Our writers share their thoughts on this year’s Whānau Mārama: New Zealand International Film Festival selections.
This year’s festival features plenty of gems – check out what we’re watching, and keep checking this page for the latest mini-reviews, updated throughout the festival.
All 2024 mini-reviews:
Latest reviews | A-G | H-O | P-Z
Peeping Tom
Peeping Tom
Michael Powell’s 1960 masterclass in voyeurism was released the same year as Hitchcock’s classic Psycho, but received none of the love until it was rediscovered much later. Now a stone-cold serial-killer-with-a-camera classic, Peeping Tom looks great on the big festival screen, and still packs a disturbing punch thanks to Powell’s incisive direction, and lead actor Karlheinz Böhm’s mesmerizing portrayal of a photographer turned sociopath, in a film that implicates the viewer in its cinematic violence. ADAM FRESCO
The People’s Joker
The People's Joker
Part lovingly executed Joker homage, part transexual coming-of-age tale, Vera Drew’s abstracted autobiographical home-made movie transcends navel-gazing self-indulgence as an underdog passion project exploring gender identity, and celebrating comic-book subversion through Gotham’s most anarchic outlaws. Sure, it may be raw, lacking a gigantic budget, but it explodes with imagination, compassion, wit, animation, colourful visuals and DC in-jokes, (not to mention guest star appearances from cult comedians, Tim and Eric!). ADAM FRESCO
Pepe
There’s a lot to admire in director Nelson Carlos de los Santos Arias’s work here—but I also found this fragmented filmic odyssey maddeningly unfocused, and struggled to connect with it despite the bountiful craft on offer. With so much competing for attention, there’s a lot to single out for praise (most specifically, its aesthetics and cinematography—and the booming voice of Pepe the hippo throughout), but far less than the sum of its parts for me. STEVE NEWALL
Problemista
Problemista
A film for anyone feeling lost in their own life, Problemista is a story about finding your voice, standing up for yourself, and the bravery of making art. It’s also a cinematic feast, delightfully inventive, and maybe the funniest film of the festival? Two big thumbs up from this art school veteran. CALLUM DEVLIN
I went into Problemista having just walked around Queen Street for an hour looking for signs of life (or decent food) amongst the roadworks and shuttered shops, feeling a little in need of a good daydream, and 104 minutes later I walked out spotting magic between the cracks, even in the perilous short walk through the ghost food court of the IMAX lobby that leads to the Civic carpark. Writer, director, and star Julio Torres (Fantasmas) is clearly here to rescue us from ourselves, and together with a top-form Tilda Swinton has created a film with its head in the clouds that’s serving the same kind of tickled wonder (with just enough melancholy) that Michel Gondry’s best moments did. See this, see this! MATTHEW CRAWLEY
The Remarkable Life of Ibelin
The Remarkable Life of Ibelin
A certified tear duct-wrecker. World of Warcraft historical data gifts this doco with a wealth of archival materials to tell its beautifully bittersweet tale of a digital life well lived (and loved). Probably could have used this film a decade ago when an online life felt more alien to the general public. Seeing it now though, it makes me wonder if the fantasy realms of certain videogames make for safer online spaces than, ya know, social media. LIAM MAGUREN
Sasquatch Sunset
Sasquatch Sunset
A startling emotional feast, Sasquatch Sunset is maybe the most beautiful thing I’ve seen in a cinema. It is also among the most disgusting. We follow a year in the life of a family of sasquatches, encountering every aspect of their lonely, nomadic existence. This film lumbers gently down the line between animalism and humanity, reflecting the worst and best parts of ourselves through characters that apparently have no sense of shame. Incredible. A filmmaking slam dunk from every department, bravo to all involved. CALLUM DEVLIN
The Seed of the Sacred Fig
In the mix for this insightful portrait of Iran: domestic drama, generation gap, autocratic excesses, tense thriller, and a bit of horror (in the grounded and scary, rather than supernatural, sense). Set at the time of everyday Iranian woman Mahsa Amini’s death at the hands of the country’s morality police, unrest is sweeping the country at the same time as a father of two gets a promotion to investigating judge—and soon prompted to rubber-stamp executions. His teen daughters crave freer lives, sympathising with a growing protest movement—their mother has her own conflicted POV. Stakes escalate dramatically inside their home and outside, excellent performances and pacing making this an enthralling watch (even at 168 mins). STEVE NEWALL
Short Connections
While you can see why these films didn’t make NZ’s Best—tonal wobbles, pacing issues, production limitations, script shortcomings, yada yada yada—this collection does offer a wider variety of locally-made shorts. My crowd seemed to really dig Mia Blake’s welfare black comedy Payback, Jamie Lawrence conjures a handsome production with intimate fantasy tale Earthlings, Adi Parige’s NZ-India co-pro The Lascar offers a pretty neat slab of Aotearoa historical fiction, and it was great to see director Alyx Duncan return for another puppetry-driven drama. I didn’t quite get Lost at Sea, a sombrely slow and slickly shot “portrait of grief” by Asuka Sylvie, but that’s probably on me. LIAM MAGUREN
Sleep
A well-executed nightmare scenario that should resonate with anyone who’s been alarmed at the noises made by someone asleep next to them, Sleep deserves its praise from Bong Joon-ho (whether you quite agree this film lives up to the Bong quote in Matthew Crawley’s review below is another thing entirely). The late Lee Sun-kyun is excellent here as a husband getting weird in his sleep, while Jung Yu-mi as his pregnant wife is a relatable lead, attempting to navigate his increasingly sinister nocturnal behaviour. Unsettling, gross, and often funny, it’s great having little idea just where (or how far) the film is prepared to go. STEVE NEWALL
Perhaps all you need to know about this Korean horror-comedy is that director Bong Joon-ho has called it “the most unique horror film and the smartest debut film I’ve seen in 10 years”. It’s refreshing to be on the edge of the theatre seat and not be let down by the jump scare appearance of yet another black-eyed child, vengeful nun, or creepy doll, with the dread dished out in Sleep happening instead playing out between a happily married couple in the bed, bath, and beyond. Satisfyingly spooky. MATTHEW CRAWLEY
Soundtrack to a Coup d’Etat
If you’re going into this doco based on the lure of some amazing archival footage of America’s finest Black jazz players, you’ll get what you’re looking for… You’ll also learn in shocking detail about a chapter in African history that throws a stark light on both Belgium and America’s involvement in assassination, puppet master politics, and untold amounts of civilian death, not to mention the outrageous use of said Black jazz legends as unwitting fronts for their more devious designs. Steel yourself, then go educate yourself, with this masterful and important documentary, packed with unbelievable twists and turns that would make Shyamalan give up his day job. MATTHEW CRAWLEY
Super/Man: The Christopher Reeve Story
Super/Man: The Christopher Reeve Story
Certified tear duct-wrecker #2. HBO Documentary Films has a pretty good track record for delivering dense, dynamic docos and this one’s no different. You’ll feel the pain of what Christopher Reeve lost, the love that got him through his darkest times, some of the dirt that comes with being the son of a pretentious asshat, and an almost overwhelming sense of admiration for how Reeve transferred his visibility as Superman to a community that really needed it. Recommended. LIAM MAGUREN
Christopher Reeve flew to fame in the 1978 movie blockbuster Superman, the poster for which proclaimed: “You’ll believe a man can fly.” And fly Reeves did, straight into the hearts of a generation. When a riding accident left him paralyzed from the neck down, breathing via a ventilator, Reeves became an advocate and activist. This documentary shines a light on Reeves the man, the screen icon, and his real-life fight. There are some pacing issues and a few way too on-the-nose musical cues, in a tale that doesn’t need to yank at our heartstrings because the truth already hurts, but for those new to Reeves, this is a great introduction with an enlightening array of contributions from Reeves’ family, friends, and colleagues. ADAM FRESCO
The Sweet East
A surprisingly tasteful double feature with Janet Planet, both films are 16mm adventures, literally and intellectually. Plays a bit like a zoomer take on Poor Things, a stoner coming of age fairy tale bumping up against the chaotic characters of America’s east coast. It totally held me right up until its abrupt ending. Left me feeling like I’d lived an entire life. Excited to rewatch. CALLUM DEVLIN
Taki Rua Theatre – Breaking Barriers
I’m no stage scholar, so this doco on the titular Māori theatre group made for a worthwhile watch. On the production side, this feels likely to head straight to streaming, which wouldn’t be a bad thing as I’d imagine it’d make the film more accessible. Perhaps it’s unfortunate that I watched this not long after The Haka Party Incident, which touches on some of Taki Rua Theatre’s bigger themes in much greater depths. But as a biography, filmmaker Whetū Fala delivers the goods, and I appreciate how she dedicates ample time for recreated performances. LIAM MAGUREN
The Teachers’ Lounge
Another festival film about morality in the education system, this time from the perspective of a young teacher just trying to do some good. Tense, funny, and masterfully crafted, for fans of engrossing moral quandaries and fast paced storytelling. I loved this movie. CALLUM DEVLIN
This German drama centres on a nerve-jangling performance by Leonie Benesch as Carla, a teacher investigating a student accused of theft. The narrative twists, turns, and tightens into a powerful parable for modern society and personal politics. Reminiscent of classic stage play (and movie) The Winslow Boy, rarely has false accusation felt so confrontational than in this taut and thoughtful drama. ADAM FRESCO
An exercise in increasingly ratcheting tension, this stressful German tale of a young teacher caught in the middle of an ever worsening theft scandal would put anyone off venturing into the field of education. Set only within the confines of the pressure-cooker environment of the school—we never see anything of protagonist Carla’s personal life—The Teacher’s Lounge is certainly successful in inciting stress, but ultimately to a degree that borders on contrived. Are people really this willfully unpleasant? Still, with a fantastic lead performance from Leonie Benesch, this taut little parable effectively worms its way under the skin. KATIE PARKER
Want to experience the wrath, fury, madness, apathy, and remorselessness of an online accusation turned chaotic, but concentrated into the fragile setting of a German middle school? Well, here it is. The film bends plausibility close to breaking point with some contrived conflicts and a lot of precocious 12-year-olds (or maybe Germany’s education system is just that good?) but if you can roll with that, it makes for a compelling and stress-inducing watch. LIAM MAGUREN
We Were Dangerous
What a great pick to be championed at the opening night of the NZIFF. For fans of teen rebellion, movies set on islands and Rima Te Wiata (isn’t everyone?). A surprisingly joyful, twisty story carried by its three sensational young leads, We Were Dangerous caught me off guard with its uplifting, optimistic ending. Fingers crossed for a sequel (We’re Still Dangerous) which picks up immediately after this one. CALLUM DEVLIN
Stonker of a debut from director Josephine Stewart-Te Whiu, one that bears hallmarks of plenty of Aotearoa film before it but has a slightly different feel to other films wrapped around the scars of our past. Here, that’s the plight of non-conforming young women in the 1950s, sent first to the School for Incorrigible and Delinquent Girls and then to a former leper colony on Ōtamahua / Quail Island. There’s grim stuff going on (punitive outlooks, corporal punishment, and worse) but that’s balanced by a combo of youthful optimism/naivety and dollops of humour that win out over the gloom. Reminded me of Sofia Coppola a bit during the more languid moments; the Mayor of Auckland laughed heartily at a crudely-etched penis at one point. STEVE NEWALL
All 2024 mini-reviews:
Latest reviews | A-G | H-O | P-Z
