Gregory King

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…

Genuine New Zealand treasures Isey and James invite us into their lives in the week leading up to Isey's 100th birthday! A Northland celebration of life and aroha like no other!

Initially rejected because of its taboo prodding outrageous content by NZIFF Shorts programmers, the film was however supported by Producer/Programmer/Filmmaker Ant Timpson who selected it to play in his Incredibly Strange section of the Festival. Thereafter Brave Donkey became an International Festival success incl. SXSW, BFI London, Locarno and Melbourne.

"This singular, bleakly funny, R-rated vision of Kiwi life clinches King's position as the most distinctive new voice in NZ film, as insistent and inescapable as The Warehouse jingle." - New Zealand International Film Festival director Bill Godsen. Made at the beginning of the digital revolution, this micro-budget feature went on to win several awards and be selected for major Fests incl. Toronto, Locarno, Edinburgh, and Melbourne.

"This singular, bleakly funny, R-rated vision of Kiwi life clinches King's position as the most distinctive new voice in NZ film, as insistent and inescapable as The Warehouse jingle." - New Zealand International Film Festival director Bill Godsen. Made at the beginning of the digital revolution, this micro-budget feature went on to win several awards and be selected for major Fests incl. Toronto, Locarno, Edinburgh, and Melbourne.

Colin Hodson is an axiom of Aro Valley no-budget cinema. The male half of the "Uncomfortable Comfortable" couple, and director/star of "Shifter", now adds a third closely observed portrait to his gallery of passive aggressives.

In this alarming early short from Gregory King a 13-year-old boy's shoplifting escapade is narrated brilliantly by actress Madeleine Sami who performs the teenage boy incarnation of the Adult Man whose account of domestic abuse this is, while adult actors play the kids in the remembered story. What starts out as teen shenanigans (a porn stash is accrued with the five-finger discount) turns unsettling as a beating is doled out by Dad as punishment. The contrast between the naive voice and what is seen on screen - shot in hand-held close ups - is something unforgettable.

In this alarming early short from Gregory King a 13-year-old boy's shoplifting escapade is narrated brilliantly by actress Madeleine Sami who performs the teenage boy incarnation of the Adult Man whose account of domestic abuse this is, while adult actors play the kids in the remembered story. What starts out as teen shenanigans (a porn stash is accrued with the five-finger discount) turns unsettling as a beating is doled out by Dad as punishment. The contrast between the naive voice and what is seen on screen - shot in hand-held close ups - is something unforgettable.

In this alarming early short from Gregory King a 13-year-old boy's shoplifting escapade is narrated brilliantly by actress Madeleine Sami who performs the teenage boy incarnation of the Adult Man whose account of domestic abuse this is, while adult actors play the kids in the remembered story. What starts out as teen shenanigans (a porn stash is accrued with the five-finger discount) turns unsettling as a beating is doled out by Dad as punishment. The contrast between the naive voice and what is seen on screen - shot in hand-held close ups - is something unforgettable.

An experimental twist on the "fly on the wall" film. Here a handheld camera becomes the fly and the connection between three groups of modern city dwellers. Gregory King's first film won ‘Most Outstanding Achievement in a Video Production’ at the Melbourne International Film Festival. The festival hailed POP as ‘Possibly the most extraordinary film at MIFF this year…As we stand before the precipice of the next century, the film poignantly throws into question the definition of cinema itself.’

An experimental twist on the "fly on the wall" film. Here a handheld camera becomes the fly and the connection between three groups of modern city dwellers. Gregory King's first film won ‘Most Outstanding Achievement in a Video Production’ at the Melbourne International Film Festival. The festival hailed POP as ‘Possibly the most extraordinary film at MIFF this year…As we stand before the precipice of the next century, the film poignantly throws into question the definition of cinema itself.’

An experimental twist on the "fly on the wall" film. Here a handheld camera becomes the fly and the connection between three groups of modern city dwellers. Gregory King's first film won ‘Most Outstanding Achievement in a Video Production’ at the Melbourne International Film Festival. The festival hailed POP as ‘Possibly the most extraordinary film at MIFF this year…As we stand before the precipice of the next century, the film poignantly throws into question the definition of cinema itself.’