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Tuesday 19 May 2020
Kia ora,
We hope you have all kept safe and well during this challenging period. We are pleased to be in Level 2 and look forward to seeing people and productions getting back to work.
This is the first NZFC newsletter of 2020. We were preparing to publish our usual post Board meeting newsletter in March, but COVID-19 upended everyone’s plans, and the need for frequent and transparent advisories became especially important and our focus.
So this is a bumper newsletter covering news, events, successes and happenings since our last one in December. Some of the topics covered are:
- Changes to the NZFC's Terms of Trade in response to COVID-19
- New funding opportunities
- NZFC Live Q & A sessions
- The results of the December pulse survey
- Funding decisions
- Upcoming international opportunities
- Festival opportunities and deadlines
Meanwhile, please continue to keep safe and observe the Government’s COVID-19 guidelines and recommendations.
Annabelle Sheehan, CEO
COVID-19 Changes to NZFC Terms of Trade
The global pandemic has caused significant change to film distribution, exhibition and insurance. These key areas have disrupted the financing structures that underpin how films are packaged.
In response, the NZFC has developed a policy document outlining changes to its Terms of Trade and funding guidelines to give productions the best chance to be completed and released. This policy will apply to applications up to December 31, 2020 and will be reviewed at that point.
You can read the COVID-19 Policy here.
New Zealand Implements Screen Sector Health and Safety Protocols
The New Zealand Screen industry’s COVID-19 Health and Safety Standard and Protocols were endorsed on 7 May by New Zealand Government agency WorkSafe, laying the way clear for local production to re-start in New Zealand.
Funded by the New Zealand Film Commission (NZFC), the Standard and Protocols were developed by ScreenSafe, with a team of industry experts. Together the documents outline the principles of safe production and provide information about systems and resources to ensure working safely in New Zealand. The Standard and Protocols will include templates and production guidance and can be found here. The full ScreenSafe COVID-19 Health and Safety Production Toolkit which will include more detailed scenarios, useful templates and contacts, will be finalised soon. More...
New Talent Development Funding
2020 Gender Scholarship
The NZFC's annual Gender Scholarship award recognises and celebrates women in the screen industry and is aimed at supporting their career progression. NZFC is excited to be working with Jackie van Beek and Madeleine Sami as patrons of this year’s NZFC Gender Scholarship which has a focus on comedy.
Since 2015, the NZFC has awarded an annual scholarship to female filmmakers in areas of the industry where female participation has historically been low. Past scholarships have been awarded to female cinematographers, directors, wahine Māori directors and Pacific Island screen writers.
The 2020 award celebrates female comedy creators, writers, directors and performers.
There are five $10,000 grants available for women who are creating comedic content. Jackie and Madeleine are keen to hear from those passionate about their creative work, can prove they have been working hard writing and/or creating comedic content and maybe haven’t had too much success getting financial support previously. More...
You can watch Jackie and Madeline introduce the scholarships here.
Hunga Taunaki ā Rorohiko Online Mentorship Programme
Talent Development funding supports the development of sustainable and successful career pathways. Mentorship is one of the most effective means to support filmmakers to progress their careers.
The Hunga Taunaki ā Rorohiko - Online Mentorship Programme is focused on learning, project and career development for writers, directors, cinematographers and production designers who are at mid-career stage.
The programme will involve paid opportunities for mid-career filmmakers to connect with established filmmakers. Although project driven these mentorships will also focus on skills and craft development and be open to writers, directors, cinematographers and production designers. More...
Michael Bennett 2020 Te Aupounamu Māori Screen Excellence Award Recipient
Te Tumu Whakaata Taonga New Zealand Film Commission announced writer/director Michael Bennett as this year’s recipient of Te Aupounamu Māori Screen Excellence award grant of $50,000 to support his professional development and projects.
With a career in film and television that has spanned more than twenty years, Bennett’s work has been recognised with numerous awards and accolades including the 2019 New Zealand Film and Television Awards for Best Drama Director and Best Drama Feature for In Dark Places; and a 2010 New Zealand Scriptwriting Award for feature film Matariki. His short and feature films have screened at numerous international film festivals including Cannes, Toronto and Berlin.
Bennett’s body of work demonstrates a commitment to telling stories about Māori characters and issues important to Māori communities. More...
NZFC Q&A Events
On Tuesday 28 April the NZFC held its inaugural live Q&A event with CEO Annabelle Sheehan, Head of Development and Production Leanne Saunders and Pou Whakahaere Karen Waaka-Tibble.
Over 300 people attended the event where Annabelle, Leanne and Karen answered questions posed by moderator Molly Littlejohn covering three topics: COVID-19, BOOST and BOOST UP funding and the funding programmes under Te Rautaki Māori. You can view the session here.
A second live Q&A session was held on Tuesday 12 May with Annabelle joining Head of Marketing Jasmin McSweeney and Head of International Relations Chris Payne to talk about the international marketplace under COVID-19. Over 200 people joined to hear about this more specific topic. You can view the session here.
We'd like to thank everyone for joining and for submitting their questions. The next NZFC Live Q&A sessions will be announced soon.
Pulse Survey
In December 2019 the NZFC undertook a ‘pulse survey’ to check in with industry stakeholders on any concerns or un-met requirements.
320 screen industry stakeholders participated, 93% of whom had engaged with the NZFC in the last 24 months. Thank you to everyone who took the time to participate.
Key findings show that 84% of respondents are satisfied in their interactions with the NZFC overall. 60% rated their experience as either ‘good’ or ‘excellent’, with only 16% rating their experience as ‘unsatisfactory’ or ‘very unsatisfactory’.
You can see the full survey results on our website.
Open ended questions allowed people to give more specific feedback and we were grateful to receive a large number of comments, both positive and negative and will prioritise working on the aspects where it is apparent improvement is needed.
Feature Film Production Investment Funding Decisions
The Board approved two applications for production financing at the April meeting.
In the latest production funding round the NZFC is pleased to support projects focused on LGBTQi and Māori audiences. These include production investment for Welby Ing's (Ngāti Raukawa) directorial feature debut Punch, and post-production investment in innovative low budget drama Rūrangi from writers Cole Meyers and Oliver Page with director Maxwell Currie, producer Craig Gainsborough and co-producers Cole Meyers, Tweedie Waititi, Max Currie and Melissa Nickerson.
Ings' previous three short films Boy, Munted and Sparrow have played in over 80 international film festivals, and he has also toured his films domestically building up niche audiences. Punch is produced by Robin Murphy with executive producer Catherine Fitzgerald. Vendetta will distribute in NZ and Australia and ROW sales will be handled by Yellow Affair.
Rūrangi was initially conceived and produced as a web-series and producer, Craig Gainsborough, was included in the Berlinale Co-Production Market Visitors Programme 2020. It promises to deliver as a credible standalone feature film that wrestles with important issues of mental health, generational reconciliation, environmental degradation told in a fresh and authentic way and it features a wide range of people from the queer and trans/gender diverse community. Director Currie has worked across film and television including Shortland Street, Queer Nation as well as his debut feature Everything We Loved. International sales will be handled by Yellow Affair.
Fresh Shorts Funding Announcement
Six filmmaking teams were offered funding in the 2019-20 Fresh Shorts round and will receive a grant of $15,000 to put toward the making of their short films.
Boyo and Bunny written and directed by Oscar Enberg and produced by Tara Riddell.
Anticipating the imminent arrival of houseguests, recently orphaned adult twins navigate the moral boundaries and physical limits of their new family unit.
Daughter of God written and directed by Maza White and produced by Jen Huang
When an arranged marriage is sprung upon an Iranian-Kiwi daughter, she must either dishonour family tradition or lose the woman she loves.
Firsts written and directed by Jesse Ung and produced by Elanor McKenzie
A closeted Chinese international student must confront the disparity between his parents’ expectations and his own desires after deciding to lose his virginity to a stranger he met online.
Only Those That Can Resist written and directed by Sarah Gronhert and produced by Louise Spraggon
When a male stranger interrupts the deeply entwined rural lives of a mother and her young adult daughter, they are forced to break their intense bond and set each other free.
Perianayaki written and directed by Bala Murali Shingadeand produced by Shreya Gejji
Sri Lankan immigrant Perianayaki struggles to fit in as she goes about her day stacking supermarket shelves. Today, on her wedding anniversary, she is forced to reconcile with the bittersweet realities of her life.
Tupu'ana: Mother Tongue written by Luciane Buchanan, directed by Vea Mafile'o and produced by Eldon Booth and Alex Lovell
When a young speech therapist lies about her Tongan language skills for a job, she must find a way to communicate or risk her patient’s life.
Catalyst Funding Decisions
Catalyst He Kauahi supports New Zealand filmmakers to progress their talents to the next stage and make exceptional, high end narrative short films that will ignite the flame and be the catalyst for change in their career.
Three teams have been offered funding in the March 2020 round, of up to $90,000 to make their short film, and $10,000 to put toward the development of a feature film concept.
Good Morning Stonus written and directed by Christian Nicolson and produced by Jacqui Gilbert.
On a quest for a free breakfast, a man unwittingly becomes part of an interstellar war.
Maunga Cassino written by Rob Mokaraka, directed by Paolo Rotondo and produced by Andrew Marshall and Luke Robinson.
A Māori Warrior, an Italian deserter and a scrawny rooster are trapped behind enemy lines in World War 2. What could go wrong?
Washday written and directed by Kath Akuhata-Brown and produced by Verity Mackintosh.
A young child tries to fly away to be with her deceased mother. She succeeds.
Early Development Funding Decisions
Assessors have been struck by the diversity of recent EDF/DDF applications - both in the make up of the creative collaborator/teams and in the story content itself. Among 23 projects submitted for the March round, 18 were dramas and five were documentaries. Of those, six dramas and two documentaries were successful (roughly a third), and the creative talent behind them is refreshingly diverse; young Asian/NZ female writers, gay/queer writers, women writers, first time writer-directors and one project with Pasifika characters and storyline.
All the successful projects reflect New Zealand’s diverse cultural makeup and are crafted into a wide range of genres from comedy, coming of age, rom.com, horror and drama. The two successful documentaries are at either end of a scale; one a global exploration of an artistic phenomenon and the other an intensely local exploration of parochial New Zealand community. We congratulate all these projects and teams and support their journey to the screen.
Big Girls Don't Cry, written and directed by Paloma Schneideman and produced by Vicky Pope
New Zealand summer, 2007. 13 year-old Sid Bookman wants everyone to see her as an adult, but she still needs to be loved like a child.
Caterpillar, written and directed by Chelsie Preston Crayford and produced by Georgina Conder and Andrew Marshall
Following a dementia diagnosis,
three imperfect generations of a matriarchy grapple with growth, death and ageing in their own haphazard way
Miracle, written by Paul Oremland and Dianna Fuemana, directed by Oremland and produced by Ngaire Fuata and Brian Holland
When a media storm threatens the marriage between a gay vicar and his Sāmoan boyfriend, God steps in!
Grafted, written by Hweiling Ow and Mia Maramara, directed by Ow and produced by Murray Francis and Tim White
When an awkward but brilliant Chinese student wins a scholarship into a prestigious University, she tries to fulfill her father's legacy one bloody body at a time.
Love in the Time of Cabbages, written by Chy-Ling Huang and produced by Jonathan Zsofi
Two rival Asian Screenwriters learn unexpected lessons about life and love when they are hired to write a career-making series about early Indian and Chinese immigrants in New Zealand.
Sputnik, written by Stephen Sinclair and Paul Roukchan, directed by Sinclair and produced by Orlando Stewart
When Russian immigrant Nadya develops early onset Alzheimers, her husband goes to extremes to keep her engaged and in the present – by building a rocket in the backyard!
The Coffin Club, directed by Noel Smyth and produced by Fergus Grady
After discovering she has terminal Cancer, Liz takes control by building her own coffin and comes to realise she doesn’t need to face death alone.
The Outsider, written and directed by Ian Mune and produced by Kim Hegan, Jill Macnab, Phil Bremner and Dianne Swann
Guided by Kiwi maestro, Paul Bosauder, dive deep inside Flamenco, discover its unexpected origins in the deserts of Rajasthan, and be part of the ever-evolving world of contemporary Flamenco in the Spanish heartland.
Filmmaker Opportunities
Upcoming Festival Deadlines
Even though there is uncertainty about festivals going ahead – either online or on location, festival selectors continue to watch and consider films. Festivals currently accepting submissions are:
Hawaii International Film Festival – Regular deadline 15/05/2020
Fantoche International Animation Film Festival – Regular deadline 15/05/2020
Rhode Island International Film Festival – Regular deadline 15/05/2020
Mill Valley Film Festival – Deadline 15/05/2020
DC Shorts International Film Festival – Extended deadline 15/05/2020
LA Shorts International Film Festival – Late deadline 15/05/2020
Toronto International Film Festival – Regular deadline 29/5/2020
imagineNATIVE Film + Media Arts Festival – Deadline 29/05/2020
Aesthetica Short Film Festival – Deadline 31/05/2020
Uppsala International Film Festival – Deadline 31/05/2020
BFI London Film Festival – Regular deadline 05/06/2020
Vladivostok International Film Festival ‘Pacific Meridian’ – Deadline 10/06/2020
Venice Film Festival – Deadline 12/06/2020
San Sebastian International Film Festival - Deadline 15/06/2020
Venice Days – Deadline 19/06/2020
Zurich Film Festival – Deadline 30/06/2020
Venice International Film Critics’ Week – Deadline 01/07/2020
Telluride Film Festival – Deadline 01/07/2020
Tallinn Black Nights Film Festival – Regular deadline 01/07/2020
Make sure to join our Facebook Industry group to follow weekly ‘Festival Friday’ submission deadline reminders!
Upcoming International Activity
Cannes Virtual MarketWhilst the Cannes Film Festival has been postponed, the Marche du Film, which runs alongside the Festival, will operate virtually this year from 22 – 26 June. Registrations are now open for virtual Cannes, with more information about how the market will operate and the benefits of attending.
The NZFC will also have a virtual booth in the market pavilion this year -more information will be shared about this closer to the market dates.
Cannes Docs
New Zealand is participating in the virtual version of Cannes Docs this year, with four documentaries in post-production or close to completion selected to present and screen ten minutes of their films to sales agents, buyers and film festival programmers.
Aotearoa Voices at Clermont-Ferrand
NZFC Pou Whakahaere Karen Waaka-Tibble at the Aotearoa Voices stand at the Clermont-Ferrand Short Film Festival and Market
Ngā arawhata ki te ao - The stairway to the world
In February 2020, filmmakers and NZFC staff, Dale Corlett. Karen Waaka-Tibble and Hayley Weston attended the Clermont-Ferrand Film Market and Festival, the largest short film market in the word.
The festival hosted the European premiere of Fresh Short film, Daniel, written and directed by Claire van Beek and produced by Alix Whittaker. Both filmmakers attended the festival with support from the NZFC.
Having not had a formal NZFC presence in the market since 2014, this year the focus was on highlighting Aotearoa voices, particularly those of Māori and Pacific Island filmmakers.
The purpose of attending Clermont-Ferrand was to create an ‘in-market talent development’ opportunity for the three filmmakers - Piripi Curtis, Ngaire Fuata and Libby Hakaria - the NZFC supported to attend. These filmmakers were selected to present their slates and develop their market experience. The exposure and understanding of sales, distribution and investment at markets like Clermont- Ferrand offered valuable opportunities for these filmmakers to make and build relationships, and showcase their completed films and test interest in upcoming projects
The NZFC hosted an Aotearoa Voices stand in the market where sales agents, buyers, distributors and programmers could meet and find out more about New Zealand short films. A morning tea event for all industry guests allowed the attending filmmakers networking opportunities. A market screening of New Zealand short films was held for festival programmers and distributors.
In addition, NZFC staff attended a wide variety of events and met with sales agents, distributors and festival programmers. They also met with our other international partners who work across both talent and indigenous development.
Hot Mother
Festival & International Release News
Short films Tama Tu and Ross & Beth are screening as part of the Hawaii International Film Festival’s Spring Showcase, now launched online due to the COVID-19 restrictions. The Best of HIFF shorts can be viewed here.
Vai won the ‘Best Feature Narrative Award’ at DisOrient Asian American Film Festival in Oregon. This follows screenings earlier in 2020 at the Smithsonian Mother Tongue Film Festival in Washington DC, IFEMA International Female Film Festival Malmö and Femspectives Film Festival Glasgow.
Kino Lorber released Capital in the Twenty-First Century in the US late last month to great reviews. Variety said “Capital in the Twenty-First Century, adapted by the New Zealand director Justin Pemberton and Piketty himself, turns the book into a fleetly entertaining lecture-meditation that takes the full measure of our economic peril yet isn’t above spicing its message with brain-candy montages set to “Royals” and “Kids in America.” It zooms by in a little over 90 minutes, and by the end it will spin your head around." You can read the full review here in Variety and read what the Hollywood Reporter had to say here.
Camino Skies, the debut feature documentary from filmmaking team Noel Smyth and Fergus Grady was released by Parkland Pictures in the UK and Ireland on Friday 8 May on premium VOD platform Curzon Home Cinema followed by a live streamed director Q&A on 13 May before being launched across all digital platforms in June.
Short film Hot Mother, written and directed by Lucy Knox, produced by Eve Mackay and co-produced by W.A.M. Bleakley had its world premiere in February in the Generation 14plus competition of the Berlin International Film Festival.
Daniel, screened in competition at the 2020 Clermont Ferrand International Short Film Festival, with writer/director Claire van Beek and producer Alix Whittaker in attendance with travel support from the New Zealand Film Commission. The film was acquired in market by Paris based international distributor Premium Films.
Congratulations go to...
Taika Waititi for being announced as the director and co-writer of the next film in the long-running and phenomenally successful Star Wars franchise.
Tanu Gago whose short film, Apparatus, screened at the International Film Festival Rotterdam in late January as part of the festival’s Bodily Rituals programme.
Janine Randerson whose short film, Waiho, Retreat, screened at the International Film Festival Rotterdam in late January as part of a festival’s Bright Future programme.
Isaac Knights-Washbourn whose short film, Money Honey, screened at the Berlin International Film Festival in the Festival’s Generation KPlus section.
Tusi Tamasese and Catherine Fitzgerald whose project Sweet Lips was selected from over 300 projects to participate in the 2020 Berlinale Co-Production Market.
Taika Waititi for his Best Adapted Screenplay Academy Award for Jojo Rabbit as well as numerous other nominations throughout the 2019-20 awards season.
Chelsea Winstanley, Carthew Neal and Taika Waititi for Jojo Rabbit's Best Picture nomination at this year's Academy Awards.
Tom Eagles for the ACE Eddie award for Best Edited Comedy Film for his work on Jojo Rabbit. Tom was also nominated as Best Editor at the Academy Awards, and was nominated in this category for a number of other awards as well.
Ra Vincent for receiving multiple nominations during the 2019-20 awards season for his production design work on Jojo Rabbit, including nominations at the BAFTAs and Academy Awards.
Sasha Rainbow and Rosalind Croad on their short film, Kamali, BAFTA nomination.
Anthony McCarten for the numerous nominations The Two Popes received for Best Adapted Screenplay during the 2019-20 awards season including the BAFTA and Academy Award.
Bill Gosden and John Barnett for recognition of their services to the New Zealand film industry in the 2020 New Years Honours, John was made a Companion of the New Zealand Order of Merit and Bill was made an Officer of the New Zealand Order of Merit.
Vale Dean Parker
It is with sadness, the New Zealand Film Commission (NZFC) acknowledges the passing of Dean Parker on 14 April.
A prolific writer for radio, stage, film and television, Dean Parker’s first play, Smack, was performed at Wellington’s Downstage Theatre in 1974, and his last, Wonderful, finished its run at Wellington’s Circa Theatre in February of this year. In between, he wrote over fifty more, as well as being an award-winning screenwriter for film and television.
Living in London in the 1960s, Parker became involved in left-wing politics, something that informed his work upon his return to New Zealand in the 1970s.
Parker’s adaptation of Ronald Hugh Morrieson’s Came a Hot Friday remains one of New Zealand’s most beloved comedy films and was awarded the Best Film Screenplay Award at the 1985 Film and Television Awards.
Television work included adapting Ngaio Marsh’s Opening Night, a crime drama set in a theatre, which became the first New Zealand television drama to screen in the USA, and Kiwi-Welsh rugby film, Old Scores which he co-wrote with Greg McGee. He and McGee received the 1990 Best Film Screenplay award and the pair continued to work together, on trucking series Roche and goldmining drama, Gold.
In 2010 Parker was made a Laureate by the Arts Foundation, and in 2012 became the inaugural winner of the Playmarket Award. Throughout his career Parker was a strong supporter of the Writer’s Guild and involved in numerous political and social movements.
A regular contributor to the New Zealand Herald and New Zealand Listener, Parker made a late–career shift to writing prose fiction alongside the drama he is best known for.
Our condolences go to his partner, Isabel and son Emmet
RIP Bruce Allpress
The NZFC was saddened to hear of the death of veteran actor Bruce Allpress on 23 April at the age of 89.
Allpress began his acting career in television in the mid 1960s and continued performing on screens large and small for much of his life, predominantly in supporting roles. His role as Jocko in 1980's tele-feature High Country led to a spin-off series named for the character and garnered two Feltex Best Actor Awards for Allpress.
In 1981 he took the role of Uncle Athol in Sam Pillsbury's adaptation of Ronald Hugh Morrieson's The Scarecrow. He followed this with a small role in another Morrieson adaptation, Came A Hot Friday.
Other films include Beyond Reasonable Doubt, Bad Blood, The Piano, The Lord of the Rings: The Two Towers and Rest for the Wicked.
In addition to acting, Allpress worked as a textile designer and ran an antiques store in his home suburb of Albany, in Auckland.
NZFC News
Whakawhanake Kiriata: Māori Film Development Funds Open
Three strands of project development funding have been launched under the umbrella of Whakawhanake Kiriata: Māori Film Project Development Fund, each focusing on different areas of project development.
- Hāpaitia i Te Kaupapa Kiriata: Māori Feature Film Support Fund - bespoke development support for Māori led projects.
- Tuhinga Reo Māori: Te Reo Māori Development Fund - development support for projects in te reo Māori
- He Ara: Pathway for Māori and Pacific Island Screen Practitioners Fund - support for Māori and/or Pacific Island filmmakers to create a diverse range of quality New Zealand films shaped through their own development framework. More...
Australian International Documentary Conference
In early March, Head of Development & Production, Leanne Saunders attended the Australian International Documentary Conference where she met with filmmakers and buyers including Netflix, to discuss trends and initiatives.
While in Melbourne, Leanne also participated in a Film Victoria led roundtable discussion with Australian Screen agencies on the best practices for documentary development and production.
NZ Film On Demand
NZ Film On Demand is the NZFC's video-on-demand platform, offering over 160 feature and short films ranging from recent cinema releases to digitised back catalogue classics.
The transactional service is available to audiences in Australia and New Zealand and generates revenues for filmmakers and investors, with 70% of the gross receipts returned to each film's rights-holders.
See the full NZ Film On Demand collection and sign up for an account here.
Operational and Administrative Changes to Production and Post-production Financing Guidelines
There have been some small but important changes to the Guidelines for the NZFC's Production and Post-Production financing.
These can be grouped under two headings:
Applications:
- Only complete applications are to be accepted, and no further information is to be provided after the published application deadline or considered.
- All applicants for Production Financing to have a meeting with the Investment Executive or nominated representative at least one week prior to submission.
Any project that has been declined or asked to withdraw cannot reapply without advance approval of the NZFC, which will only be considered if there is substantial change to the project.
Process after Applications received:
- Filmmaker letters will clearly set out whether staff advise that the project withdraws (with the right to be put toward the Board without a staff recommendation)
- Filmmaker meetings will be for the purposes of providing feedback, but no further written material will be accepted.
- All filmmaker meetings, if required, will take place via video conferencing until further notice.
Te Puna Ataata Update
The New Zealand Film Heritage Trust – Te Puna Ataata now cares for approximately 40 feature films and 18 non-feature titles, including the Gaylene Preston and Mirage Films catalogues, and has undertaken the digitisation of films including Among the Cinders, Pictures and Sons For the Return Home. We anticipate an upswing in preservation over 2020, with some exciting partnerships over historically and culturally significant works.
The Trust has been operating for over two years as the guardian of New Zealand heritage screen productions.Film rights can become diluted through inheritance, lost paper trails or the closure of production companies and the Trust aims to clarify the rights and bring the films into a safe home. All New Zealand filmmakers can take advantage of the Trust to protect their legacy now and into the future.
If you’d like to know more about the Trust or how it might care for your films, visit the Trust website or contact Trust Coordinator, Amy Tarleton on info@filmheritagetrust.co.nz.
Thanks for keeping up with what's going on in New Zealand film. Got a suggestion for us? Email us at feedback@nzfilm.co.nz.
Ngā mihi,
The NZFC Team