Ginny Loane

참여 작품

저스티스 오브 버니 킹
Director of Photography
도로에서 차를 닦으며 번 푼돈으로 하루하루를 살아가는 ‘버니’. 비록 정당방위였지만 남편을 살해한 죄로 전과자가 된 탓에 제대로 된 일자리는커녕 집조차 구하지 못하고, ‘버니’의 두 아이는 위탁 가정에 맡겨져 떨어져 지내게 된다. 접견일에 아이들을 보는 것이 유일한 낙인 그녀의 소원은 하루빨리 집을 얻어 아이들과 함께 사는 것. 여동생의 집에 얹혀살던 어느 날, '버니'는 조카 '토냐'가 자신의 매제인 의붓아버지에게 추행 당하는 모습을 목격한다. 동생에게 사실대로 말하지만 오히려 집에서 쫓겨나게 되고, '토냐'를 그 집에 둘 수 없었던 '버니'는 '토냐'와 함께 떠돌이 생활을 하게 된다. 곧 다가오는 딸의 생일에는 기필코 집을 구해 아이들과 '토냐'와 함께 하겠다 다짐한 ‘버니’는 아이들과 접견이 거부되자, 딸의 생일 파티를 해주겠다는 일념 하나로 자신의 방식대로 사투를 벌이기 시작하는데…
Krystal
Director of Photography
A young Māori women is released from prison and not given the proper support she needs.
이별 조작단
Director of Photography
열정이 식었다. 이별은 두렵다. 사랑을 끝내고 싶은 고객을 위해 이별을 대행하는 진과 멜. 하지만 멜이 점점 죄책감을 느끼면서, 둘의 우정이 끝장날 위기에 처한다.
Jean
Director of Photography
The true story of Jean Batten is of a daughter determined to live up to a powerful mother, desperate to leave a mark on the world – and prepared to go to the ends of the earth to do so. This is the story of JEAN.
더 페이트리아크
Director of Photography
It is the 1960s. Two Maori families, the Mahanas and the Poatas, make a living shearing sheep on the east coast of New Zealand. The two clans, who are bitter enemies, face each other as rivals at the annual sheep shearing competitions. Simeon is a 14-year-old scion of the Mahana clan. A courageous schoolboy, he rebels against his authoritarian grandfather Tamihana and his traditional ways of thinking and begins to unravel the reasons for the long-standing feud between the two families. Before long, the hierarchies and established structures of the community are in disarray because Tamihana, who is as stubborn as he is proud, is not prepared to acquiesce and pursue new paths. The story is adapted from Witi Ihimaera's novel Bulibasha: King of the Gypsies.
Apis
Director of Photography
This is a story about fear and fate, explored through the experience of both the victim and the perpetrator. A young woman home alone receives a call from a stranger, a young man asking her to the pictures. She declines but later finds the man with a knife standing in her dining room. He wants to have sex with her and seems confused about whether his intentions are brutal or romantic. Seeing his confusion and fear she talks him into letting her go outside to bring the washing. He holds his knife at her back – she realises she has no chance of escape. As they are walking back across the lawn to the house she is stung by a bee. She collapses. Weeping she tells him she is allergic to bees and convinces him to go inside to get vinegar from the kitchen to stop the swelling. As soon as he is out of sight she is up and running in one fluid movement. The intruder is left standing desolate on the lawn with the vinegar bottle – his fantasy unravelled. We find him at the pictures alone.
Theodora
Editor
Alzheimers is pushing Meredith out of her home, but Theodora may not leave her kingdom.
Consent: The Louise Nicholas Story
Director of Photography
Based on the best-selling book 'My Story' this feature length drama goes beyond the headlines to tell an intimate story about secrets and one woman's struggle to have them heard. In 1993 Louise Nicholas made her first shocking accusations about being raped by policemen. Some believed her, many didn't. CONSENT tells the story of the senior policeman who went to great lengths to help her fight her case, the journalist who exposed the truth, and the family at the center of the storm.
Shopping
Director of Photography
Living in New Zealand in 1981 amid high racial tension, Willie, a half-Samoan teenager, is coming into his own. With an unpredictable father, Willie spends most of his time working at a department store or taking care of his little brother, Solomon. A chance encounter at work with an eccentric and charming “shopper” named Bennie lures Willie into a world without rules. As Willie begins to find a place in Bennie’s reckless nest of criminals, Solomon grows increasingly vulnerable to their father’s violent tendencies.
Blue
Cinematography
Blue follows the anguished life of a washed up television character.