follow us on Facebook, Instagram and Twitter for behind-the-scenes photos and footage, sneak peeks, Bookings for all NZIFF sessions can be made in advance at State Cinemas box office or on the day at trailer reveals and giveaways. the Suter Theatre, 208 Bridge Street, Nelson.

PHONE State Cinemas Nelson: (03) 548 3885 nzfilmfestival nzintfilmfestival

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For more details check out our Brand Guidelines. METHODS OF PAYMENT nzff nziff State Cinemas Movie Gift Cards/Cash/EFTPOS: Accepted for box office bookings only. Credit card: Accepted for all bookings. Please note that State Cinemas (yellow) Free Vouchers and Hoyts Vouchers are not accepted. KEY TO ICONS

TICKET COLLECTION Guest Appearance All advance bookings can be collected from the Self Ticketing Kiosk located in the foyer of State Meet the makers. Films programmed with introductions and post-screening Q+As with the Cinemas Nelson. artists in person. Correct at the time of printing. See website for latest updates. REFUNDS Cannes Selection 2018 Please note that NO REFUNDS will be given for uncollected tickets or tickets collectedlate. Bookings Direct from the Competition and Croisette in the South of France, we bring you the movies once made cannot be altered. Please choose carefully as there are no exchanges or refunds except as making waves at the most famous film festival of them all. required by law. Major Festival Award Films judged the best and brightest at A-list film festivals around the world, from Venice, to VENUE INFORMATION Berlin, to Sundance and Cannes. All titles will be screened at the Suter Theatre, 208 Bridge Street, Nelson.

PROUDLY SUPPORTED BY 42nd Nelson International Film Festival

Presented by New Zealand Film Festival Trust under the distinguished patronage of Her Excellency The Right Honourable Dame Patsy Reddy, Governor-General of New Zealand

STATE CINEMAS NELSON

Director: Bill Gosden General Manager: Sharon Byrne Communications Manager: Rebecca McMillan CONTENTS Assistant to the General Manager: Lisa Bomash Programmer: Sandra Reid 03 08 12 Programme Manager: Michael McDonnell Animation NOW! Programmer: Big Nights Aotearoa World Malcolm Turner All Ages Programmer: Nic Marshall Incredibly Strange Programmer: Anthony Timpson Programme Consultant: Chris Matthews 26 Online Content Manager: Kailey Carruthers Content Manager: Ina Kinski Framing Materials and Content Assistant: Reality Matt Wilshere Publications Coordinator: Tim Wong Audience Development Manager: Alice Vilardel Social Media Coordinator: Rebecca Shannon Guest Coordinator: Pamela Harvey-White Technical Adviser: Ian Freer Festival Accounts: Alan Collins WELCOME Festival Interns: Jean Teng (Auckland) Zoe Pattinson Fan, Liam Reid (Wellington) We could not be prouder or happier about fronting Director, State Cinemas (Nelson): up, in this winter of 2018, to offer you a programme as Mark Christiansen invigorating and timely as any we have ever presented. And Promotions Manager, State Cinemas if you've not joined us before, you have chosen a great year (Nelson): Frankie Kersten to do so. We've distilled the great film festivals of the world General Manager, State Cinemas (Nelson): Twané Chéze-Gower into one great Film Festival for Nelson – once again hosted Publication Design: Ocean Design Group at the elegant Suter Theatre. Publication Production: Greg Simpson NZIFF is an audience-driven event, dependent for almost Cover Design: Matt Bluett 90% of its income on box office. We return 25% of that Cover Illustration: Ken Samonte Animated Title: Anthony Hore (designer), income to filmmakers. The major sponsorship we receive from the New Zealand Film Aaron Hilton (animator), Tim Prebble (sound), Commission is a gratifying institutional endorsement of that principle. Some other Catherine Fitzgerald (producer) crucial supporters should also be acknowledged. Resene join us for their fifth year as

THE NEW ZEALAND FILM FESTIVAL TRUST sponsors of another stimulating strand of films from Aotearoa. Flicks.co.nz, RadioLIVE, Chair: Catherine Fitzgerald nzherald.co.nz and Metro magazine are exactly the media partners an event like ours Trustees: Louise Baker, Adrienne Bonell, can work with, engaging directly with the films we present. In 2018 we welcome a new James Every-Palmer, Tearepa Kahi, Artistic Development Partner in Creative New Zealand. Robin Laing, Andrew Langridge, Helen Marie O’Connell, Chris Watson Though we encounter numerous not-quite contenders as we go, the thing we NZIFF Financial Controller: Chris Prowse programmers do for work, we also do for fun. There are debates, difficult decisions and hallelujah moments aplenty, which is exactly how we hope selecting your NZIFF will turn The New Zealand Film Festival Trust Box 9544, Marion Square out for you. May our efforts help you spot the movies that will mean the most to you. Wellington 6141, New Zealand ph: (64 4) 385 0162 [email protected]

Notes in this brochure are written and compiled by the programmers, Bill Gosden (unsigned), Michael McDonnell (MM), Ant Timpson (AT), Sandra Reid (SR), Nic Marshall (NM) and Malcolm Turner (MT). Judah Finnigan (JF), Tim Wong, Kailey Carruthers, Toby Manhire, Nick Bollinger, Bill Gosden Clare Stewart, Chris Tse, Catherine Bisley, Jo Randerson, Director Rebecca Priestley, Angela Lassig and Chris Kirk also contributed notes. The brochure was edited, drawing on a wide array of writers we like, by Bill Gosden, cribbing the occasional perfect adjective from said writers. It was managed by Tim Wong with the assistance of a squadron of ace proofreaders who labour beyond the call of duty. Views expressed in the brochure do not necessarily represent the views of the staff or trustees of the New Zealand Film Festival Trust. 2 BIG NIGHTS AND SPECIAL PRESENTATIONS 3

Woman at War Kona fer í stríð Opening Night

Meet Halla, Icelandic superwoman in a woolly jumper. At 49 and single, she leads a full and satisfying life. She’s Director: Benedikt Erlingsson the popular conductor of an a capella Iceland/France/Ukraine | 101 mins Producers: Marianne Slot, Benedikt Erlingsson, choir, practices tai chi, swims laps, cycles Carine Leblanc everywhere – and unbeknownst to all Screenplay: Benedikt Erlingsson, Ólafur Egill Egilsson bar a single tremulous accomplice, is Photography: Bergsteinn Björgúlfsson saving the countryside from industrial Editor: Davíð Alexsander Corno pollution, one exploded pylon at a time. Music: Davíð Þór Jónsson With: Halldóra Geirharðsdóttir, Jóhann Sigurðarson, Dubbed the ‘Mountain Woman’ in Juan Camillo Roman Estrada, Jörundur Ragnarsson the media, demonised as an economic Festivals: Cannes (Critics’ Week) 2018 In Icelandic with English subtitles spoiler by government spinners, she’s CinemaScope | PG cert feeling the pressure when a letter arrives reminding her that four years earlier, supported by her twin sister, she applied to adopt a Ukrainian orphan. Actress Halldóra Geirharðsdóttir makes Halla an engagingly formidable eco-justice warrior (and plays her twin as an equally dedicated activist – of the self) in this delightfully off-the-wall new scampers across the highlands, pursued film from Benedikt Erlingsson, director by drones. “Offbeat, poignant and of Of Horses and Men. Funny – in the “Is there anything rarer than an visually exquisite… a way Halla exploits the invisibility of intelligent feel-good film that knows middle-aged womanhood – suspenseful how to tackle urgent global issues with work that’s both quirky and as spectacular as any film shot humor as well as a satisfying sense of and altogether timely.” in Iceland, Woman at War is further justice? Look no further than Woman — Jordan Mintzer, Hollywood graced by the wittiest of musical at War, Benedikt Erlingsson’s gloriously soundtracks, performed by an Icelandic Icelandic (for lack of a better adjective), Reporter oompah band and Ukrainian vocal trio near-perfect follow-up to Of Horses ✪ SUTER Wed 8 Aug, 8.00 pm within the movie, standing by even as and Men.” — Jay Weissberg, Variety A SUTER Mon 13 Aug, 8.15 pm Halla aims her crossbow at pylons or

Cold War Zimna wojna Closing Night

This dazzling Cannes winner from Paweł Pawlikowski, the director of Ida, feels like the perfect closing night Director: Paweł Pawlikowski choice: you don’t want such glorious Poland/UK/France 2018 | 89 mins Producers: Tanya Seghatchian, Ewa Puszczyńska filmmaking to end. Pawlikowski whisks Screenplay: Paweł Pawlikowski, Janusz Głowacki, his two fatally attracted lovers, a singer Piotr Borkowski Photography: Łukasz Żal and a composer, through myriad, Editor: Jarosław Kamiński brilliantly evoked musical styles and Music: Marcin Masecki With: Joanna Kulig, Tomasz Kot, Borys Szyc, settings either side of the Iron Curtain Agata Kulesza, Cédric Kahn, Jeanne Balibar – from Stalin-era folk troupes to 1950s Festivals: Cannes (In Competition) 2018 Paris jazz bars. Best Director, Cannes Film Festival 2018 In Polish and French, with English subtitles “Portraying a whirlwind, border- B&W | Censors rating tbc hopping amour fou in gorgeous black and white, Paweł Pawlikowski’s Cold PROUDLY SPONSORED BY War won him the Best Director prize. In post-war Poland, pianist composer Wiktor (Tomasz Kot) tours villages with his lover, music teacher Irena (Agata Kukezsa) in search of folk-based talent. At an audition, Zula (Joanna Kulig) cons her way into a duet with a more Much of the film is a thrillingly talented singer. Though Irena tells seductive musical, shot and edited with “The torn curtain of love Wiktor that Zula is just out of prison for the rhythm of dance, but the surface is the theme of Paweł stabbing her father, he feels that ‘she whirl would not fascinate without the has something’. luminous presence of Joanna Kulig… Pawlikowski’s mysterious, Soon she is a star… When the troupe The hopelessly unsuited couple are musically glorious and performs in Berlin, Wiktor askes Zula to fictionalised versions of Pawlikowski’s visually ravishing film.” cross to the West with him; thereafter parents, and through them we many borders are crossed, many lines experience near equal disenchantment — Peter Bradshaw, The Guardian of fate are broken… jealousies and with socialist and capitalist mores. I BUTER S Tue 28 Aug, 12.00 pm betrayals flourish and die, but the two loved it.” — Nick James, Sight & Sound A SUTER Wed 29 Aug, 8.15 pm continue to attract and repel each other. 4 BIG NIGHTS AND SPECIAL PRESENTATIONS

MONDAY DOCUMENTARIES CRITICALLY ACCLAIMED, THOUGHT-PROVOKING AND OFTEN AWARD WINNING STORIES THAT CHALLENGE THE STATUS QUO.

Every Monday at 8:30pm and On Demand

23 JULY More Than Honey 13 AUGUST Soundtrack for a Revolution

30 JULY Dark Horse 20 AUGUST The Wrecking Crew The Incredible True Story of Dream Alliance 27 AUGUST 20 Feet from Stardom 6 AUGUST The Sound of Her Guitar

Can’t find what you’re looking for? Catch up on films, comedy, lifestyle and more at maoritelevision.com BIG NIGHTS AND SPECIAL PRESENTATIONS 5

Birds of Passage Pájaros de verano Centrepiece

A vibrant Colombian indigenous culture that’s survived centuries of colonisation takes on the 1970s drug trade in Directors: Cristina Gallego, our visually and aurally astounding Ciro Guerra Colombia/Denmark/Mexico 2018 centrepiece. Directors Ciro Guerra 125 mins (Embrace of the Serpent, NZIFF16) and Producers: Katrin Pors, Cristina Gallego Cristina Gallego shake off the clichés of Screenplay: María Camila Arias, Jacques crime-war and imperialism and imbue Toulemonde. Based on a story by Cristina Gallego Photography: David Gallego their saga with surreal beauty and the Editor: Miguel Schverdfinger elemental power of ancient proverb. Music: Leonardo Heiblum With: Carmiña Martínez, Jose Acosta, The film’s formidable matriarch Jhon Narváez, Natalia Reyes, Jose Vicente Cotes, (Carmiña Martínez) knows full well Juan Martínez, Greider Meza Festivals: Cannes (Directors’ Fortnight) 2018 that the young chancer (José Acosta) In Wayuunaiki, Spanish and English, who has courted her daughter with English subtitles Censors rating tbc (Natalia Reyes) could only have paid the outrageous dowry she demanded PRESENTED IN ASSOCIATION WITH by selling dope to the gringos. But the seed is sown: insisting traditional honour codes be observed in enrichening her clan, she bends her shamanistic authority to building an ancestry, or any connection to the empire in the desert. region to understand the broader “Hardly a scene goes “Colombians are sick to the back implications of this epic story of haunted by without something teeth of filmmakers exploiting their druglords and ruthless power grabs troubled past, but Gallego and Guerra’s that are partly predicated on traditional fundamentally familiar inspired take on the blood feud yarn beliefs and shibboleths. Guerra and being rendered in a and mob thriller is really unique and far Gallego’s film is no dusty period piece, unique fashion.” — Jordan from cheap genre thrills as it gets. Birds it is wildly alive, yet it reminds us that of Passage is an enthralling, powerful no matter how modern we are, there Hoffman, The Guardian statement.” — Martyn Conterio, Cinevue are ancient songs our forebears knew BUTER S Fri 17 Aug, 3.45 pm “This is an absolutely extraordinary whose melodies still rush in our blood.” A SUTER Sat 18 Aug, 8.30 pm film… You do not have to have Wayuu — Jessica Kiang, The Playlist

Burning Beoning Special Presentation

By critical consensus a masterpiece, and the highest ever rated film on the Screen International’s eagerly pored- Director: Lee Chang-dong over Cannes jury grid, Burning, like South Korea/Japan 2018 | 148 mins Producers: Lee Joon-dong, Lee Chang-dong, previous record holder Toni Erdmann, Ok Gwang-hee left the Competition officially prizeless Screenplay: Oh Jung-mi, Lee Chang-dong. Based on the short story ‘Barn Burning’ by but showered in glory. A love triangle Murakami Haruki and a mystery, it concerns an earnest Photography: Hong Kyung-pyo young writer’s (Yoo Ah-in) jealous crush Editors: Kim Hyun, Kim Da-won Music: Mowg on a mercurial woman (Jun Jong- With: Yoo Ah-in, Steven Yuen, Jun Jong-seo seo) who takes up with a handsome, Festivals: Cannes (In Competition) 2018 In Korean with English subtitles prosperous companion (Steven CinemaScope | Censors rating tbc Yeun, The Walking Dead). “Not a lot actually burns in Lee Chang-dong’s Burning… But the cumulative effect of all its perfect moments, all its perfectly true, unexpected and consequential scenes, is scorching. The embers are banked up so gradually and relentlessly that it’s not until a few hours after the ending short of miraculous… The narrative is of this elusive, riveting masterpiece that slippery as silk, eliding from romance “Intensely captivating… you are far enough away to appreciate to tragedy to mystery to something Burning handles the the scale of the conflagration… more unsettling… This sense of It is based on a skeletal short story surprise and inevitability is a hallmark ideas of a triangulated by Murakami Haruki in the same way a of truly masterful writing… and such relationships and emotions spreading oak is based on an acorn… skillful direction that it feels like you’re in intensely mesmerizing The absolute precision of craft, from suspended within the story in an invisible Hong Kyung-pyo’s unerring camera tangle of glances and exchanges, secrets and subtle ways.” — Jordan placement to [the] stunningly variegated and lies, tricks and cruelties and lucky Ruimy, The Playlist BUTER S Thu 23 Aug, 3.15 pm and cleverly deployed score, illuminates shafts of reflected sunlight.” — Jessica A SUTER Sat 25 Aug, 8.00 pm a trio of performances that are little Kiang, Sight & Sound 6 BIG NIGHTS AND SPECIAL PRESENTATIONS

Shoplifters Manbiki kazoku Special Presentation

Few filmmakers are as delicate observers of family units – and especially of children – as Kore-eda Hirokazu, and Director/Screenplay/Editor: Shoplifters radiates with the same Kore-eda Hirokazu Japan 2018 | 121 mins joyous naturalism and sad wisdom of Producers: Matsuzaki Kaoru, Yose Akihiko, his best work. The eponymous shoplifters Taguchi Hijiri are the Shibatas, a low-income family of Photography: Kondo Ryuto Music: Hosono Horuomi five struggling away in a tiny corner of With: Lily Franky, Ando Sakura, Matsuoka Mayu, Tokyo. Scrimping and saving, as well as Kiki Kilin, Jyo Kairi, Sasaki Miyu Festivals: Cannes (In Competition) 2018 stealing whenever necessary, this Palme d’Or, Cannes Film Festival 2018 overcrowded household one day opens In Japanese with English subtitles M sexual references their door to an abused child wandering the neighbourhood. Wary of exposing PROUDLY SPONSORED BY their own living situation, they ignore the authorities and secretly adopt the little girl – to everyone’s greater happiness, but also peril. The permissible definition of what makes a family is constantly under suspicion, even as we witness the © 2018 FUJI TELEVISION NETWORK / GAGA CORPORATION Shibata’s closeness. Their ethical latest caught everyone off guard ­– a predicament will ultimately be laid bare testament to his masterfully understated “Profoundly moving… in ways that resound long after this approach to human life, and to the a haunting film about passionately humane film reaches its power of calm, compassionate voices final frame. in a world where we can barely hear abandoned people, A triumph of subtlety over spectacle, one outrage over another for all the and the beautiful things Shoplifters was awarded this year’s screaming. — Tim Wong that are lost and found Palme d’Or at a festival usually overrun “[Kore-eda’s] embrace is as ferocious by the most controversial or brazenly and beautiful and loving as that of a between.” — David Ehrlich, political films. In fact, as socially mother trying to hug away all her child’s Indiewire AUTER S Sat 18 Aug, 3.30 pm conscious as recent Cannes-winner fears. His… film is a gorgeous thing.” A SUTER Tue 28 Aug, 8.15 pm I, Daniel Blake, the potency of Kore-eda’s — Jessica Kiang, Sight & Sound

Leave No Trace Special Presentation

Director Debra Granik introduced Jennifer Lawrence to the world in Winter’s Bone. In Leave No Trace she Director: Debra Granik directs young New Zealand actress USA 2018 | 109 mins Thomasin Harcourt McKenzie in a lead Producers: Anne Harrison, Linda Reisman, Anne Rosellini performance that is just as remarkable. Screenplay: Debra Granik, Anne Rosellini. She plays Tom, a teenager who has Based on the novel My Abandonment by Peter Rock Photography: Michael McDonough been living off the grid with her father, Editor: Jane Rizzo Will (Ben Foster), from an early age. Music: Dickon Hinchliffe With: Ben Foster, Thomasin Harcourt McKenzie, Camped in a forest outside Portland, Jeff Kober, Dale Dickey they are peaceable, lo-tech survivalists, Festivals: Sundance, San Francisco, Cannes (Directors’ Fortnight), Sydney 2018 perfectly attuned to each other and PG drug references the natural world. Will’s alienation from society is profound – he and Tom run drills in preparation for any human intrusion – but it doesn’t prevent him from providing his daughter an education. Discovery is probably inevitable. When social services try to intervene and Tom’s sheltered life is threatened equally heart-warming and heart- her responses are complex, not least breaking story of the unconditional “Something deeply as she comes to see the shelter she love shared between father and compassionate, a story herself affords her troubled father. daughter. Foster and McKenzie Though there’s the trajectory of a deliver raw, tender, captivating and of a father and daughter chase movie in the pair’s flight from transcending performances. The bond that speaks truths about authority, the heart of the drama lies between them isn’t only compelling, some large things.” in the perceptible shifts in Tom’s view it is inspiring… A profound story about of the world – and in the compassion love, family, loyalty, understanding, and — Richard Lawson, Vanity Fair extended to the two of them by a compassion.” — Tiffany Tchobanian, AUTER S Thu 9 Aug, 6.15 pm whole world of backwoods dwellers. Film Threat A SUTER Tue 14 Aug, 8.15 pm “Leave No Trace tactfully tells an BIG NIGHTS AND SPECIAL PRESENTATIONS 7

Yellow is Forbidden Special Presentation

Chinese designer Guo Pei made fashion Director/Screenplay: Pietra Brettkelly headlines around the world when New Zealand/China/France 2018 Rihanna wore her massive canary yellow 97 mins gown to the Met Gala in 2015. If ever Producers: Pietra Brettkelly, Richard Fletcher, Naomi Wallwork a dress was intended to stop the show, Photography: Jacob Bryant this was it. Typically of Guo Pei, it was Editors: Nicolas Chaudeurge, Margot Francis Music: Tom Third intricately embroidered and bejewelled, With: Guo Pei, Philip Treacy, Wendi Murdoch, the product of years rather than Godfrey Deeny Festivals: Tribeca, Hot Docs, Sydney 2018 months of work – an opulent one-off, In Chinese, French and English, likely only ever to be worn on a catwalk with English subtitles or red carpet. How did the daughter of a communist soldier and primary school teacher, educated, as she informs a bemused Western press at ‘No 2 Light Industry School, Beijing’, become the designer of choice to China’s one percent, positioning herself for global significance? We are taken into her world as she seeks acceptance from Paris’ Chambre Syndicale de la Haute for imperial grandeur may never have Couture. Her irresistible force may have looked more insanely magnificent than “Compelling and met an immovable object. in Guo Pei’s world of wearable arts. Its stimulating… an intimate, In milieux as different as Afghanistan roots in suppression, aptly alluded to in (A Flickering Truth), South Sudan (The the film’s title, are astutely observed in involving portrait of Art Star and the Sudanese Twins) Brettkelly’s fascinating, gorgeous film. Chinese fashion designer and a NZ high school (Ma¯ori Boy “With a remarkable eye for detail Guo Pei.” — Keith Uhlich, Genius), Pietra Brettkelly has excelled and exquisite blending of visual art as an enthralled yet keenly perceptive forms, Pietra Brettkelly captures Guo’s Hollywood Reporter observer of highly driven individuals. drive, artistry, meticulousness, and BUTER S Thu 23 Aug, 11.15 am In Guo Pei she meets a subject fit for acumen.” — Brian Gordon, Tribeca Film A SUTER Sun 26 Aug, 3.00 pm the times. The contemporary hankering Festival

Mirai Mirai no Mirai Special Presentation

“The complex, sometimes fraught relationship between older and younger siblings is mapped with Director/Screenplay: Hosoda Mamoru kindness, imagination and wit in Mirai, Japan 2018 | 98 mins Producers: Saito Yuichiro, Ito Takuya, Adachi Yuichi, from Japanese writer-director Hosoda Kawamura Genki Mamoru… Inspired by Hosoda’s Animation directors: Aoyama Hiroyuki, Hata Ayako experience watching his own kids Artistic directors: Omori Takashi, Takamatsu Yohei Music: Takagi Masakatsu interact, this latest work, rooted more Voices: Kamishiraishi Moka, Kuroki Haru, in realism and domesticity despite some Hoshino Gen, Aso Kumiko, Yoshihara Mitsuo, Miyazaki Yoshiko, Yakusho Koji flights of fancy, continues the director’s Festivals: Cannes (Directors’ Fortnight), Annecy ongoing preoccupation with family 2018 In Japanese with English subtitles dynamics, explored previously with PG cert more fantastical settings in The Boy and the Beast and Wolf Children… PRESENTED IN ASSOCIATION WITH In an affluent suburb, Kun, a little boy of maybe three or four, lives with his mom and dad in a flowing, modernist house – designed by Kun’s dad himself – that descends room by room down a hill, enclosing a little yard with a single tree… The peace of this Hosoda has a lovely, light touch harmonious little world is disrupted and leavens the proceedings with “Beguilingly sweet-natured by the arrival of Mirai, Kun’s new little dry, well-observed humor. Likewise, … Mirai is a work of sister, who, although cute, also makes the character design walks the line demands on his parents’ time and with grace between big-eyed anime heart-swelling beauty attention, much to Kun’s chagrin… cutesiness and closely observed realism, and considerable charm.” When mom goes back to work and capturing with insightful wit the way — Wendy Ide, Screendaily leaves dad to look after the kids at dogs and kids move and wiggle.” home, Kun takes to spending a lot of — Leslie Felperin, Hollywood Reporter time alone in his playroom or the yard. AUTER S Sat 11 Aug, 11.00 am There, he makes friends with a dashing A SUTER Sun 12 Aug, 1.00 pm prince in 18th century clothing… 8

Celia AOTEAROA Director/Producer: Amanda Millar New Zealand | 101 mins Executive Producer: Garry Robertson Photography: Belinda Walshe, David Paul Editor: Lala Rolls Music: Naia Alkhouri, Michel Alkhouri With: Celia Lashlie, Salvatore ‘Salvi’ Gargiulo, Gabe Quirke, Rebekah Henderson, Heather Main, Adele Bull

© TARANAKI DAILY NEWS Celia Lashlie, an impassioned, and the testimony of colleagues show charismatic advocate for equality of her in peak form, compassionate, opportunity in New Zealand, is mourned funny, combative and blunt. and celebrated in this documentary Two other memorial projects are written, directed and produced by woven through this one: a theme song former TV current affairs journalist composed and performed by 12-year- Amanda Millar. Millar was responsible old Naia Alkhouri; and the portrait for several 60 Minutes items that painted by her close friend Heather enabled Lashlie, frequently at odds Main. Four symbols on Main’s painting with bureaucracy, to put her case to structure the film to describe the four the nation. When Lashlie received a cornerstones of Lashie’s life, ultimately terminal cancer diagnosis in late 2014, landing on the deep respect for human she invited Millar to film the final year potential expressed through the of her life. The end came much sooner transformative originality of her work. than expected, but Lashlie’s final leading of a domestic violence camp, and an intensely moving interview filmed days AUTER S Sun 26 Aug, 1.00 pm before she died, provide the heart of B SUTER Mon 27 Aug, 12.00 pm this inspiring portrait. Archive footage

NEW ZEALAND FILMS AT NZIFF ARE PROUDLY SUPPORTED BY Blue Moon

Stefen Harris Director/Screenplay: Stefen Harris New Zealand 2018 86 mins Producers: Stefen Harris, Pegeen O’Rourke Photography: Ryan O’Rourke Editor: Judd Resnick With: Mark Hadlow, Jed Brophy, Olivia Hadlow Censors rating tbc

NZIFF is always proud to provide a big screen This twisty real-time thriller from Stefen arrives in the station store, the screws Harris (The Waimate Conspiracy) was begin to turn on Horace’s desperate showcase for striking work made within our own nimbly staged and shot on an iPhone scheme. shores – and especially in Nelson/Tasman, with entirely within and around a Motueka “After years working as a frontline petrol station in the wee small hours of police officer I became fascinated with Stefen Harris’ Motueka-shot thriller Blue Moon. the morning. the people of the night. The night Businessman Horace Jones (Mark cashiers, cleaners, taxi drivers, security Alongside our two regular short film programmes, Hadlow) is deep in debt. While his guards, the police and the criminal New Zealand’s Best and Ngā Whanaunga, family thinks he is in Hong Kong on a underclass… I wanted to see how far a business deal, he is covertly working conscientious man will go to protect his documentary filmmakers also celebrate remarkable a deadly quiet night shift at his own family from a dangerous world… His New Zealanders on this year’s programme. service station to make ends meet. whole life has led to this moment where When a suspicious looking character he must literally fight for survival and See also: expires in the station’s toilet clutching a his golf handicap appears to be next to large wad of cash, Horace is suddenly useless.” — Stefen Harris Yellow is Forbidden (p7) offered a very tempting opportunity to dispose of the evidence and solve his AUTER S Sat 18 Aug, 6.00 pm own financial problems. Later, when an B SUTER Mon 20 Aug, 3.45 pm equally unlikely customer (Jed Brophy) AOTEAROA 9

Angie

When Angie Meiklejohn’s mother Director/Producer/Cinematography/ followed the latest love of her life to Editor: Costa Botes Centrepoint in 1985, taking Angie, New Zealand 2018 | 119 mins her younger brother and two little Associate producer/Researcher: Anke Richter Music: Richard Adams, Nigel Gavin, Jonathan Besser sisters, they’d never lived anywhere so Additional music: Harley Greene, Podington Bear, nice. The parkland setting was idyllic, Blue Dot Sessions With: Angie Meiklejohn with an Olympic-size swimming pool, R16 sexual abuse themes and all their material needs were covered. As we now know, what happened to children at Bert Potter’s alternative lifestyle settlement was far from nice. Costa Botes’ film about Angie and her siblings provides a vivid, multidimensional view of the damage done – often to already damaged people. Angie herself was in trouble even before the move to Centrepoint. She and her brother had been wards of the state. She’d been sexually abused by one of her mother’s lovers, and then raped, aged 11, by the teenage Her younger sisters recall just as clearly, son of another. Desperate for some but remember nothing but horror. “Funny, smart, big hearted, sense of belonging and approval, she The catalogue of projects and love unflinchingly honest, embraced the community’s values and affairs subsequently undertaken and the attention of its founder. abandoned by Angie is staggering. a steadfast friend – Angie and her siblings are compelling, What never seems in doubt is her whatever her past hurts, strikingly assured camera subjects. One great appetite for life and a mind that’s Angie is an engaging and of the many salutary virtues of Angie’s never sharper than when dissecting the account is the livid clarity with which dynamics of sexual abuse, and the way loveable human being.” she recalls, for example, how empowered parental neglect and that abuse have — Costa Botes AUTER S Tue 21 Aug, 8.15 pm she felt being wanted by old men that shaped her choices. She has much to B SUTER Wed 22 Aug, 3.45 pm she could barely bring herself to look at. tell us all.

The Heart Dances – the Journey of The Piano: the ballet

Czech choreographer Jiří Bubeníček Director: Rebecca Tansley and his twin brother and designer, New Zealand 2018 | 99 mins Otto are stars in the European dance Producers: Robin Laing, Rebecca Tansley Photography: Simon Raby world, creators of vital, innovative Editor: Thomas Gleeson contemporary ballets. Director Rebecca Music: Aldous Harding, Charles Ives, Michael Nyman, Bic Runga, Alfred Schnittke, Tansley (Crossing Rachmaninoff) follows Dmitri Shostakovich, Bedřich Smetana, Flavio Villani them from Prague to Aotearoa as With: Jiří Bubeníček, Otto Bubeníček, Moss Patterson, Patricia Barker, the dancers and staff they take up an invitation from the of the Royal New Zealand Ballet Royal New Zealand Ballet to expand their adaptation, made in Germany in 2015, of Jane Campion’s film. Tansley’s documentary feasts on the sheer beauty of the Bubeníčeks’ work – the music, the theatricality, the costumes, the suite of achingly expressive pas de deux at the heart of the piece. It also presents a delicately traced picture of the Old World at sea in the New, and vice versa. The Bubeníčeks arrive apparently unaware that the work they have been invited to stage but above all she celebrates his vigour poses significant problems for Moss and enthusiasm for communication. “This is the 21st century Patterson, the Māori cultural adviser She observes the enormous reserves of and we have to stand contracted by the RNZB. (The original skill and discipline required of classical ballet gave prominent place to ‘Ka performers, all the more to savour the proud as Maˉori, but we Mate’.) Only someone who’s never thrill when everything takes flight. also have to find ways worked in the New Zealand cultural Intercutting rehearsal and performance, to work together, to be sector could be surprised that the The Heart Dances weaves a seductive, ensuing struggle, signally embedded in elegant celebration of a vital, centuries- together and to create the 2015 work, unfolds over the four old art that still has a squillion tiny together.” — Moss Te Ururangi BUTER S Fri 17 Aug, 1.45 pm weeks before opening night. dancers line up to audition for the A SUTER Sun 19 Aug, 3.15 pm Patterson Tansley sees Bubeníček’s dismay, Anna Paquin role. 10 AOTEAROA

Merata: How Mum Decolonised the Screen

By the time the pioneering indigenous Director: Heperi Mita filmmaker and activist Merata Mita died New Zealand 2018 | 95 mins suddenly in 2010, she had packed an Producer: Chelsea Winstanley Executive producer: Cliff Curtis extraordinary amount of action into her Creative producer: Tearepa Kahi 68 years. If her youngest son Heperi Associate producer: Manutai Schuster Photography: Mike Jonathon Mita became a film archivist and a Editor: Te Rurehe Paki filmmaker in order to discover the stories Consulting editor: Annie Collins With: Merata Mita, Rafer Rautjoki, Richard Rautjoki, she did not live to tell him, then we in Rhys Rautjoki, Awatea Mita, Eruera `Bob' Mita, Aotearoa have something new to thank Heperi Mita, Taika Waititi, Alanis Obomsawin, her for. His first film is a remarkable Bird Runningwater In Māori and English, with English subtitles accomplishment, a compelling Great Colour and B&W Woman portrait that speaks intimately from personal experience. He has an abundant archive of film and TV appearances to draw on, beginning with his mother’s mesmerising testimony as a Māori woman bringing up children alone in the 1977 TV documentary Maˉori Women in a Paˉkehaˉ World. By 1979 she was making © GIL HANLEY landmark documentaries herself, most when Merata and his father Geoff notably Bastion Point: Day 507 (1980) Murphy lived in LA and Hawaii. He “Merata Mita is the and Patu! (1983) which rattled Kiwi turns to his older siblings to learn about grandmother of complacency by so clearly identifying earlier days when living was often the violation of Māori rights – the latter hand-to-mouth and police raided the Indigenous Cinema. film explicitly tying New Zealand’s record house in search of Patu! footage. They This film is a dedication to apartheid in South Africa. In 1988 are a loving whānau whose testimony to her life’s work her film Mauri, deftly quoted in this reverberates with the conviction that one, was the first feature written and their mother’s fierce maternal instinct towards that goal.” directed by a Māori woman. was integral to her work as a fighter, — Chelsea Winstanley AUTER S Tue 28 Aug, 6.15 pm Heperi is the first to acknowledge mover, shaker, mentor and artist of B SUTER Wed 29 Aug, 1.45 pm that he grew up in the best of times, abiding international significance.

M a¯ u i ’ s H o o k Paul Callaghan: Dancing with Atoms

Director: Paora Joseph Director/Producer/ New Zealand 2018 Screenplay: 92 mins Shirley Horrocks Screenplay: Lani-rain Feltham. New Zealand 2018 Based on a story by Paora Joseph 103 mins Photography: Bevan Crothers, Maria Ines Manchego Photography: Craig Wright Editor: Gareth Dick Editor: Steven Mountjoy With: Niwa Whatuira, Hera Foley, Sound: Tony Parkinson Nicola Kawana, Paora Joseph Research: Roger Horrocks, In Māori and English, with English Shirley Horrocks subtitles Cartoons: Dylan Horrocks Censors rating tbc

Invoking the skills, cunning and suicide statistics he introduces their Sir Paul Callaghan, physicist, science University of Wellington and the defiance of the legendary tupuna, the fictional surrogate in young Tama (Niwa communicator, entrepreneur and 2011 MacDiarmid Institute for Advanced title of this stirring film by psychologist Whatuira), who observes the suffering New Zealander of the year, died in Materials and Nanotechnology. and filmmaker Paora Joseph also alludes of loved ones left behind and comes 2012, of cancer, when he was in his Poet Bill Manhire, cartoonist Dylan to the line on a map traced by the bus too late to apprehend that his pain prime. As well as doing research into Horrocks, broadcaster Kim Hill and trip he takes us on from Parihaka to and anger need not be permanent, but nuclear magnetic resonance, he was Weta Workshop’s Richard Taylor are Te Rerenga Wairua (Cape Reinga). The death most surely is. writing books, giving public lectures and among those who describe how travellers who join this hikoi wairua are Joseph’s film is purpose-built to sharing his vision of a prosperous and Callaghan expanded the conversation five families, four Māori, one Pākehā, change attitudes and provoke action. predator-free New Zealand – “a place,” between science and wider society and each grieving the suicide of someone Post-NZIFF, as Maˉui’s Hook travels to he said, “where talent wants to live.” rallied people to his causes, many of very close. In the bravest, most sobering selected community venues around the Shirley Horrocks, who met Callaghan which continue after his death. Anyone of interviews, these five families each country it will be supported by suicide while making her 2012 film Venus: who knew Paul, or was affected by gather to tell the story of the person in prevention workshops organised by A Quest, focuses here on his life in his work, will want to see this tribute. their midst who took their own life. Māori health providers. science. Through big brother Jim, — Rebecca Priestley Joseph conducts and films wānanga classmates, colleagues and Callaghan with the families as they journey north himself – in a series of interviews filmed to release and farewell their loved AUTER S Sun 12 Aug, 5.30 pm in 2010 – we journey from Callaghan’s AUTER S Thu 23 Aug, 6.15 pm ones. Addressing the demographic B SUTER Mon 13 Aug, 2.15 pm childhood in Whanganui, to his work B SUTER Fri 24 Aug, 4.00 pm most commonly reflected in our tragic at Massey University, then to Victoria AOTEAROA 11

MADMAN ENTERTAINMENT CREATIVE NEW ZEALAND New Zealand’s Best 2018 JURY PRIZE EMERGING TALENT AWARD 87 mins approx. | R16 violence, domestic violence, cruelty, offensive language & suicide

For this year’s New Zealand’s Best short Run Rabbit No Shame My Friend Michael Jones film competition, NZIFF programmers NZ 2018 | Director/Screenplay: Robyn Paterson NZ 2018 | Director: Brendan Donovan | Producer: NZ 2018 | Directors: Ian Leaupepe, Samson Rambo Bill Gosden, Sandra Reid and Michael Producer: Paula Boock | Photography: Alun Bollinger Alex Clark | Screenplay: Carl Shuker, Brendan Donovan. Producers: Alex Lovell, Eldon Booth | Screenplay: McDonnell viewed 84 submissions Editor: Gretchen Petersen | With: Saman Tehrani, Based on the novel The Lazy Boys by Shuker Eldon Booth, Ian Leaupepe, Samson Rambo Ram Al Laham | 19 mins Photography: Ian McCarroll | Editor: Chris Plummer Photography: Ian McCarroll | Editors: Luke Haigh, to make a shortlist of 12 from which With: Kieran Charnock | 13 mins Eldon Booth | With: Villa Junior Lemanu, Luciane director and cinematographer Leon A refugee boy in an alien landscape. Buchanan | 15 mins A delicate work where reflections of Be warned, this is scary stuff. A Narbey selected these six finalists. A Being different is difficult within a war and family tragedy are triggered young man returns home fractured jury of three will select the winner of school where bullying and torment are by everyday actions. Captured with by past relationships. Love and family the $5,000 Madman Entertainment the norm. Tight storytelling and great a very real sense of place and an cannot uncover his hurt. Close and Jury Prize and a Creative New performances, with select camera unhurried openness of storytelling. intense performances edited with a Zealand Emerging Talent Award of clarity where you can almost smell coverage allowing the characters to $4,000. A $4,000 Wallace Friends Charmer the adrenaline. work the frame. of the Civic Award will be awarded NZ 2018 | Director/Screenplay: Judah Finnigan by donors the Wallace Foundation Producer: Olivia Shanks | Photography: Matt Henley Falling Up Sail Away | | and Wallace Media Ltd to the film or Editor: Paul Wedel With: Robyn Malcolm, Stephen NZ 2018 | Director/Screenplay: Chelsie Preston NZ 2018 Director: Ella Becroft, Tama Jarman | | Lovatt 12 mins Crayford | Producer: Andrew Marshall | Photography: Producer: Ilai Amar Screenplay: Tama Jarman contributor to a film they deem to | Raymond Edwards | Editor: Sarah Grohnert | With: Photography: Matt Henley Editor: Dione Chard A dating couple’s first real encounter. | merit special recognition. The winner Chelsie Preston Crayford | 13 mins With: Tama Jarman, Jarod Rawiri 15 mins Intimate and sensitive performances of the audience vote takes away the A young man dreams of escape into where sexuality, loneliness and age When a relationship collapses and Audience Choice Award, consisting of a childhood passion. Mad, funny and are covered in unhurried moments. the mother is trapped with the child, 25 percent of the box office from the on the edge of the grotesque. A very Enhanced use of colour expresses the love and anguish are portrayed in an main-centre NZIFF screenings. Notes on stylish film with formal compositions feelings of the situation. almost raw documentary way where each film provided by Leon Narbey. all the emotional and telling details adding to a theatrically absurdist are present. cabaret quality.

AUTER S Sat 11 Aug, 1.00 pm B SUTER Tue 14 Aug, 2.15 pm

RUN RABBIT CHARMER FALLING UP

PRESENTED IN Nga¯ Whanaunga Ma¯ori Pasifika Shorts 2018 ASSOCIATION WITH 94 mins approx. | R16 violence, domestic violence & offensive language | In English and Maˉori, with English subtitles

A collection of Māori and Pasifika Ka Piko Moon Melon Mouse short films curated by Leo Koziol USA 2017 | Director/Screenplay: Bryson Chun NZ 2017 | Director/Screenplay: Trina Peters NZ 2018 | Director/Screenplay: Lani-rain Feltham (Ngāti Kahungunu, Ngāti Rakaipaaka), Producer: Grace Lim | 8 mins Producer: Unitec Institute of Technology Screen Arts Producers: Alyx Duncan, Lani-rain Feltham, Emma Programme | 9 mins Mortimer | 15 mins Director of the Wairoa Māori Film A young native Hawaiian man must Festival, with guest co-curator Craig undergo an unfamiliar tradition A night out with a group of young A strained relationship is tested Fasi (Niue), Director of the Pollywood following a tragic death. A beautiful Pasifika women. Much more than by the encroachment of a chaotic Film Festival. Curators’ comments on story of love, ownership and a slice of life portrait, Moon Melon natural world. When love has left the each film appear in italics. acceptance. — CF portrays Poly women breaking room, the rodents return to breed boundaries of culture and stereotype resentment. — LK My Brother Mitchell on the street. — LK Native in Nuhaka NZ 2017 | Director/Screenplay: Todd Karehana The Messiah NZ 2017 | Director: Hiona Henare | Producers: Hiona Producer: Mia Mārama Henry-Tierney | 9 mins Shadow Cut NZ 2017 | Director/Screenplay: Vela Manusaute Henare, Louisa Tipene Opetaia | 15 mins Producers: Sandra Kailahi | 15 mins A Māori boy comes to terms with the NZ 2017 | Director/Screenplay: Lucy Suess Producer: Johnny Lyon | 14 mins A short doco exploring the Māori death of his brother. A matter of the A young runaway finds refuge with passion for cinema against the heart must be resolved between two A young man has decided to leave his a self-proclaimed teenaged Messiah. backdrop of the annual Wairoa Māori young brothers. — LK small town but struggles to tell the one A sublime, dreamy and surreal Film Festival. Beautiful and undeniably friend he should. Drawn to a world Polynesian parable. — LK real, Native in Nuhaka encourages beyond restrictive walls of rural NZ, a more natives to use film as their young couple finds truth. — CF statement of choice. — CF

AUTER S Thu 16 Aug, 6.15 pm

KA PIKO MY BROTHER MITCHELL THE MESSIAH 12 BULGARIA, LEBANON

Ága WORLD Director: Milko Lazarov Bulgaria/Germany/France 2018 | 96 mins Screenplay: Milko Lazarov, Simeon Ventsislavov Photography: Kaloyan Bozhilov Editor: Veselka Kiryakova Music: Penka Kouneva With: Mikhail Aprosimov, Feodosia Ivanova, Galina Tikhonova, Sergey Egorov, Afanasiy Kylaev Festivals: Berlin 2018 In Sakha (Yakut) with English subtitles PG cert

Writer/director Milko Lazarov’s second and Lazarov’s precise cinematic poetry feature spotlights an aging Yakut couple creates an intense, affecting and whose lifestyle is on the wane. In snow- emotional piece of cinema where covered North Eastern Siberia, every animals, bloodied or mystical, are key footprint, every cloud, every passing players. A dangerous imminence hangs airplane must be interpreted carefully heavily over the film, as with many for meaning. So too must the couple stories set in such harsh conditions, but listen attentively to each other’s dreams. a sudden emotional finale bursts this Despite their long intimacy there are movie into a whole new genre. This is a personal mysteries and complicated formally surprising and clever piece of dynamics to unravel with their children, story-telling which lands an unexpected one of whom (Ága) works in a diamond conclusion – the triumph of connection mine, several days journey away. over disengagement. — Jo Randerson Kaloyan Bozhilov’s majestic cinematography sinks the viewer deep into each magnificent icy frame, and despite a contemplative pace this BUTER S Mon 13 Aug, 12.15 pm movie never dawdles. Nothing exists A SUTER Wed 15 Aug, 6.15 pm in this landscape without a reason,

The Insult L’insulte

Help yourself to our pick of the features we have Director: Ziad Doueiri Lebanon/France 2017 encountered in a year of intense engagement 113 mins Screenplay: Ziad Doueiri, with international cinema. We do what we can to Joëlle Touma With: Adel Karam, Rita Hayek, cover many bases, not least the Festival de Cannes, Kamel El Basha, Christine Choueiri Festivals: Venice, Toronto, yielding some of our most exciting choices in the Vancouver 2017; Rotterdam 2018 Nominated, Best Foreign Language Film, Academy Awards 2018 frantic fortnight before we close our schedule. In Arabic with English subtitles CinemaScope | M Violence, offensive language & content that may disturb

© TESSALIT PRODUCTIONS / ROUGE INTERNATIONAL Galvanizing performances and possible to go into the film knowing even-handed moral inquiry bring a little about the situation depicted and bracing power to Ziad Doueiri’s Oscar- still come away completely captivated… nominated legal thriller The Insult – the A riveting courtroom drama that shows tale of how a bitter feud between a how even minor interpersonal tensions mechanic and a construction foreman can boil over into national traumas. snowballs into a national crisis. While the issues it engages are timely “Two words set the story in motion. and important, the film's claim to One man shouts an insult at another, fame really comes from its terrific who's infuriated and demands an accomplishments on every front, from apology… Soon things escalate and writing and directing to acting and the men end up in the first of two cinematography.” — Godfrey Cheshire, courtrooms where they will face off RogerEbert.com against each other… Does it matter that Toni is a right- wing Christian and Yasser a Palestinian? In this context, it matters a lot… One BUTER S Fri 10 Aug, 4.00 pm can learn a lot about contemporary A SUTER Sun 12 Aug, 7.30 pm Lebanon from The Insult, but it's also AUSTRALIA, BELGIUM WORLD 13

Breath

Actor Simon Baker, star of The Mentalist, Director: Simon Baker returns to his native Australia for his Australia 2017 | 116 mins directorial debut adapting, with Top Producers: Mark Johnson, Simon Baker, Jamie Hilton of the Lake writer Gerard Lee, Tim Screenplay: Gerard Lee, Simon Baker, Tim Winton. Winton’s celebrated novel. Based on the novel by Tim Winton Photography: Marden Dean The film follows two teenage boys Editor: Dany Cooper (both played by first-time actors who Music: Harry Gregson-Williams With: Simon Baker, Elizabeth Debicki, grew up surfing competitively), Pikelet Samson Coulter, Ben Spence, Richard Roxburgh (Samson Coulter) and Loonie (Ben Festivals: Toronto 2017 Spence) awkwardly carrying their crappy M sex scenes & offensive language surfboards out to the beach on their bikes. When former surf champ Sando (Simon Baker) takes the boys under his wing, their passion for the surf becomes an obsession with upping the odds. While Loonie lives up to his name when it comes to taking risks on the ocean, Pikelet is more contemplative and hesitant, embracing Sando as an exciting role model while observing the © NIC DUNCAN quiet commitment of his own father the relationship between Pikelet and his (Richard Roxburgh) to a simple family father told in shifting glances; Pikelet’s “Never had I seen something life. Sando’s intriguingly sidelined wife realisation of the implications of his so beautiful, so pointless (Elizabeth Debicki) however hints at decisions more observed than stated. risks to be taken ashore. Dealing with the basic, universal and elegant, as if dancing The surfing scenes are magnificently elements of budding manhood with on water was the best shot, often under dark skies, tracking simplicity and integrity, the film speaks thing a man could do.” the cresting waves with grace and with loving nostalgia about passion, risk capturing the boys’ relationship with and the ripples of our decisions. Winton — Pikelet in Breath the water with intimacy and immediacy. provides the ultimate seal of approval, AUTER S Wed 15 Aug, 8.15 pm The film suggests deep undercurrents doing the voiceovers of Pikelet as an B SUTER Tue 21 Aug, 1.45 pm beneath its straightforward narrative: adult looking back. — Chris Kirk

Girl

This achingly beautiful drama about a teenager who is transitioning gender while training to be a ballerina was one Director: Lukas Dhont of Cannes 2018’s most talked about Belgium/The Netherlands 2018 105 mins films, deservedly winning the Camera Producer: Dirk Impens d’Or for first-time director Lukas Screenplay: Lukas Dhont, Angelo Tijssens Dhont, and the Un Certain Regard Photography: Frank van den Eeden Editor: Alain Dessauvage acting award for its standout central Music: Valentin Hadjadj performance from Victor Polster. With: Victor Polster, Arieh Worthalter, Oliver Bodart, Tijmen Govaerts, Katelijne Damen, Valentijn While Lara already identifies as a girl, Dhaenens, Magali Elali, Alice de Broqueville, her world is undergoing significant and Alain Honorez, Chris Thys, Angelo Tijssens, Marie-Louise Wilderijckx much desired transformation. She has Festivals: Cannes (Un Certain Regard) 2018 just moved with her father and beloved Camera d’Or (Best Film Film) & Best Actor (Un Certain Regard, Victor Polster), Cannes Film kid brother to a new city where she Festival 2018 has been provisionally accepted into a In French and Dutch, with English subtitles prestigious dance school and she will Censors rating tbc soon be old enough to start hormone replacement therapy. Lara's aspiration to femininity is so great that she has chosen the most extreme physical form of its expression. But here, dance is not external conflict and prejudice, the a release. Held captive by her body, camera movement and performance “Girl has the power to she tapes her genitals and hides the revealing the tumult beneath Lara’s not just change lives but bloodied feet which have not grown steely poise. And while the casting up en pointe like the other girls. While of Polster, who identifies cis gender, reinvigorate your belief her father offers her nothing but will be the subject of debate at a in cinema.” — Jordan Ruimy, support, she is all teenage uncertainty time when awareness of transgender The Playlist and impatience and her interior world actors is improving, there can be no moves closer to self-destruction even as argument that this is a deeply intuitive her outer beauty blooms. performance, rendering the truth AUTER S Wed 22 Aug, 8.15 pm Dhont and co-writer Angelo Tijssens of Lara’s battle with indelible grace. B SUTER Fri 24 Aug, 11.30 am keep the screenplay stripped bare of — Clare Stewart 14 WORLD FRANCE

Climax

When Argentinian-born, French director Gaspar Noé (Irréversible, Enter the Void) stages a techno dance musical, you’d Director/Screenplay: Gaspar Noé be naive not to be expecting LSD in the France 2018 | 96 mins Producers: Edouard Weil, Vincent Maraval, sangria. Noé’s new film, acclaimed at Brahim Chioua Cannes, is a brilliantly staged descent Photography: Benoît Debie Editors: Denis Bedlow, Gaspar Noé from dancefloor nirvana (captured in With: Sofia Boutella, Romain Guillermic, one enthralling single take) to paranoid Souheila Yacoub, Kiddy Smile, Claude Ajan Maull, Giselle Palmer, inferno. The film, with its diverse cast Taylor Kastle, Thea Carla Schøtt, Sharleen Temple, of virtuoso dancers joined by Sofia Lea Vlamos, Alaia Alsafir, Kendall Mugler Festivals: Cannes (Directors’ Fortnight), Boutella, was choreographed and shot Sydney 2018 in a remarkable 15 days. Revelling in In French and English, with English subtitles CinemaScope | R18 violence, sexual content, sex, drugs, dance and dread, Climax self-harm, drug use & offensive language offers the year’s most visceral big screen experience. PRESENTED IN ASSOCIATION WITH “Noé may actually have a critical darling on his hands. And for good reason, as Climax is more brilliantly deranged, in its microscopic vision of society in collapse, than anything the director has ever inflicted on Climax isn’t just 90-some minutes of us. It is a party movie gone epically sustained sex, violence, and panic – a “A blazingly original, awry, a claustrophobic zombie- rollercoaster ride of very bad vibrations. extremely disturbing apocalypse potboiler in abstract, even In the hedonistic, mass-hysteric a kind of ecstatically Satanic dancehall implosion of the film’s surrogate family film… a psychotropic musical. And it finds, for once, the – a wide cross section of ethnicities and street dance movie that perfect application of Noé’s abrasive, sexual orientations – one can see the turns into an orgiastic showboating, hallucinatory style, portrait of a multicultural Europe tearing locking the audience itself into the itself apart from the inside… He’s made horror trip.” — Jonathan world’s worst collective freak-out, a a horror movie of uncommon topicality Romney, Screendaily AUTER S Fri 10 Aug, 8.15 pm drug-trip straight to the inner circles and resonance: a danceable nightmare B SUTER Mon 13 Aug, 4.15 pm of hell… for our now.” — A. A. Dowd, AV Club Everything you could be doing. Right now.

MUSIC ARTS MOVIES

Discover what’s on and what’s good, all day, every day at nzherald.co.nz/timeout BRAZIL, DENMARK WORLD 15

Loveling Benzinho

Certain travails of motherhood are Director: Gustavo Pizzi embraced with buoyant good humour Brazil/Uruguay 2018 | 98 mins and poignancy in this film written Producers: Tatiana Leite, Gustavo Pizzi Screenplay: Gustavo Pizzi, Karine Teles by husband-and-wife team, director Photography: Pedro Faerstein Gustavo Pizzi and lead actress Karine Editor: Livia Serpa Music: Dany Roland, Pedro Sá, Maximiliano Silveira Teles (The Second Mother). With: Karine Teles, Otávio Müller, Adriana Esteves, Irene (Teles) has four sons. The Konstantinos Sarris, César Troncoso, Artur Teles Pizzi, Francisco Teles Pizzi, Vicente Demori, youngest are six-year-old twins, Luan Teles played by Teles and Pizzi’s sons. (The Festivals: Sundance, Rotterdam 2018 abundance of first-hand experience In Portuguese with English subtitles CinemaScope | M offensive language clearly informing the film extends to the casting.) Middle boy Rodrigo (played by Teles’ nephew) is overweight and permanently attached to his tuba, while the apple of everybody’s eye, 17-year-old Fernando (charismatic Konstantinos Sarris) is an ace high school athlete. Irene also plays mother to her sweet but impractical husband, Klaus. Miraculously, she has carved © BIANCA AUN BENZINHO out some space for herself, studying “The first pangs of empty nest to complete the high school diploma syndrome hit the devoted, exuberant “A vibrant and sap-free she abandoned to take up work as mom at the center of Loveling, a valentine to motherhood… a maid. captivating portrait of the joys and When Fernando announces that aches of family life. Karine Teles its deft mix of humor and he wants to leave home, Irene is brings ferocious warmth and humor melancholy never falters.” blindsided. Like many before her, to the lead role… She creates an — Sheri Linden, Hollywood Reporter she does not rise to the occasion. exceptionally sympathetic focal point Loveling’s winning shrewdness lies for a story that embraces the messy in understanding all too well that tenderness of life as it’s lived.” — Sheri BUTER S Tue 21 Aug, 11.45 am awkward rites of passage are not for Linden, Hollywood Reporter A SUTER Mon 27 Aug, 6.15 pm 17-year-olds only.

The Guilty Den skyldige

This innovative debut from Danish filmmaker Gustav Möller has racked up audience awards from the Sundance Director: Gustav Möller and Rotterdam film festivals, delivering Denmark 2018 | 85 mins Producer: Lina Flint a tension-packed crime drama without Screenplay: Emil Nygaard Albertsen, Gustav Möller ever leaving the claustrophobic confines Photography: Jasper Spanning of an emergency call centre. Editor: Carla Luffe Music: Carl Coleman, Caspar Hesselager Police officer Asger Holm has With: Jakob Cedergren, Jessica Dinnage, been suspended from active duty Johan Olsen, Omar Shargawi, Katinka Evers-Jahnsen and assigned to a desk job as an Festivals: Sundance, Rotterdam, New Directors/ emergency dispatcher while he awaits New Films 2018 Audience Award, Sundance Film Festival an upcoming court case that could have & Rotterdam Film Festival 2018 serious ramifications for his future. A In Danish and English, with English subtitles CinemaScope | M offensive language & content frustratingly mundane shift dealing with that may disturb abusive drunks and ripped-off johns is suddenly upended when he receives a panicked call from an abducted woman, who is soon cut off. With the clock ticking, the short-fused Asger decides to ignore bureaucratic process and take © NIKOLAJ MLLER matters into his own hands. Piecing aids, forcing viewers to dust off their together clues with little more than a imaginations and put them to work with “A claustrophobic thriller phone and a headset at his disposal, the chillingly effective results.” — Michael that finds fascinating more he finds out the more the mystery Rechtshaffen, Hollywood Reporter deepens. Are things really as they ways to spiritually seem? — MM transcend its confines.” “A twisty crime thriller that’s every — Bilge Ebiri, Village Voice bit as pulse-pounding and involving as its action-oriented, adrenaline- soaked counterparts… Gustav Möller AUTER S Thu 9 Aug, 8.30 pm masterfully ratchets up tension B SUTER Wed 15 Aug, 4.30 pm without the benefit of the usual visual 16 WORLD GERMANY

Transit

Set in a present-day Marseille occupied Director: Christian Petzold by phantoms from a wartime past, Germany/France 2018 | 101 mins Transit is Christian Petzold’s follow-up Producers: Florian Koerner von Gustorf, Michael Weber to his sublime period pieces Barbara Screenplay: Christian Petzold. Based on the novel and Phoenix. Echoes of Casablanca, by Anna Seghers Photography: Hans Fromm Kafka and Hitchcock reverberate Editor: Bettina Böhler around this coolly existential love With: Franz Rogowski, Paula Beer, Godehard Giese, Lilien Batman, Maryam Zaree, Barbara Auer, story, which is also very much its own, Matthias Brandt, Sebastian Hülk, unique thing: a haunting daylight noir Emilie de Preissac Festivals: Berlin 2018 whose characters, refugees seeking In German and French, with English subtitles safe passage from a fascist threat, CinemaScope | M cert bewitch from the first frame to the last. — Tim Wong “In Petzold’s adaptation [of Anna Seghers’ 1944 novel]… a Jewish audio technician named Georg (Franz Rogowski) assumes the identity of a recently deceased communist author after accepting a job to deliver his personal effects to the Mexican © MARCO KRÜGER / SCHRAMM FILM Consulate in Marseille. Though still Hoss), whose mysterious dealings [referencing] World War II, Transit draws lead him further into a web of false “Patient, probing, and plain but potent parallels with the identities and unrequited romance. poetic in both its affairs ongoing European refugee crises, not Shooting with customary economy, to mention the more unsettling rise Petzold takes full advantage of the of the heart and its of neo-Nazism. Armed with the dead story’s genre machinations, chiseling the worries of the soul… author’s transit papers, Georg finds melodramatic gestures that punctuated a film of intricately his escape plan getting complicated his previous triumph, Phoenix, into when he crosses paths (and slowly falls a taut thriller whose incongruous layered artistry.” in love) with his surrogate’s widowed narrative elements only accentuate the — Sarah Ward, Goethe-Institut AUTER S Thu 16 Aug, 8.15 pm wife (Paula Beer, looking uncannily film’s timelessly tragic arc.” — Jordan A SUTER Sun 26 Aug, 7.30 pm like the director’s longtime muse Nina Cronk, Film Comment 06-2018_RialtoUNLOCKED_NZIFF.qxp_SKYWatch 20/05/18 9:27 PM Page 1

Chamber Music New Zealand presents Ensemble Zefiro Italy I DIVERTIMENTI DI MOZART

Light, elegant and unapologetically

entertaining, enjoy music filled with sparkling joy and jaunty swagger.

Wednesday 15 August, 7.30pm Nelson Centre of Musical Arts

Free Prelude event at 6.45pm

chambermusic.co.nz/ ensemblezefiro THE KILLING OF A SACRED DEER Core Funder Screening from 28 July Learn more at rialtochannel.co.nz GERMANY, IRAN WORLD 17

Wings of Desire Der Himmel über Berlin

For many the highlight of this year’s Director: Wim Wenders Berlinale was the premiere of this West Germany/France 1987 dazzling new 4K restoration of Wim 128 mins Wenders’ spectacularly aerial Wings of Producers: Wim Wenders, Anatole Dauman Screenplay: Wim Wenders, Peter Handke Desire. Shot in Berlin two years before Photography: Henri Alekan the fall of the Wall, it’s a palpably Editor: Peter Przygodda Music: Jürgen Knieper, Nick Cave and the Bad Seeds humanistic film purporting to see into With: Bruno Ganz, Solveig Dommartin, Otto Sander, the anxious souls of city dwellers Curt Bois, Peter Falk Festivals: Cannes 1987; Auckland 1988 through the eyes of angels. One of Best Director, Cannes Film Festival 1987 them (Bruno Ganz) hankers to become In German, French and English, with English subtitles human and taste the coffee. The B&W and Colour | PG coarse language surround-soundscape is as gloriously untethered as the film’s floating camera, a symphony of voices, music and urban ambience cradling the poetry of Peter Handke’s script. Lyrically articulating a profusion of existential doubts and fleeting sensory delights, it’s one of the great Rorschach test movies, many things to many people – and incidentally a must for Nick Cave completists. a world that is 30 years old, but it is No longer subject to the intermediate so succinct, so there and so rich that “It’s full of astonishingly steps entailed in printing black and it could also be a new film.” — Wim hypnotic images… and white imagery on colour film stock, the Wenders digital restoration, scanned from the “Wings of Desire is shot in a silvery manages effortlessly original negative, renders the legendary black and white so that Berlin seems to turn Wenders’ and cinematography of Henri Alekan even dusted with celestial soot… The first Peter Handke’s poetic, more vividly than when we first showed time I saw the film I thought it was a the film in 1988. Don’t miss your chance knockout; on second viewing it already literary script into pure to experience it on the big screen. seemed a classic.” — J. Hoberman, cinematic expression.” AUTER S Sun 19 Aug, 5.15 pm “Wings of Desire on the big screen Village Voice B SUTER Mon 27 Aug, 3.45 pm — Geoff Andrew, Time Out in 4K shows us a city and shows us

3 Faces Se rokh

Co-winner of the Cannes Best Screenplay award, 3 Faces is Jafar Panahi’s fourth under-the-radar production since the Director/Producer/Screenplay: Iranian government hit him with a Jafar Panahi Iran 2018 | 100 mins 20-year travel and filmmaking ban. Photography: Amin Jafari Panahi was a guest at NZIFF06 with his Editor: Mastaneh Mohajer filmOffside . With: Behnaz Jafari, Jafar Panahi, Marziyeh Rezaei, Maedeh Erteghaei, Narges Del Aram “An artful, surprising and thrillingly Festivals: Cannes (In Competition) 2018 intelligent story about a few women Best Screenplay, Cannes Film Festival 2018 In Farsi and Azeri, with English subtitles trying to make a difference, forging CinemaScope | M suicide references bonds of solidarity in quiet defiance of the repressive, small-minded men in their rural village… 3 Faces may be modest and low-key on the surface, but its surprises are worth preserving, its insights casually profound. At the heart of the story is a mystery: What happened to Marziyeh (Marziyeh Rezaei), a teenage girl and aspiring actress from Iran’s Turkish-speaking Azerbaijan region, who has suddenly gone missing? Panahi and Jafari as they drop in on Before she vanished, Marziyeh, whose the villagers and make inquiries… They “The most feminist film family strongly disapproves of her choice drive slowly around the hilly, rocky of the [Cannes] festival… of calling, sent an alarming self-shot countryside, along winding mountain video to the famed actress Behnaz Jafari roads that are often too narrow is the quiet, subtle and (playing herself). Jafari was sufficiently to accommodate two cars passing beautiful work of art of a rattled by the footage that she has now each other in opposite directions – a 57-year-old male Iranian.” come to the girl’s village in search of situation that Panahi turns into an answers, chauffeured by none other ingenious metaphor for a society mired — Agnès Poirier, The Guardian than Panahi himself. in tradition for tradition's sake, unable AUTER S Mon 13 Aug, 6.15 pm Much of this subtly, bracingly to see past the end of its patriarchal B SUTER Tue 14 Aug, 12.15 pm pleasurable movie is spent following nose.” — Justin Chang, LA Times 18 WORLD ITALY

Dogman

A gentle dog groomer makes the perilous mistake of thinking he can pacify the town psycho as readily as a Director: Matteo Garrone snarling mutt in this darkly flamboyant Italy/France 2018 | 103 mins Producers: Matteo Garrone, Paolo Del Brocco, Cannes Competition crime thriller from Jean Labadie, Jeremy Thomas the director of Gomorrah. Screenplay: Matteo Garrone, Ugo Chiti, Massimo Gaudisio “Though it has far less outright Photography: Nicolaj Bruel violence than Gomorrah, whose Editor: Marco Spoletini oppressive criminal atmosphere it Music: Michele Braga With: Marcello Fonte, Edoardo Pesce, shares, Matteo Garrone’s Dogman is Adamo Dionisi, Francesco Acquaroli, just as intense a viewing experience, Gianluca Gobbi, Nunzia Schiano, Alida Baldari Calabria one that will have audiences gripping Festivals: Cannes (In Competition) 2018 their armrests with its frighteningly real Best Actor (Marcello Fonte), Cannes Film Festival 2018 portrayal of a good man tempted by the In Italian with English subtitles devil. Once again set in the Camorra- CinemaScope | R18 graphic violence, drug use & offensive language ridden hinterlands around Naples, the new film pours the various threads running through the Italian director's work into a boiling cauldron of poverty, ignorance and self-interest…. Here the conflict is reduced to its “Instead of simply returning to the barest existential essentials: A good comfortable well that yielded his best “A movie with man who loves dogs and grooms them notices, Garrone looks at the seed of incomparable bite for a living is tempted by a demonic, violence through another lens; not half-crazed brute to steal… Superb the pervasive malignancy of mafia and strength.” performances by Marcello Fonte as corruption, but rather an unsettling, — Peter Bradshaw, The Guardian a mild-mannered dog groomer and malevolent individual perpetrating his a crazed Edoardo Pesce as his fatal own brand of terror. A hyper-realistic attraction poise the film midway urban tragedy Dogman is ferocious and between the realistic criminal world in its own way, much more frightening AUTER S Thu 23 Aug, 8.30 pm and a symbolic, universal dimension.” than Gomorrah.” — Jordan Ruimy, B SUTER Tue 28 Aug, 4.00 pm — Deborah Young, Hollywood Reporter The Playlist ITALY, PARAGUAY WORLD 19

Happy As Lazzaro Lazzaro felice

Part bucolic fable, part social realism and all fertile imagination, Alice Rohrwacher’s beguiling third feature Director/Screenplay: Alice Rohrwacher proves she is one of the most inventive Italy/Switzerland/France/Germany | and compelling voices in contemporary 2018 125 mins Producer: Carlo Cresto-Dina world cinema. Photography: Hélène Louvart Set in rustic Italy, rewarding ground Editor: Nelly Quettier With: Adriano Tardiolo, Agnese Graziani, for her previous feature NZIFF14 Alba Rohrwacher, Luca Chikovani, Centrepiece, The Wonders (in which Tommaso Ragno, Sergi Lopez, Natalino Balasso, Gala Othero Winter, David Bennent, sister Alba also had a significant Nicoletta Braschi role), the film opens as a peasant Festivals: Cannes (In Competition) 2018 Best Screenplay, Cannes Film Festival 2018 boy serenades his love with fairy-tale In Italian with English subtitles conviction. The revellers, it transpires, Censors rating tbc are tobacco harvesters subjugated by an over-entitled marchesa. Village innocent Lazzaro (divine newcomer Adriano Tardiolo) becomes the unlikely friend and accomplice of Tancredi, the marchesa’s dandified son. Imbued with a saint-like beauty, Lazzaro is alternately adored and exploited by all and is soon Rohrwacher’s poetic amalgam of the unwittingly embroiled in a kidnapping two is as deliberate as it is teasing and “Alice Rohrwacher’s plot by his manipulative friend. magical. To give the rest away would supernatural sun-drenched What seems at first to be a story be an injustice to her breathtaking ‘out of time’ reveals itself to be a very cinematic logic (she jointly won the Best folk tale of the birth of particular historical moment and then, Screenplay award at Cannes this year). modern Italy is as sublime with a sly and unexpected narrative spin, Gorgeously filmed on Super 16 by as it is beautiful.” becomes decidedly more immediate regular collaborator Hélène Louvart, and familiar. The biblical stories of the this modern-day allegory is no flight — Joseph Walsh, Time Out resurrected Lazarus and the beggar of fancy; it also serves as a biting AUTER S Sun 26 Aug, 5.00 pm Lazarus are frequently conflated – critique of our own very troubled times. B SUTER Wed 29 Aug, 3.45 pm either by accident or ignorance – but — Clare Stewart

The Heiresses Las herederas

In a Festival abounding with lesbian characters, this richly modulated tale of a couple who have been together Director/Screenplay: for three decades may be the most Marcelo Martinessi Paraguay/Germany/Brazil/Uruguay/ remarkable. Chela (Ana Brun) and Norway/France 2018 | 98 mins Chiquita (Margarita Irún) have long Producers: Sebastian Peña Escobar, been living a life of privilege in Marcelo Martinessi Chela’s family mansion. A crack in the Photography: Luis Armando Artega Editor: Fernando Epstein elaborate pattern of their lives becomes With: Ana Brun, Margarita Irún, Ana Ivanova, apparent when the much worldlier Nilda Gonzalez, María Martins, Alicia Guerra, Yverá Zayas Chiquita is imprisoned for fraud, Festivals: Berlin 2018 related, we guess, to keeping Chela in Silver Bear, Berlin Film Festival 2018 Best Film, Sydney Film Festival 2018 the style to which she is accustomed. In Spanish with English subtitles The sheltered Chela must for the CinemaScope | M sexual references first time fend for herself. Barely acknowledging that she’s actually doing it, she begins accepting payment from the wealthy dowagers of the neighbourhood when she drives them about in the family car. The breezily confiding daughter of one of her her journey is emotionally captivating, passengers sparks feelings in Chula Martinessi persuasively merges her “[A] beautifully realized she’d forgotten she ever knew. fate with that of a nation, providing a debut that exquisitely Ana Brun was awarded the Best lace draped window in which to pry Actress Award at Berlin this year for her on a section of Paraguayan society balances character study mesmerising performance – and first- that prefers to cling to the shadows with shrewd commentary time writer/director Marcelo Martinessi of its past, than embrace the future.” on class, desire, and took the Silver Bear for “a feature that — Patrick Gamble, Cine Vue opens up new perspectives.” the lingering privileges “Brun has created one of the most of Paraguay’s elite.” AUTER S Tue 21 Aug, 6.15 pm complex, fully fleshed-out over-50 B SUTER Wed 22 Aug, 11.45 am — Jay Weissberg, Variety females to ever hit the screen. Though 20 SPAIN, TURKEY

Petra

Petra (Bárbara Lennie), a painter in her 20s, arrives to take up a residency in the workshops of Jaume, a sculptor Director: Jaime Rosales of grand-scale commissions. Jaume’s Spain/France/Denmark 2018 107 mins Catalan estate encompasses forest Producers: Bárbara Díez, José María Morales, lands and a magnificent home. Invited Antonio Chavarrías, Jérôme Dopffer, to dinner by the great man’s wife Katrin Pons, Mikkel Jersin, Eva Jakobsen Screenplay: Jaime Rosales, Michel Gaztambide, Marisa (Marisa Paredes), Petra speaks Clara Roquet of art as a path to the truth. Marisa, it Photography: Hélène Louvart Editor: Lucía Casal transpires, has reason to be sceptical Music: Kristian Selin Eidnes Andersen about such idealism: the truth Petra With: Bárbara Lennie, Alex Brendemühl, Joan Botey, Marisa Paredes, Petra Martínez, seeks is the identity of her father, and Carme Pla, Oriol Pla, Chema Del Barco, she has reason to believe he might be Natalie Madueño Festivals: Cannes (Directors’ Fortnight) 2018 Jaume. This possibility rules out romantic In Spanish and Catalan, with English subtitles adventures offered by handsome Lucas CinemaScope | Censors rating tbc (Alex Brendemühl), Jaume’s intriguingly disenchanted photographer son. Jaime Rosales’ supremely elegant feature contains enough switches to furnish a soap opera and a body count akin to classical tragedy, satisfaction, is where the final chapter which it more closely resembles in should be. “An intense, cunningly tone. Rosales distances himself from As Jaume, the breaker-in-chief, structured and rewarding emotional frenzy, serving his story in Joan Botey makes an indelible screen achronological chapters, several of debut at the age of 77. Actually the item about a woman’s which bear titles that resonate with owner of the estate where the film was search for her father.” the authority of irrevocable fate. The shot, Botey may have taken the role — Jonathan Holland, Hollywood effect is curiously engaging, each scene to discourage the tourist invasion that exploring the one-to-one dynamics Hélène Louvart’s camerawork surely Reporter within a seriously broken family and encourages. In an NZIFF not short of BUTER S Fri 24 Aug, 1.45 pm their co-dependent staff. And the men behaving badly, he plays a villain A SUTER Sat 25 Aug, 3.30 pm final chapter, offering some gentle it’s a pleasure to heartily loathe.

The Wild Pear Tree Ahlat agaci

“The Wild Pear Tree is a gentle, humane, beautifully made and magnificently acted movie from the Director/Editor: Nuri Bilge Ceylan Turkish filmmaker and former Palme Turkey/France/Germany/Bulgaria 2018 | 188 mins winner Nuri Bilge Ceylan: garrulous, Producer: Zeynep Özbatur Atakan humorous and lugubrious in his Screenplay: Akın Aksu, Ebru Ceylan, unmistakable and very engaging style. Nuri Bilge Ceylan Photography: Gökhan Tiryaki It’s an unhurried, elegiac address to With: Aydin Doğu Demirkol, Murat Cemcir, the idea of childhood and your home Bennu Yildirimlar, Hazar Ergüçlü, Serkan Keskin, Tamer Levent town – and how returning to both has Festivals: Cannes (In Competition) 2018 a bittersweet savour… In Turkish with English subtitles CinemaScope | M offensive language An ambitious, malcontent young graduate and would-be writer comes back to his rural village with a diploma but no job… The graduate is Sinan (Aydın Doğu Demirkol), who has come back with ambiguous feelings about the place where he grew up. As for so many writers, his home looks wonderful when he is away from it, © NBC FILM when it is tamed and transformed by bluster and cajoling. He is a gambling his imagination. But actually being addict who has borrowed money all “Ceylan expertly draws there reminds him of all its irritations over town; his addiction has kept his your eye and ear to and absurdities. Sinan is from a village family on the poverty line… near the port of Çanakkale, a tourist The question of life, and the gamble the drama behind the destination on account of being near on life that we are required to make drama, and gives the the site of the Gallipoli campaign, and in our early 20s, runs under the most gently naturalistic also the ancient city of Troy… movie’s meandering path. It is another His father is Idris, tremendously deeply satisfying, intelligent piece of scenes the weight and played by Murat Cemcir, a man whose film-making from Ceylan.” — Peter grain of visions.” — Robbie AUTER S Sat 11 Aug, 2.45 pm youthful charm and romanticism has Bradshaw, The Guardian B SUTER Thu 16 Aug, 12.45 pm Collin, The Telegraph curdled with age into a pre-emptive UK WORLD 21

Disobedience

“Is the greater sin to defy God, or defy Director: Sebastián Lelio your true nature? It’s not a question UK 2017 | 114 mins that’s asked directly in Disobedience, Producers: Frida Torresblanco, Ed Guiney, Rachel Weisz but lingers at the edges of the turmoil Screenplay: Sebastián Lelio, Rebecca Lenkiewicz. that slowly simmers into passion Based on the novel by Naomi Alderman Photography: Danny Cohen and penitence, in a story that turns Editor: Nathan Nugent a colorful premise into a thoughtful Music: Matthew Herbert With: Rachel Weisz, Rachel McAdams, rumination on choice. Set inside the Alessandro Nivola conservative community of Orthodox Festivals: Toronto 2017; Tribeca 2018 In English, Hebrew and Yiddish, Judaism, Sebastián Lelio’s graceful with English subtitles adaptation of Naomi Alderman’s novel R13 sex scenes & sexual references is a probing look at the illusion of freedom in both religious and secular life, and the bracing reality faced by two women when the relationship between them sparks back to life. When Ronit (Rachel Weisz), a portrait photographer living in New York City, learns that her father Rav, a revered rabbi and community leader, has passed © BLEEKER STREET away, she temporarily numbs the pain After the transcendent Gloria and in booze and sex, before boarding a [last] year’s buzzworthy A Fantastic “[A] striking and warmly plane to London… Ronit has been Woman, Lelio once again shows a nuanced portrait of the disconnected for so long, she’s surprised remarkable sensitivity to the challenges to learn her former friends Dovit women face, particularly those who are kinds of women whose (Alessandro Nivola) – who became Rav’s marginalized by their age or identity… internal lives are rarely spiritual son and protegé – and Esti [He] crafts a drama that’s both sensual portrayed on screen.” (Rachel McAdams) are now married. and spiritual, deeply moving and However, Ronit and Esti have a surprise tender.” — Kevin Jagernauth, The — Andrew Barker, Variety of their own – a long buried connection Playlist AUTER S Sat 25 Aug, 5.45 pm that will be rekindled, and unravel the A SUTER Mon 27 Aug, 8.15 pm orderly world around them…

Lean on Pete

One could be forgiven for fearing Director/Screenplay: Andrew Haigh syrupy sentimentality from a drama UK 2017 | 121 mins about the emotional bond between a Producer: Tristan Goligher Photography: Magnus Jonck boy and his horse. But easy pathos isn’t Editor: Jonathan Alberts in the toolbox of British master Andrew Music: James Edward Barker With: Charlie Plummer, Chloë Sevigny, Haigh, whose last two films, Weekend Steve Buscemi, Travis Fimmel, Steve Zahn, and 45 Years, put him on the map as Justin Rain, Lewis Pullman, Bob Olin, Teyah Hartley, Alison Elliot, Amy Seimetz an understated and achingly perceptive Festivals: Venice, Telluride, Toronto, London 2017; chronicler of human relationships. Rotterdam, SXSW 2018 His focus here is on a sensitive M violence & offensive language teenager named Charley (gifted newcomer Charlie Plummer), who, in the absence of his deadbeat dad, bonds with the damaged goods (both human and equine) at his local racecourse. Taken under the wing of jaded race- circuit vet, Del (Steve Buscemi), and jockey Bonnie (Chloë Sevigny), Charley quickly empathises with a racehorse named “Lean on Pete”, especially after discovering he’s being dangerously resilience as the reality of his character’s overworked to make a quick buck. worsening situation dawns on him… “I marveled at the humanist When the fate of the horse is thrown Haigh also demonstrates his continued depth of the world Haigh into jeopardy, Charley escapes with him mastery of his craft, following here and begins an odyssey through rural in the grand tradition of US-bound creates, one that can only America that is as eye-opening as it is Euro auteurs like Wim Wenders by be rendered by a truly deeply affecting. — JF delivering an outsider’s portrait of great writer and director, “An emotionally complex film, America that’s fully attuned to both the economically scripted and full of mythic grandeur and the harsh realities working near the top of delicately crafted performances… of life in a country where wide-open his game.” — Brian Tallerico, BUTER S Fri 10 Aug, 1.30 pm Plummer is magnificent in the lead, spaces belie the high cost of freedom.” A SUTER Sun 12 Aug, 3.00 pm RogerEbert.com intuitive and naturalistic, exuding quiet — Alistair Harkness, The Scotsman 22 WORLD USA

Beirut

The magnetic Jon Hamm brings Director: Brad Anderson swagger in spades to this cracking, USA 2018 |109 mins old-fashioned spy thriller from the Producers: Mike Weber, Tony Gilroy, Shivani Rawat, Monica Levinson writer of Michael Clayton. Hamm plays Screenplay: Tony Gilroy Mason Skiles, an alcoholic ex-diplomat Photography: Bjorn Charpentier Editor: Andrew Hafitz who fled Beirut in 1972 when a terror Music: John Debney raid upended his life. When an old With: Jon Hamm, Rosamund Pike, Dean Norris, Mark Pellegrino, Larry Pine, Shea Whigham colleague is taken hostage ten years Festivals: Sundance 2018 later, and the kidnappers ask for him In English, Arabic and French, with English subtitles by name, Mason is forced to return and CinemaScope | M violence & offensive language navigate a web fraught with danger, deceit and personal demons. Viewers can expect the requisite twists and jolts of gritty action characteristic of its writer Tony Gilroy, while Hamm and a roster of ace supporting players (that includes Rosamund Pike, Shea Whigham and Dean Norris) bring welcome human gravitas to the knotty plot workings. — JF © SIFE EDDINE EL AMINE “A handsome, charismatic actor with the force of surprise… Beirut is as who has had difficulty finding film roles relevant as it is entertaining, and it is “A tense, tight kidnapping that suit him as well as his TV success very entertaining indeed.” — Kenneth thriller about shifting in Mad Men, Hamm is all he should be Turan, LA Times as the film's flawed hero, projecting “Beirut is a crafty drama that doesn’t loyalties and finding a juicy combination of weakness and depend on car crashes or shootouts redemption, Beirut marks strength that involves us completely… for its sense of propulsive action. It Jon Hamm’s finest film As any fan of the Bourne films can may be a mostly pessimistic portrait of attest, screenwriter Gilroy is a master at its time and place, but it offers hope, work to date.” — Adam laying out a twisty plot, and Anderson if only that movies of its style, scope Graham, The Detroit News BUTER S Tue 14 Aug, 4.00 pm directs with the kind of verve that and smarts can still get made.” — Ann A SUTER Fri 17 Aug, 8.15 pm enables almost all the twists to hit us Hornaday, The Washington Post

Nelson Tasman and Marlborough’s magazine

We’ve got arts covered! USA WORLD 23

A Kid Like Jake

At the outset of this smart, topical Director: Silas Howard and moving comedy-drama, one-time USA 2018 | 92 mins lawyer Alex (Claire Danes) and her Producers: Jim Parsons, Todd Spiewak, Eric Norsoph, Paul Bernon, Rachel Xiaowen Song psychiatrist husband, Greg (Jim Parsons), Screenplay: Daniel Pearle. Based on his play are plotting private school applications. Photography: Steven Capitano Calitri Editor: Michael Taylor Their young son Jake’s intelligence and Music: Roger Neill imagination have won him impressive With: Claire Danes, Jim Parsons, Octavia Spencer, Priyanka Chopra, Ann Dowd, Leo James Davis, test scores. He is also expressing a Amy Landecker preference for what Judy (Octavia Festivals: Sundance, San Francisco 2018 Spencer), the proprietor of his preschool, M offensive language labels ‘gender-variant play’. When she PRESENTED IN ASSOCIATION WITH encourages them to play up Jake’s transgender leanings so that he might be considered a ‘diverse’ candidate for a progressive school, the parents are torn. Both want what’s best for their son, but as they struggle to agree on what that might be, the identity politics they have always embraced begin to impact in painfully personal ways. These are educated, privileged “Expansively humane and funny… characters, who, along with their The drama of A Kid Like Jake, which is “A sensitive and friends, talk things out – sometimes small and contained and also somehow nuanced portrait of saying things best not said. The script, about everything, is the question of how adapted by Daniel Pearle from his own to protect someone you’re responsible modern parenting.” play, provides fuel for illuminating fire, for, or even if there’s anything to protect — David Ehrlich, Indiewire delivered by a superb cast, including them from; what to cultivate and what the redoubtable Ann Dowd as Alex’s to let run wild, and all the life-altering mother, and Amy Landecker as a choices that happen around a child patient exasperated by Greg’s Zen-like when they’re barely even old enough BUTER S Thu 9 Aug, 11.45 am calm. Director Silas Howard, trans to remember them.” — Emily Yoshida, A SUTER Fri 10 Aug, 6.15 pm himself, is a veteran of Transparent. Vulture

Juliet, Naked The Kindergarten Teacher

Director: Jesse Peretz USA 2018 | 97 mins Producers: Judd Apatow, Barry Director: Sara Colangelo Mendel, Albert Berger, Ron Yerxa, USA 2018 | 96 mins Jeffrey Soros Screenplay: Tamara Jenkins, Screenplay: Sara Colangelo. Jim Taylor, Phil Alden Robinson, Based on the film Haganenet by Evgenia Peretz. Based on the Nadav Lapid novel by Nick Hornby Photography: Pepe Avila del Pino With: Ethan Hawke, Rose Byrne, With: Maggie Gyllenhaal, Chris O’Dowd, Jimmy O. Yang Parker Sevak, Anna Baryshnikov, Festivals: Sundance 2018 Rosa Salazar, Michael Chernus, CinemaScope | Censors rating tbc Gael García Bernal Festivals: Sundance, Sydney 2018 Directing Award (Dramatic), Sundance Film Festival 2018 M offensive language © ALEX-BAILEY. COURTESY OF LIONSGATE & ROADSIDE-ATTRACTIONS Annie (Rose Byrne) has long tolerated Hornby’s smart, pop culture obsessed, “Maggie Gyllenhaal gives her best film way, even if it destroys her life. her partner Duncan’s (Chris O’Dowd) emotionally stunted characters. Juliet, performance in years as Lisa Spinelli, a Gyllenhaal, appearing in every single obsession with the obscure rocker Naked is a witty, niftily constructed and 40-year-old Staten Island teacher who scene of the film, gives a completely Tucker Crowe (Ethan Hawke), but sneakily romantic film – with a great is somewhat adrift in life. Her teenage committed, three-dimensional she’s reaching the end of her tether. soundtrack, of course. kids are more invested in Instagram performance… It’s a performance Crowe had a following in the 1990s, “The Sundance audience was than family dinners and she’s not doing always on the edge of danger as we but he disappeared after a mid-show buzzing after the premiere of Juliet, as well as she’d like in her poetry class worry with increasing alarm that Lisa breakdown, to become the subject of Naked, not because it moves the (taught by Gael García Bernal). One is going to do something very, very rumour and legend ever since – at least boundary posts but because it’s day after school, she hears one of her wrong. It’s a thriller almost, but it’s to those who care. everything a mainstream rom-com five-year-old students, a sweet boy suspense that's borne out of human No one cares more than Duncan, should be but no longer is – literate, named Jimmy Roy, recite a poem. It’s need for something real in a world who runs a fan forum for similar unpredictable, full of bustling a beauty. She becomes fascinated by that feels increasingly fake.” — Brian obsessives around the world. When a tangents.” — David Edelstein, Vulture this child who seems to enter a trance Tallerico, RogerEbert.com previously unknown demo of a Crowe and produce gorgeous, pure art… Lisa album emerges after 25 years, Annie becomes convinced that Jimmy is a finally takes to Duncan’s forum with a once-in-a-generation talent, and she’s withering review. Amongst the startled BUTER S Mon 20 Aug, 11.45 am going to do whatever it takes to help AUTER S Mon 20 Aug, 8.15 pm readers there’s one Tucker Crowe. A SUTER Fri 24 Aug, 6.15 pm that flower grow. And she’ll push back A SUTER Fri 24 Aug, 8.15 pm Perfectly cast, Jesse Peretz’s film nails against everyone who stands in her 24 WORLD USA

The Miseducation of Cameron Post

It’s 1993 in small town America and as Cameron (Chloë Grace Moretz) prepares for prom, Irma Thomas’ Director: Desiree Akhavan ‘Anyone Who Knows What Love Is’ USA 2018 | 90 mins Producers: Cecilia Frugiuele, Jonathan Montepare, plays over the proceedings. We can Michael B. Clark, Alex Turtletaub sense this is not going to end well. Screenplay: Desiree Akhavan, Cecilia Frugiuele. Based on the novel by Emily M. Danforth Before the night is over she and her Photography: Ashley Connor girlfriend Coley are caught getting Editor: Sara Shaw hot and heavy in the back of a car by Music: Julian Wass With: Chloë Grace Moretz, Sasha Lane, Cameron’s boyfriend. Just as quickly Forrest Goodluck, John Gallagher Jr., Jennifer Ehle as passion flared, Cameron is whisked Festivals: Sundance, San Francisco, Tribeca 2018 Grand Jury Prize, Sundance 2018 off to God’s Promise, a gay conversion M sex scenes, offensive language & drug use camp in remote Montana. Run by the Nurse Ratched-like Dr Lydia Marsh (Jennifer Ehle), God’s Promise works with its ‘disciples’ to identify the root cause of their same-sex attraction and cure them of their sinful ways. Cameron shares a room with the fully indoctrinated Erin, a young woman whose gender confusion and ‘SSA’ she haunting music direction. While the enthusiastically confesses stem from her leaders truly believe they are doing “Peppered with biting love of sports. Cameron’s attempts at right by these young people, Cameron humor and warmed by a fitting into the programme are written attempts to come to terms with her ‘sins’ all over her face as she searches for the before realising the truth of her situation. generous spirit that answers they want to hear rather than Featuring strong supporting extends understanding, if fighting for her truth. performances by Sasha Lane (American not forgiveness, even to Never resorting to shocking or Honey) and Forrest Goodluck (The confrontational scenes, director Desiree Revenant) as the camp’s surreptitious the religious zealot Akhavan keeps the darkness in her rebels, The Miseducation of Cameron characters.” — Leslie Felperin, B SUTER Wed 15 Aug, 2.30 pm material always hovering just on the Post is an ode to survival and finding A SUTER Fri 17 Aug, 6.15 pm Hollywood Reporter surface, blossoming with Julian Wass’ your logical family. — Kailey Carruthers

Little Woods HHM907 0518 HHM907

Director/Screenplay: Nia DaCosta USA 2018 | 103 mins Producers: Rachael Fung, Gabrielle Nadig, Tim Headington Photography: Matt Mitchell Editor: Catrin Hedström Music: Brian McOmber With: Tessa Thompson, Lily James, James Badge Dale, Lance Reddick, Luke Kirby Festivals: Tribeca 2018 Censors rating tbc

Set in a fracking boomtown in North the Canadian border, things are finally Dakota, Little Woods’ wide-open looking up: there may be a new job in This is Olivia. prairies are inhabited by people who a new town. But when her adoptive have little room to move. Trapped by sister Deb (Lily James), a struggling solo Enjoying pre-entertainment poverty and failed by a broken health mother, turns up pregnant and in need refreshments with Verena in system, for them it’s hard work for of a place to live, they need $3,000 to little return. First-timer Nia DaCosta save the family home. There’s only one the hotel lobby. has drawn a rich world of complex way to get that sort of money. characters and hard choices that recalls Little Woods is a tense watch Winter’s Bone. She expertly draws on that illuminates aspects of the US crime movie tropes to tell an important political zeitgeist from a strong female story: that of the female rural poor. perspective. This is deeply felt cinema, Ollie (Tessa Thompson) no longer a directorial debut that is not to be sells prescription drugs to those who missed. — Catherine Bisley VISIT WWW.HERITAGEHOTELS.CO.NZ FOR PRE-SHOW DINNERS can’t afford medical care. She hawks AND ACCOMMODATION PACKAGES OR CALL US ON 0800 368 888 coffee and food to cold men at cold worksites. Almost done with probation A SUTER Sun 19 Aug, 7.45 pm after being caught smuggling meds, B SUTER Tue 21 Aug, 4.00 pm mainly for her terminally ill mum, over USA WORLD 25

Puzzle

“Marc Turtletaub’s film… revels in Director: Marc Turtletaub the possibilities of finding something USA 2018 | 104 mins new in a wholly ordinary life. For Producers: Wren Arthur, Guy Stodel, Marc Turtletaub, Peter Saraf Agnes (Kelly Macdonald), that starts Screenplay: Oren Moverman with the literal opening of a birthday Photography: Chris Norr Editor: Catherine Haight gift, one that contains a 1,000-piece Music: Dustin O’Halloran jigsaw puzzle that ignites in her With: Kelly Macdonald, Irrfan Khan, David Denman, Bubba Weiler, Austin Abrams, Liv Hewson not only a new passion, but also Festivals: Sundance, Sydney 2018 the long-dormant sense that she’s M offensive language & sexual references excellent at something. And Agnes is really, really good at puzzling, a quick PRESENTED IN ASSOCIATION WITH worker who takes great pride in the finished product – before she breaks it all up to start again… Oren Moverman’s script, based on the Argentinian film by Natalia Smirnoff [NZIFF10], is graceful with the details and its characters. Agnes never went to college, lives in the same house she did while growing up with her Hungarian © CHRIS NORR immigrant dad, and looks way too looking for a partner. Agnes’ entire life young to already have two grown sons. blows up. “Puzzle is a superb Her husband Louie (David Denman, Puzzle toes a tough line, managing vehicle for the talents essentially playing the same role he did to stay relentlessly good-hearted and in The Office) is a blue-collar dude who deeply humane, even as Agnes herself of Kelly Macdonald loves his wife, but is unable to truly plunges into deeper, more dramatic and Irrfan Khan, and see her. Agnes’ world is a tight circle, waters. It’s the kind of mid-life crisis a sweet and empathetic moving between home and church and story that so rarely centers on a errands and back again… woman and Macdonald shines in the film about finally At the puzzle store, a small note role, riveting even in the quietest of finding independence.” BUTER S Fri 17 Aug, 11.30 am hangs from the register: a champion moments.” — Kate Erbland, Indiewire A SUTER Sun 19 Aug, 1.00 pm — Sydney Film Festival puzzler [charismatic Irrfan Khan] is

Searching

Winner of this year’s Sundance Audience Award, this thriller about a father’s search for his missing daughter Director: Aneesh Chaganty ratchets up astounding tension and USA 2018 | 102 mins Producers: Timur Bekmambetov, Sev Ohanian, don’t-go-there chills without ever taking Adam Sidman, Natalie Qasabian its eyes off computer screens. First-time Screenplay: Aneesh Chaganty, Sev Ohanian director and former Google commercials Photography: Juan Sebastian Baron Editors: Will Merrick, Nick Johnson creator Aneesh Chaganty proves as Music: Torin Borrowdale savvy about genre filmmaking as he is With: John Cho, Debra Messing, Joseph Lee, Michelle La, Sara Sohn about our online behaviour – not least Festivals: Sundance, San Francisco 2018 the generational differences that are Audience Award (NEXT), Sundance Film Festival M drug references played out there. Its every screenshot executed in brilliant detail, Searching begins with a moving image gallery of Kim family history, bringing us into the present tense of David (John Cho, Star Trek, Columbus) and his daughter Margot (Michelle La). They interact through frequent messaging, and are perhaps not as close as David imagines. When Will Merrick and Nick Johnson deserve Margot goes missing, David begins a special credit for assembling a complex “Shockingly effective, not frantic search with the help of Detective 3D puzzle that seems to be happening just in creating a sense Vick (Debra Messing), using multiple in real time, creating both urgency and online tools and breaking into Margot’s the illusion that we have an active role in of constant, palpable accounts on the laptop she left behind. solving it… None of this would matter tension, but also in the “Cutting to the emotional core if we didn’t care about the characters, way it pulls off authentic, of what social media says about us, and in Searching Chaganty has found the result is as much a time capsule a new idiom for communicating not effective emotional beats.” of our relationship to (and reliance only the things we share, but also those — Bryan Bishop, The Verge BUTER S Thu 9 Aug, 4.00 pm upon) modern technology as it is a we keep hidden from the ones we A SUTER Sat 11 Aug, 8.30 pm cutting-edge digital thriller… Editors love.” — Peter Debruge, Variety 26

Gurrumul REALITY FRAMING Director/Screenplay: Paul Damien Williams Australia 2017 | 100 mins Photography: Dan Maxwell, Katie Milwright, Matt Toll, Gavin Head Editors: Shannon Swan, Ken Sallows Music: Michael Hohnen, Geoffrey Gurrumul Yunupingu, Erkki Veltheim Festivals: Melbourne 2017; Berlin 2018 In English and Yolngu Matha, with English subtitles Cinemascope

“A profound and transporting and passed away last year at age 46, songline… Paul Damien Williams’ released his first solo album in 2008. poignant film captures the singular He sang mostly in the Indigenous qualities – both as an artist and a man languages of the Gumatj, Galpu and – of Geoffrey Gurrumul Yunupingu, the Djambarrpuyngu people, and attracted widely celebrated aboriginal Australian immense global acclaim, including being musician known for soulful tenor vocals hailed by Rolling Stone as ‘Australia’s that blended his traditional cultural most important voice’… For Gurrumul heritage and Yolngu language with fans, the film is obviously a must-see. Western folk, gospel and classical For those unfamiliar, or vaguely familiar elements. Approaching its reclusive with his work, it’s an even greater treat: subject with unerring respect, the they will be entertained, enthralled, elegantly composed doc mirrors the perhaps in some small way changed.” gentle power and ethereal hush of — Luke Buckmaster, The Guardian Gurrumul’s singing.” — David Rooney, Hollywood Reporter “Formerly a member of Yothu Yindi AUTER S Wed 22 Aug, 6.15 pm and Saltwater Band, Geoffrey Gurrumul B SUTER Thu 23 Aug, 1.15 pm Yunupingu, who was blind from birth

I Used to Be Normal: A Boyband Fangirl Story

Director: Jessica Leski Australia 2018 | 96 mins Producers: Jessica Leski, Rita Walsh Photography: Jason Joseffer, Simon Koloadin, Eric Laplante, Cesar Salmeron Editor: Johanna Scott The profusion of excellent documentaries Music: Jed Palmer Festivals: Hot Docs, Sydney 2018 submitted to us is staggering. We try to steer a course that favours formal sophistication and complexity, while allowing ourselves on occasion to fall for the most forthright advocacy or – hey, puppy – blatant appealsto “What was life like before One music idols, and how deep love for Direction?” Jessica Leski’s opening these groups has helped them through the heartstrings. question to 1D superfan Elif jump-starts pivotal life experiences. a vigorous investigation of the sacrifices Like a glitter cannon of boyband You will find more fine examples filling the and sweet experiences of boyband adoration, the film is bursting with Big Nights and Aotearoa sections of the fandom. Losing friends, frustrating your colour, music and its manifesto for parents and hiding a closeted obsession music lovers of any age or gender: let programme. In other words, documentaries from co-workers is par for the course, your freak flag fly proud. Release the are everywhere at NZIFF. but not all is lost for the fangirls screams and the sing-alongs and feel documented in I Used to Be Normal. the music you love unashamedly. As Leski profiles the lives and loves Dara puts it in the closing moments, of Elif, Sadia, Dara and Susan, four “What’s life without a big major women aged 16 –64 who are self- chorus?” — Kailey Carruthers confessed boyband fangirls. From Beatlemania, through Take That and the Backstreet Boys to 1D, the documentary celebrates and explores AUTER S Sat 18 Aug, 1.30 pm women’s stories of coming of age (and B SUTER Mon 20 Aug, 1.45 pm coming out) through their beloved FRAMING REALITY 27

Kusama – Infinity

Escaping a traumatic family upbringing Director/Screenplay: Heather Lenz in Japan, a young female artist hit USA 2018 | 83 mins 1960s New York determined to succeed. Producers: Karen Johnson, David Koh, Dan Braun, Heather Lenz Propelled by a psychological need to Photography: Hart Perry, Itaya Hideaki, make art for her own survival, Yayoi Ken Kobland, Takeda Shinpei Editors: Ideno Keita, Takeda Shinpei, Kusama’s extraordinary career has Carl Pfirman, Heather Lenz, Sam Karp, traversed highs and deep lows. Widely John Northrup, Nora Tennessen Music: Allyson Newman known for her polka dot covered With: Yayoi Kusama realities, she also staged public political Festivals: Sundance 2018 happenings as well as gate-crashing In English and Japanese, with English subtitles the Venice Biennale with an uninvited outdoor work. Routinely copied by male contemporaries such as Andy Warhol, she faced enormous hurdles of racism and sexism in the post-World War II American art world. Yet her relentless pursuit of recognition, and her ground- breaking use of participatory installation, eventually led her to the fame she © TOKYO LEE PRODUCTIONS INC. deserves. receives today. That’s the bittersweet Kusama literally transforms the world story of Yayoi Kusama, the 89-year-old “I hope that the power around her into colourful, boundary-less Japanese painter and sculptor whose of art can make the infinities. Now living, age 89, in a mental social-media-friendly mirror rooms have institution in Toyko, she continues to made her the most-viewed female world more peaceful.” output work which sells for millions. artist of all time. It’s vindication for a — Yayoi Kusama This is a riveting and comprehensive unique artistic vision that… created portrait of the world’s most successful soft sculptures before Claes Oldenburg, living female artist. — Jo Randerson multiples as wallpaper before Andy “Imagine if the unhappy Vincent van Warhol and mirrored rooms before AUTER S Sat 25 Aug, 1.45 pm Gogh had finally, in late middle age, Lucas Samaras.” — Kate Taylor, Globe B SUTER Mon 27 Aug, 2.00 pm witnessed the acclaim that his work and Mail

PRESENTED IN ASSOCIATION WITH The Ice King McKellen: Playing the Part

Director/Screenplay: Director: Joe Stephenson James Erskine UK 2017 | 96 mins UK 2018 | 89 mins Producers: Joe Stephenson, Producer: Victoria Gregory Mark Birmingham, Lene Bausager, Photography: Paul Williams Sophia Gibber Editor: Stephen Parkinson Photography: Eben Bolter Music: Stuart Hancock, Bratislava Editors: Joe Stephenson, Symphony Orchestra Harry Yendell Narrator: Freddie Fox Music: Peter Gabriel With: Sir Ian McKellen, Scott Chambers, Milo Parker, Luke Evans, Frances Barber, Adam Brown, Edward Petherbridge

© CHRISTIE JENKINS Trailblazing Olympic figure skater John turned his attention to his first love, Throughout this autobiographical mostly from a 14-hour interview with Curry sought to change the world dance, forming a company and taking documentary, we are presented with McKellen, supplementing it with black- of ice skating. Often hailed as the ballet on ice to some of the world’s a number of Sir Ian McKellens, and-white dramatisations and archival greatest skater of all time, Curry drew grandest venues. It’s here that the film including the actor, the gay rights material of a younger McKellen treading acclaim for his balance of artistry and takes flight with rare footage of legendary activist, and the ‘concerned older gent’. the boards across the UK. For those athleticism, bridging the divide between performances, including breathtaking solo Speaking with the gravitas that only who have only ever known McKellen dance and skating. When his coaches pieces that showcase his incredible grace. hindsight can provide, McKellen recalls as James Whale, Magneto or Gandalf, told him he was ‘too soft’ and needed The first ‘out’ Olympian, Curry became the pivotal moments in his life through watching this archival footage is both to skate like a man, Curry carved his another young talent lost to AIDS. His to his career as the leading classical an illumination and a confirmation own indelible path and, in doing so, legacy lives on in skaters like Adam actor of his generation, working with – he’s one of those rare actors who challenged what ice skating could be. Rippon who challenge the performative the likes of Maggie Smith, Albert seemingly emerged fully formed, The Ice King is a compassionately masculinity that still exists in competitive Finney and Laurence Olivier. McKellen capable of taking on the meatiest roles constructed film that explores the figure skating today. — Chris Tse recounts his longstanding fascination in the theatrical canon. — Chris Tse pressures that Curry fought against with the idea of performance and and placed on himself. Critics and how it finds its way into the everyday, fans adored him, but his struggle from market stall holders hawking with loneliness and depression often AUTER S Tue 14 Aug, 6.15 pm their wares to the fake accent he put AUTER S Sun 12 Aug, 11.00 am threatened to bring it all down. B SUTER Thu 16 Aug, 4.15 pm on to help him fit in at school. B SUTER Wed 15 Aug, 12.30 pm After retiring from competing, Curry Filmmaker Joe Stephenson draws 28 FRAMING REALITY

Pick of the Litter

Directors/Producers: Dana Nachman, Don Hardy USA 2018 | 81 mins Screenplay: Dana Nachman Photography/Editor: Don Hardy Music: Helen Jane Long Festivals: Slamdance, San Francisco, Hot Docs 2018

“Meet Patriot, Poppet, Potomac, entertainingly excels at maintaining Primrose, and Phil, five impossibly interest and building tension adorable Labrador Retriever puppies. throughout the film's succinctly We meet them at the moment of packaged 81-minute run time. their birth when they are enrolled into While Pick of the Litter stands out the national Guide Dogs for the Blind for its canine characterizations, it’s program based in San Rafael, CA. Soon fundamentally a film about the after, they are placed with temporary endlessly fascinating, constantly trainers, individuals who have evolving relationship between dogs and volunteered to shepherd the puppies humans, cultivated over millennia of through months of intensive training. advantageous interaction.” — Justin Their emotional commitment to the Lowe, Hollywood Reporter dogs is intense and inspiring, making this documentary an emotional roller coaster once we realize that not all the dogs have what it takes to succeed.” — San Francisco International Film Festival BUTER S Fri 10 Aug, 11.45 am “Juggling more than a half-dozen A SUTER Sat 18 Aug, 11.45 am storylines, Hardy’s editorial work A SUTER Sun 26 Aug, 11.00 am

PRESENTED IN Westwood: ASSOCIATION WITH Punk, Icon, Activist

Director: Lorna Tucker UK 2018 | 78 mins Producers: Eleanor Emptage, Shirine Best, Nicole Stott, John Battsek Editor: Paul Carlin Music: Dan Jones Festivals: Sundance, Sydney 2018 M offensive language & nudity

Dame Vivienne Westwood, Britain’s most Using great archival footage with iconic and iconoclastic fashion designer, commentary from friends and family, emerged from the punk movement in curators, back of house staff, models, the 1970s but has always drawn deeply Teutonic husband/design partner from historical sources in her collections. Andreas Kronthaler and above all a Those most familiar with Westwood’s blunt and caustic Westwood herself, well-documented punk back-story Tucker has managed to craft an might be surprised to find the engaging rags to riches to rags to riches septuagenarian subject is too bored story that is as much about the nuts with it to repeat the familiar stories and bolts of the business of fashion as to director Lorna Tucker. But Tucker it is about Westwood’s own inimitable has deftly turned potential chaos – a sense of style. — Angela Lassig reluctant interviewee squirming in her Programme out 9 August chair – into the anchor for her portrait: a compelling insight into what it is to be the aging head of a major, and nelsonartsfestival.co.nz fiercely independent, fashion house that BUTER S Thu 16 Aug, 11.00 am continues to grow, perhaps faster than A SUTER Sun 19 Aug, 11.15 am she can handle. FRAMING REALITY 29

McQueen

An astonishingly moving film, perfectly Directors: Ian Bonhôte, Peter Ettedgui attuned to its brilliant, troubled subject, UK 2018 | 111 mins McQueen relates the rags-to-riches- Producers: Nick Taussig, Paul Van Carter, Andee Ryder to-self-destruction trajectory of British Screenplay: Peter Ettedgui designer Alexander McQueen to the Photography: Will Pugh Editor: Cinzia Baldessari work itself with piercing acumen. Music: Michael Nyman Framing and sound design enhance the Festivals: Tribeca, Hot Docs 2018 ‘savage beauty’ of five legendary shows, Censors rating tbc their inherently cinematic nature now unleashed on the giant screen. “[Filmmakers] Ian Bonhôte and Peter Ettedgui are blessed with intimate, candid interviews with many of the people who worked closest with McQueen, as well as archival interviews with his late muse and booster Isabella Blow and his beloved mother Joyce… The shows are still the centerpieces of the film, but they take on new dimension as narrated by those who knew the designer best… His creativity fuelled a commercially What McQueen reminds those successful brand… But it also injected “Exceptionally moving… obsessives and laypeople alike is that an entire industry with possibility and a staggering visual feast.” fashion is an incredibly emotional art inspiration, and was cathartic like a form, and McQueen’s work was some great film or pop song, the operatic — Eve MacSweeney, Vogue of the most moving there was or ever awe of it all accessible to those who will be. His shows were more like will never so much as touch one of his works of modern dance or theater than haute couture creations. Bonhôte and commercial exhibitions, in which the Ettedgui make it even more accessible… only choreography was the incredibly convincingly making the argument for BUTER S Thu 9 Aug, 1.45 pm heavy, deceptively expressive act of fashion as not just art, but great art.” A SUTER Sat 11 Aug, 6.15 pm walking… — Emily Yoshida, Vulture

The Price of Everything

An eye-opening and highly entertaining Director: Nathaniel Kahn ride through the excesses of the USA 2018 | 99 mins contemporary art market, The Price of Producers: Jennifer Blei Stockman, Debi Wisch, Carla Solomon Everything loosely tracks the lead-up Photography: Bob Richman to a major Sotheby's auction in New Editor: Sabine Krayenbühl Music: Jeff Beal York City. This is a world in which visual With: Jeff Koons, Gerhard Richter, Njideka Akunyili art “has become a luxury brand,” an Crosby, Larry Poons acceptable, if not essential part of any Festivals: Sundance 2018 self-respecting super-wealthy investor’s PRESENTED IN ASSOCIATION WITH portfolio. Works are traded like stocks. There is even a futures market. Oscar-nominated director Nathaniel Kahn (My Architect) has won extraordinary access to this strange and at times intoxicating bazaar. Conceptual artist Jeff Koons guides us through the workshop where, under his instructions, technicians knock out artefacts that will sell for tens of millions despite his barely having touched them. As Zen as a comic- make beautiful things – keep it floating,” book supervillain, Koons has mastered he chuckles. At the film’s heart is Larry “A brilliant and captivating the marketplace. Some artists, not so Poons, the abstract painter who enjoyed documentary about much; they watch their works being a burst of stardom in the 60s before onsold between collectors without disappearing from view. After decades how the art world got getting so much as a sliver of kickback. of artist exile in upstate New York, converted into a money Among the other characters we meet Poons has put a new collection together; market.” — Owen Gleiberman, along the way are the auction house’s a dealer is enthusiastically arranging a encyclopaedic art expert, who disdains comeback show in Manhattan for an Variety sales to public galleries and lives for underappreciated talent. Or, to put it AUTER S Mon 20 Aug, 6.15 pm “the chase and the deal,” and an another way, for an undervalued stock. B SUTER Wed 22 Aug, 1.45 pm amiable, ancient collector. “Bubbles — Toby Manhire 30

supporting the arts since 1992 www.musselinn.co.nz FRAMING REALITY 31

The Song Keepers

In Australia’s Central Desert, west Director/Screenplay: Naina Sen of Alice Springs, a 140-year musical Australia 2017 | 88 mins legacy of ancient Aboriginal languages Producers: Rachel Clements, Naina Sen, Trisha Morton-Thomas and German Baroque chorales is Photography: Chris Phillips, Naina Sen, being preserved by four generations Raoul Amaar Abbas Editors: Bergen O’Brien, Naina Sen of women who form the Central Music: Erkki Veltheim Australian Aboriginal Women’s Choir. Festivals: Melbourne 2017 In English, Western Arrernte and Pitjantjatjara, The Lutheran hymns they sing were with English subtitles brought by missionaries who translated them into the local Arrarnta and PROUDLY SPONSORED BY Pitjantjatjara tongues. The rich choral harmonics of these 16th-century hymns feel innately sacred a world away from their origins, and no lover of the repertoire will want to miss this movie. The men in the communities have, for the most part, long defected from the missionary legacy which, several of the women here attest, disrupted traditional culture to protect women and children. Though it’s the arrival of Central Australia, her camera follows of a charismatic male conductor from the women to the small Lutheran “Naina Sen’s joyful, outside that galvanises the choir into churches of Germany, where they sing compassionate film about taking a tour of Germany, filmmaker to amazed German congregations. and installation artist Naina Sen’s film The choir’s joy is palpable (and the an Aboriginal women’s feels like privileged admission into an fun they have on the road is infectious). choir shows the complex, enclave of indigenous women. There's no simple takeaway from unexpected consequences Sen spent three years alongside the this cross-cultural exchange, but its Women’s Choir where, she reports, complexity is underscored by the most of colonisation.” “nothing happens without long-term uplifting language of all: human song. — Jack Latimore, The Guardian BUTER S Tue 28 Aug, 2.00 pm thought and consensus.” Earthed in A SUTER Wed 29 Aug, 6.15 pm the colourful landscapes and traditions

Speak Up À voix haute

Every year there’s a breakout film Director: Stéphane de Freitas at NZIFF that reminds us of the France 2017 | 96 mins importance of being seen and heard, Co-director: Ladj Ly Producers: Harry Tordjman, Anna Tordjman not least those of us who belong to Editors: Jessica Menéndez, Pierre Herbourg minority groups. This year, that film is Photography: Ladj Ly, Timothée Hilst Music: Superpoze Speak Up, an inspiring documentary In French with English subtitles that follows a group of French university students as they prepare for a public speaking competition, and, in doing so, tap into the liberating power of finding one’s own voice. The students come from a variety of academic disciplines and socio- economic backgrounds, clearly standing in for the diversity of modern-day France. Some understandably express a fear of public speaking, but all appear determined to make the most of this experience. With a training programme that © INGRID CHABERT borrows equally from creative writing – free speech, outrage culture and workshops and drama classes, the feminism are all addressed in class and “Without sentimentality, students are put through their paces by on the auditorium floor. Speak Up proves how the coaches in rhetoric, debate, slam poetry Although the contest is the film’s and acting techniques. In between endgame, it’s the journey we take art of speech is key to writing prompts, they tumble through with these hopeful orators that leaves universal understanding, physical exercises and trust games the lasting impression. Their tales of social ascension, and designed to help them draw strength homelessness, immigration and cancer from their vulnerabilities. The classroom fuel the speeches they deliver with personal revelation.” becomes not only their training ground unquestionable passion, but it’s what — New York Film Festival AUTER S Sat 25 Aug, 11.45 am but a forum in which they can debate they do with their past traumas that B SUTER Wed 29 Aug, 11.45 am issues that arise from their lessons truly inspires. — Chris Tse 32

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NELSON SCHEDULE Wednesday 8 August A 8.15 pm Breath (116) 13 Thursday 23 August ✪ 8.00 pm Woman at War (101) 3 Thursday 16 August B 11.15 am Yellow is Forbidden (97) 7 Thursday 9 August B 11.00 am Westwood: Punk, Icon… (78) 28 B 1.15 pm Gurrumul (100) 26 B 11.45 am A Kid Like Jake (92) 23 B 12.45 pm The Wild Pear Tree (188) 20 B 3.15 pm Burning (148) 5 B 1.45 pm McQueen (111) 29 B 4.15 pm The Ice King (89) 27 A 6.15 pm Paul Callaghan: Dancing… (103) 10 B 4.00 pm Searching (1) 25 A 6.15 pm Nga¯ Whanaunga… (94) 11 A 8.30 pm Dogman (103) 18 A 6.15 pm Leave No Trace (109) 6 A 8.15 pm Transit (101) 16 Friday 24 August A 8.30 pm The Guilty (85) 15 Friday 17 August B 11.30 am Girl (105) 13 Friday 10 August B 11.30 am Puzzle (104) 25 B 1.45 pm Petra (107) 20 B 11.45 am Pick of the Litter (81) 28 B 1.45 pm The Heart Dances… (99) 9 B 4.00 pm Paul Callaghan: Dancing… (103) 10 B 1.30 pm Lean on Pete (121) 21 B 3.45 pm Birds of Passage (125) 5 A 6.15 pm Juliet, Naked (97) 23 B 4.00 pm The Insult (113) 12 A 6.15 pm The Miseducation of Cameron… (90) 24 A 8.15 pm The Kindergarten Teacher (96) 23 A 6.15 pm A Kid Like Jake (92) 23 A 8.15 pm Beirut (109) 22 Saturday 25 August A 8.15 pm Climax (96) 16 Saturday 18 August A 11.45 am Speak Up (96) 31 Saturday 11 August A 11.45 am Pick of the Litter (81) 28 A 1.45 pm Kusama – Infinity (83) 27 A 11.00 am Mirai (98) 7 A 1.30 pm I Used to Be Normal… (96) 26 A 3.30 pm Petra (107) 20 A 1.00 pm New Zealand’s Best 2018 (87) 11 A 3.30 pm Shoplifters (121) 6 A 5.45 pm Disobedience (114) 21 A 2.45 pm The Wild Pear Tree (188) 20 A 6.00 pm Blue Moon (86) 8 A 8.00 pm Burning (148) 5 A 6.15 pm McQueen (111) 29 A 8.30 pm Birds of Passage (125) 5 Sunday 26 August A 8.30 pm Searching (102) 25 Sunday 19 August A 11.00 am Pick of the Litter (81) 28 Sunday 12 August A 11.15 am Westwood: Punk, Icon… (78) 28 A 1.00 pm Celia (101) 8 A 11.00 am McKellen: Playing the Part (96) 27 A 1.00 pm Puzzle (104) 25 A 3.00 pm Yellow is Forbidden (97) 7 A 1.00 pm Mirai (98) 7 A 3.15 pm The Heart Dances… (99) 9 A 5.00 pm Happy As Lazzaro (125) 19 A 3.00 pm Lean on Pete (121) 21 A 5.15 pm Wings of Desire (128) 17 A 7.30 pm Transit (101) 16 A 5.30 pm Ma¯ ui’s Hook (92) 10 A 7.45 pm Little Woods (103) 26 Monday 27 August A 7.30 pm The Insult (113) 12 Monday 20 August B 12.00 pm Celia (101) 8 Monday 13 August B 11.45 am Juliet, Naked (97) 23 B 2.00 pm Kusama – Infinity (83) 27 B 12.15 pm Ága (96) 12 B 1.45 pm I Used to Be Normal… (96) 26 B 2.15 pm Ma¯ ui’s Hook (92) 10 B 3.45 pm Blue Moon (86) 8 B 3.45 pm Wings of Desire (128) 17 B 4.15 pm Climax (96) 16 A 6.15 pm The Price of Everything (99) 29 A 6.15 pm Loveling (98) 15 A 6.15 pm 3 Faces (100) 17 A 8.15 pm The Kindergarten Teacher (96) 23 A 8.15 pm Disobedience (114) 23 A 8.15 pm Woman at War (101) 3 Tuesday 21 August Tuesday 28 August Tuesday 14 August B 11.45 am Loveling (98) 15 B 12.00 pm Cold War (89) 3 B 12.15 pm 3 Faces (100) 17 B 1.45 pm Breath (116) 13 B 2.00 pm The Song Keepers (88) 31 B 2.15 pm New Zealand’s Best 2018 (87) 11 B 4.00 pm Little Woods (103) 24 B 4.00 pm Dogman (103) 18 B 4.00 pm Beirut (109) 22 A 6.15 pm The Heiresses (98) 19 A 6.15 pm Merata: How Mum… (95) 10 A 6.15 pm The Ice King (89) 27 A 8.15 pm Angie (119) 9 A 8.15 pm Shoplifters (121) 6 A 8.15 pm Leave No Trace (109) 6 Wednesday 22 August Wednesday 29 August Wednesday 15 August B 11.45 am The Heiresses (98) 19 B 11.45 am Speak Up (96) 31 B 12.30 pm McKellen: Playing the Part (96) 27 B 1.45 pm The Price of Everything (99) 29 B 1.45 pm Merata: How Mum… (95) 10 B 2.30 pm The Miseducation of Cameron… (90) 24 B 3.45 pm Angie (119) 9 B 3.45 pm Happy As Lazzaro (125) 19 Specialist B 4.30 pm The Guilty (85) 15 A 6.15 pm Gurrumul (100) 26 A 6.15 pm The Song Keepers (88) 31 A 6.15 pm Ága (96) 12 A 8.15 pm Girl (105) 13 A 8.15 pm Cold War (89) 3

INDEX 3 Faces 17 G L Pick of the Litter 28 Commercial A Girl 13 Lean on Pete 21 The Price of Everything 29 Ága 12 The Guilty 15 Leave No Trace 6 Puzzle 25 Angie 9 Gurrumul 26 Little Woods 24 S Loveling 15 B H Searching 25 Happy as Lazzaro 19 M Beirut 22 Shoplifters 6 The Heart Dances… 9 Ma¯ui’s Hook 10 Birds of Passage 5 The Song Keepers 31 Lawyers The Heiresses 19 McKellen: Playing the Part 27 Blue Moon 8 Speak Up 31 I McQueen 29 Breath 13 T The Ice King 27 Merata: How Mum Decolonised… 10 Burning 5 Transit 16 The Insult 12 Mirai 7 C I Used to Be Normal… 26 The Miseducation of Cameron Post 24 W www.hflaw.co.nz Celia 8 J N Westwood: Punk, Icon, Activist 28 Climax 16 The Wild Pear Tree 20 Montgomery House, 2nd Floor Juliet, Naked 23 New Zealand’s Best 2018 11 Cold War 3 K Nga¯ Whanaunga… 11 Wings of Desire 17 190 Trafalgar St, Nelson D A Kid Like Jake 23 P Woman at War 3 Disobedience 21 The Kindergarten Teacher 23 Paul Callaghan: Dancing with Atoms 10 Y Telephone: (03) 539-0210 Dogman 18 Kusama – Infinity 27 Petra 20 Yellow is Forbidden 7

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