New zealand movies 2016 Continue In the early 1990s, the British Film Institute launched the Century of Cinema Series in an attempt to explore various examples of national cinemas around the world. The film, written and directed by Kiwi actor Sam Neill, has been a contributor to the project. Although his attitude to this topic has gradually changed, Sam Neill concluded in his documentary that the New zealand films are predominantly dark and brooding. This particular era of filmmaking began in the mid-1970s with the rise of the New Wave in cinema. Here, the themes that defined the way the New ealand public viewed themselves on screen put enormous creative pressure on local filmmakers. Since then, the national cinema of New york has experienced a number of unstable stages. Over the years, one of the greatest obstacles that the filmmakers of New York have had to overcome has been the high poppy syndrome of Kiwi culture. Local audiences have been impressed by the talents and creativity of their country's artists, so very few Kiwis will sit and watch New york made productions. National pride for the country's film industry has blossomed recently. Below is a list of the top ten examples of national cinema in New York. It is important to note that despite a key role in the creation of the influential film industry in New York, peter Jackson's Lord of the Rings and The Hobbit series were not included in this book. Instead, the films selected for the list are those that demonstrate the key characteristics of the country's culture. 10. Goodbye, Pork Pie (Geoff Murphy, 1981) Considered a New Zealand-coming-of-age film, Jeff Murphy's Goodbye Pork Pie was the first local production in the country to become a hit. The film has helped to prove that the New yorkers were very capable of making both financially and commercially successful films about New York, and now has a special cult status for many Kiwi audiences. It's a unique twist in the classic road-movie genre, where two men - John and Jerry - travel around New York in a yellow mini, from the north of Auckland south of Invercargill. Through minor setbacks such as running at a red light or forgetting to pay for gas, the duo are steadily becoming wanted criminals by local law enforcement. The key urban areas of New York are separated by kilometres of rural landscape, so the open road is an important feature that divides the population. Murphy uses the open road not only as a story device, but also to illustrate the characteristics of the nation itself - imperfect but charming clusters of towns and people who must behave in an isolated environment. Production of the film may have been fairly small in scale, with only 24 actors and crew members participating over 6 weeks in 1979. However, he quite a big trail in New zealand Movie. 9. Out of Nowhere (Robert Sarkis, 2006) For a small peaceful country like New zealand, big boom killings are a rarity. So it is not surprising that the whole nation stopped and watched with horror as the mad shooter David Gray opened fire on the small seaside community of Aramoana, killing 13 innocent residents. The 1990 massacre remains the deadliest crime shooting in the history of New York. Robert Sarkis makes the audience experience horror and tragedy in his 2006 film Out of the Blue. The filmmaker captured the violence in a realistic but restrained manner. Most of the killings appear behind-the-scenes, with Sarki choosing instead to focus on the confusion and fear of locals as they try to elude their unseen attacker. The film did face strong opposition from the village of Aramoana during pre-production, forcing the actors and film crew to shoot outside the region. However, the film received praise from local viewers after the release. Both Matthew Sunderland and Karl Urban give outstanding performances as David Gray and Constable Nick Harvey respectively. 8. Silent Earth (Geoff Murphy, 1985) If you take Peter Jackson's body work out of the mix, New zealand filmmakers tend to be quite conservative when it comes to the genre. Attempts to break away from the status quo and create bold cinematic works often do not reach the original intentions of the director. Jeff Murphy's Silent Earth is one of the nation's few forays into the science fiction genre. While the film doesn't quite encapsulate the quality audiences have come to love about sci-fi movies, it does include a distinctive representation of the Kiwi guy: the man-alone theory. This is mainly the case with what separates the men of New York from other social groups. A greater number of Kiwi men, to a certain extent, stick to a sense of morality, even if it is just a personal code to follow in life. However, different people socially separate themselves from the rest of society, representing a different group of men who are emotionally separated, lack of sexual intimacy and find themselves driven by circumstances, approaching it in their own way. Murphy's film takes place in post-apocalyptic New York, and spends time creating the isolation of the main character zack Hobson - portrayed by Kiwi legend Bruno Lawrence. The director relies on the distinctive features of one person to flesh out the manners of zack and the methods of survival. While zack is eventually in contact with other survivors - even engaging in a sex act with one of them - his inability to go beyond his own self-preservation keeps him emotionally distanced from the others. 7. Once were warriors (Lee Tamahori, 1994) Each country has its own pros and cons, and New zealand does not Exception. The nation was pretty pretty in the past, when it comes to domestic violence. In 2011, a United Nations report found that there was a high level of domestic violence and maternal mortality in New York compared to other OECD countries. Lee Tamahori's 1994 film Once Upon a Time were Warriors, based on Alan Duff's controversial novel, depicts the heartbreaking atrocities behind the issue. Set in a rough suburb of southern Auckland, the film focuses on the challenges faced by the modern Maori family - mostly caused by their unstable patriarch Jake Moose Hecke. And the film's narrative and visual technique creatively provide solid images of the breakup in the Hecke family, caused by Jake's violent outbursts and his wife's submission to the physical abuse she endlessly receives. Often using camera imagery, Tamahori intends to capture the injury; scaling on every fist movement. Here the director is able to break the barrier between the chaotic atmosphere of history and reality, so that the audience not only witnessed the violence, but also experienced it. 6. Whale Rider (Niki Caro, 2002) The traditions and heritage of the indigenous peoples of New York, maori, play an important role in national culture. One of the central themes of the Maori tradition is the unity and importance of the Vanau (family). This topic is explored in Nicky Caro's Keith Ryder. Based on Viti Ihimera's famous tale of how Maori religion intertwines in the dynamics of the modern family, the film focuses on the upbringing of a young Maori girl named Pai (played by Keisha Castle-Hughes in her debut play). Pai must overcome oppression in order to gain the respect and love of his proud but stubborn grandfather Koro; a descendant of the Maori mythical Paikea, who struggles to recognize that the leadership of his hapu (tribe) should soon pass into the hands of a woman. The director relies heavily on symbolism throughout the film to successfully convey both the beauty and imperfection of the Maori tradition in modern society. Caro achieves this by effectively using a character-driven plot, comparing Pai's story and her family's situation with a small pod of whales. It is this supernatural identification with whales, culminating in the re-acceptance of the main character of the mythical journey of her ancestor, once moved across the ocean on a whale back, confirms her rightful place in both her tribe and in the heart of her grandfather. Subscribe by email or RSS Feed wikimedia list of articles This film, TV or video related list is incomplete; You can help by expanding it with reliably sourced add-ons. This is a list of feature films produced or made in New York, ordered by the year of release. The key issue is partly funded by the New ealand Film Commission. † year is given main photo, not release. The name of the 1910s Genre Notes 1913 Hinemoa Gaston Melies The first feature film of New York; Lost as Chef Te Ponga won his fiancee Gaston Melis, the lost Maori Chief Gaston Melies, losing in 1914 the documentary The River Of Wanganui Gaston Melis 1914 Hinemoa George Tarr Romance The first feature film with a New york producer and director; The lost 1916 Love maori Dev Raymond Longford lost the Bounty Bounty Rebellion lost in the 1920s. 1921 Behind William Desmond Taylor lost 2 The traitor Beaumont Smith lost the Bloke from Freemans Bay Rudall Hayward 1922 The birth of New zealand Reynolds Harrington Harrington Earliest a New zealand film whose footage (snippets only) is known to still exist. My Lady Caves Rudall Hayward Ten Thousand Miles in the Southern Cross george Tarr Documentary / Travelogue 1923 Romance of Sleepy Hollow Henry J. Makepeace lost 1924 Rewi's Last Stand Rudall Hayward fragments only remain 2 Venus of the Southern Seas James R.