Director of Photography
Drug comedy short
The Aro Valley Digital film movement is examined through interviews with the various filmmakers and extensive clips of their work.
Editor
Helen is suffering from chronic depression and uses self inflicted pain as a means of escape. Alex loves her so keeps trying to care for her.
Director of Photography
Helen is suffering from chronic depression and uses self inflicted pain as a means of escape. Alex loves her so keeps trying to care for her.
Writer
Helen is suffering from chronic depression and uses self inflicted pain as a means of escape. Alex loves her so keeps trying to care for her.
Director
Helen is suffering from chronic depression and uses self inflicted pain as a means of escape. Alex loves her so keeps trying to care for her.
Producer
The listless love lives and insecure domestic arrangements of a group of Wellington 20-somethings are scrutinised with insight and irony in I Think I’m Going, which derives its telling title from the charmless words of the spent lover who’d suddenly prefer to be alone. (NZIFF)
Drug dealer
The listless love lives and insecure domestic arrangements of a group of Wellington 20-somethings are scrutinised with insight and irony in I Think I’m Going, which derives its telling title from the charmless words of the spent lover who’d suddenly prefer to be alone. (NZIFF)
Editor
"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.
Writer
A woman wakes up in the morning to an excessive number of phone messages from her ex-boyfriend.
Editor
A woman wakes up in the morning to an excessive number of phone messages from her ex-boyfriend.
Producer
A woman wakes up in the morning to an excessive number of phone messages from her ex-boyfriend.
Director
A woman wakes up in the morning to an excessive number of phone messages from her ex-boyfriend.
Director of Photography
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.
Producer
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.
Director of Photography
Shifter's life is a mess. His flatmates play "horrible un-music" and drink all the milk. He can't talk to his ex without arguing. He can't get his answerphone messages. His new flat is a tip, and he's having nightmares about killer rabbits -- but it gets worse... The second digital feature from the Wellington, New Zealand based Gordon Productions collective, Shifter is a paranoid black comedy about how the world is really out to get you...
Producer
Shifter's life is a mess. His flatmates play "horrible un-music" and drink all the milk. He can't talk to his ex without arguing. He can't get his answerphone messages. His new flat is a tip, and he's having nightmares about killer rabbits -- but it gets worse... The second digital feature from the Wellington, New Zealand based Gordon Productions collective, Shifter is a paranoid black comedy about how the world is really out to get you...
Slim
Shifter's life is a mess. His flatmates play "horrible un-music" and drink all the milk. He can't talk to his ex without arguing. He can't get his answerphone messages. His new flat is a tip, and he's having nightmares about killer rabbits -- but it gets worse... The second digital feature from the Wellington, New Zealand based Gordon Productions collective, Shifter is a paranoid black comedy about how the world is really out to get you...
Editor
"I wanted to take a slow, searching look at a couple in trouble – it's not punched up melodrama, just the awkward way two people try and fail to negotiate the realisation that it isn’t really working out. At the time we were working within an explicitly realist mode, somewhere between John Cassavetes and Maurice Pialat, exploring the way that improvisation generates an emotional complexity within the characters while helping to maintain an interestingly curved narrative." (Campbell Walker)
Screenplay
"I wanted to take a slow, searching look at a couple in trouble – it's not punched up melodrama, just the awkward way two people try and fail to negotiate the realisation that it isn’t really working out. At the time we were working within an explicitly realist mode, somewhere between John Cassavetes and Maurice Pialat, exploring the way that improvisation generates an emotional complexity within the characters while helping to maintain an interestingly curved narrative." (Campbell Walker)
Producer
"I wanted to take a slow, searching look at a couple in trouble – it's not punched up melodrama, just the awkward way two people try and fail to negotiate the realisation that it isn’t really working out. At the time we were working within an explicitly realist mode, somewhere between John Cassavetes and Maurice Pialat, exploring the way that improvisation generates an emotional complexity within the characters while helping to maintain an interestingly curved narrative." (Campbell Walker)
Director
"I wanted to take a slow, searching look at a couple in trouble – it's not punched up melodrama, just the awkward way two people try and fail to negotiate the realisation that it isn’t really working out. At the time we were working within an explicitly realist mode, somewhere between John Cassavetes and Maurice Pialat, exploring the way that improvisation generates an emotional complexity within the characters while helping to maintain an interestingly curved narrative." (Campbell Walker)
