George Fenn
A psychological thriller centered around the aftermath of a traumatic childhood. Dala and Angie are the reluctant caregiver of Joel and Jimmy, two children from a broken home.
Rosie CannDead Men’s Wars, directed by Brett Adam, is a conversation, not a statement. This piece speaks to the disenchanted youth, the respectful distance we keep from extreme trauma, and the hero myths that we place on frightened, vulnerable young male soldiers.
Diesel McGrath In 1970s England an invisible war is being waged, not for control of territories, nor for the sake of profit or bloodshed, yet it is violent nonetheless; a battle for influence. Anarchism is brewing.
Rosie CannPrior to the show, we are caught up in a dream sequence as the spa/saloon/womad vibe of Finn Johansson juxtaposes fantastically with clinical cheer of the supermarket set behind him.
Ben WilsonLike a great Pixar movie Renee Liang's Bubblelands, directed with promise by first timer Amanda Grace Leo, strives to give life to the little things, and it is close but not quite there.
Rosie CannA waiata oriori to lull you to sleep. A forest of clean, jagged branches to hold you. A journey through varying time and space to provoke and comfort you in turn.
Matt LoveranesWhat does it mean to be a New Zealander?
This is a question I often ask myself. As a son of immigrant parents, I’ve always had a niggling struggle with my place as a New Zealander. Growing up with a pastiche of different cultures, oftentimes I have insecurities of my experiences not being entwined enough with local culture, not being quintessentially “New Zealand” enough. But that is my personal experience, and in seeing Tributary, I wondered how The Boat People would respond to this age old question. |