Dick Reade

Te Puhi prepares for the toughest day of her life—she must come to terms with her father’s dementia. But first, the two share a traditional meal.

Na década de 1970, Merata Mita (1942-2010) rompeu barreiras de raça, classe e gênero para se tornar a primeira mulher maori a escrever e dirigir um longa-metragem. Ela se tornou uma das cineastas mais conhecidas da Nova Zelândia e uma voz poderosa para os povos indígenas de todo o mundo. Neste filme, o filho mais novo de Merata, Hepi, cria um retrato íntimo de sua falecida mãe. Com base em imagens do trabalho da diretora, bem como em entrevistas com ela antes de pegar uma câmera, Hepi captura Merata como cineasta, mãe, esposa e mentora.

Darcy, a composer, sees colors when she plays musical notes. When she notices her usually subtle colors changing, she realizes a profound change is upon her. Over a summer month, Darcy creates a time of music and reflection that help her make a final choice.

Logan, an ex-gang leader, has left the gang life to raise his daughter Tori. But when Tori is murdered by an opposing gang in town, Logan must choose forgiveness or revenge.

Hibiscus (Suivai Pilisipi Autagavaia, from short film Manurewa) and the take no nonsense Ruth (Anna-Maree Thomas) have been friends since school. But now Hibiscus is in her final year of university, and her domineering mother doesn't want any boyfriends getting in the way; so Hibiscus enlists Ruth's help, to handle the temptations of a line of potential suitors.

When an ancient Native American spirit lost in an in-between world is seen by pizza worker Ivan he attempts to get a message across. But Ivan isn’t interested, he is on a one-week trial in this busy New York City pizzeria and cannot afford to lose the job. But some ghosts cannot rest until they are heard. Mannahatta-a compelling and at times humorous black & white film about peace & understanding.

Written and directed by Tearepa Kahi (Mt Zion) and starring Maaka Pohatu (The Modern Maori Quartet, Two Little Boys) the film tells the story of musician Dalvanius Prime and the origin of the song “Poi E”, a ground-breaking fusion of 1980s pop and traditional Māori music. “Poi E”, composed by Dalvanius and Ngoingoi Pēwhairangi and performed by the Patea Māori Club, remains the only song in Te Reo Māori to reach No 1 in the charts, over 30 years since its 1984 release.

Saving Grace - Te Whakarauora Tangata is the final work of director Merata Mita, who passed away suddenly before the film could be completed. The film addresses some of the deepest and most distressing issues Māori communities face, and shows how extraordinary creative solutions are being provided by Māori communities themselves. Mita asks Maori men to front up to some grim realities by talking openly and honestly about the violence and abuse that has plagued their communities for many years. The film is a personal response to this violence, with Mita making a case for a return to an older model of Maori manhood, when men were the ones who sweetly sang the children to sleep. “Merata intended the documentary to count in ways that mattered deeply to her and to change perceptions of abuse and violence by using themes of responsibility, redemption, revitalisation, forgiveness and, most of all, love.” - Carol Hirschfeld, Māori Television.

A documentary about the threat posed to New Zealand's Kaipara Harbour by rapacious commercial fishing and development.

Ralph Hotere (Te Aupōuri) is regarded as one of New Zealand's greatest artists. This documentary by Merata Mita provides a perspective on his world, largely by way of framing his extensive body of work. Hotere remains famously tight-lipped throughout, but there are interviews with artists, friends and commentators, alongside scenes of Hotere working and of his contemporary home context. Mita's impressionistic film is set to a Hirini Melbourne-directed score of jazz, māori and pop songs, and poetry reading by Hotere's first wife Cilla McQueen.

A Maori warrior comes upon the aftermath of a battle to find that the only survivor is a wounded enemy soldier. His wishes to avenge his fallen countrymen by finishing off this helpless enemy but the gods won't allow it (as conveyed to him through a spirit bird). Anguished that he must instead treat the soldier's wounds, he's further repelled by the soldier's incessant homosexual advances. Slowly and surprisingly, a change comes over the warrior to accept the soldier's advances, but the war all too soon intrudes upon them.

A Maori warrior comes upon the aftermath of a battle to find that the only survivor is a wounded enemy soldier. His wishes to avenge his fallen countrymen by finishing off this helpless enemy but the gods won't allow it (as conveyed to him through a spirit bird). Anguished that he must instead treat the soldier's wounds, he's further repelled by the soldier's incessant homosexual advances. Slowly and surprisingly, a change comes over the warrior to accept the soldier's advances, but the war all too soon intrudes upon them.