Editor
たった60分で文明を荒廃させた最終戦争後の世界。残された人類は空や海、そして地を這う車輪の上に移動型の都市で創り出し、他の小さな都市を"捕食"することで資源や労働力を奪い生活している。"都市が都市を喰う"、弱肉強食の世界へと姿を変えたこの地上は、巨大移動都市"ロンドン"によって支配されようとしていた。他の都市を次々に飲み込み成長を続けるロンドンを前に、小さな都市と人々が逃げるようにして絶望的な日々を送る中、一人の少女が反撃へと動き出す。
Editor
First-year acting student Stanley mines his girlfriend's family scandal as material for the end-of-year show at drama school. The result is a moral minefield.
Editor
Shakespeare’s tale of teen love reimagined as a rock opera set in a beachside caravan park. A triumphant blast of style and 21st-century Kiwi trailer trash pop. Classic tragedy probably shouldn’t be quite this much fun.
Additional Editor
Behind the scenes look at the cult comedy series about Kiwi folk musicians Bret and Jemaine trying to make it big in their adopted home of New York. It follows the duo in the United States before and after the release of the first series, as they speak candidly about the road to fame, and we meet the other personalities, cast and crew that helped make their show a smash hit in America, NZ and the rest of the world. As Bret McKenzie's long-term partner, director Hannah Clarke was in a unique position to gain access to the Conchords at their most relaxed, as well as their most frantic and exhausted, and was able to get an up-close-and-personal glimpse into this experience. Through her insider's eye we are granted an intimate look into the lives of this great comedy act and discover how they won the hearts of America.
Editor
For the last two years, Ben has watched his best friend Phil have a sickeningly fantastic relationship with Maryann, the woman Phil snatched from under his nose. When Phil says he’s moving to Australia, this ‘perfect’ relationship starts to fall apart. Maryann asks Ben to fix things up. Unfortunately the more time Ben spends with Maryann, the more he’s attracted to her.
Editor
New Zealand’s first CGI short film gives “eyes on the road” a new meaning as a pair of eyeballs drive to a mind-bending purgatory. A collaboration between visual effects man John Sheils and his brother Michael, Scream was shot in early 1991; finally 25 minutes of footage was “brutally” edited down to three, and fulsomely scored by John Gibson. The sly ‘based on true events’ title-card nods to the makers’ ambitions to “treat animation like live action.” In 1994 it screened in NZ cinemas as opener to the ILM wizardry of Jim Carrey hit The Mask, followed by a number of overseas festivals.
