There’s more to New Zealand cinema than the ‘Lord of the Rings’

The cinema of New Zealand can only be described as varied and multifaceted, says Ambassador Reuben Levermore.

This variety is evident in the films showcased in the first Experience New Zealand Film Festival, to be held at the Cineplex of Shangri-La Plaza mall in Mandaluyong City from February 23 to 28.

“These films reflect the diversity of the peoples and cultures that make up modern New Zealand,” Levermore explains.

Included in the lineup are eight feature films and four shorts, including the Oscar-nominated “Whale Rider” and the Sundance winner “No. 2.”

(Films will be screened in 35 mm format and admission is free.)

The fest was mounted though the efforts of the New Zealand Film Commission, the Ministry of Culture and Heritage, South Pacific Pictures, the Embassy of New Zealand and the Film Development Council of the Philippines.

Organizers aim to introduce New Zealand’s unique cinema to Filipino film buffs.

Andy White, deputy head of mission, acknowledges that most Filipinos have become familiar with New Zealand, particularly its breathtaking scenery, through the popular “The Lord of the Rings” trilogy.

White points out that there’s more to his country’s cinema than the works of Oscar-winning filmmaker Peter Jackson, “our most famous film export.”

Through the festival, local viewers will become more acquainted with New Zealand’s film industry, which White describes as bustling.

“It’s a vibrant and active industry. We had to choose from hundreds of films,” White relates.

Strong indie spirit

Interestingly, he said, a strong indie spirit pervades their movie industry. “A lot of low-budget but high-quality films have become commercial successes, too.”

White says some of the films in the lineup—like “Whale Rider,” “Boy” and “Sione’s Wedding”—did well at the box office. Released in 2010, “Boy” is said to be the highest-grossing film of all time in New Zealand.

The festival will likewise showcase the talent and skills of the country’s artists and technicians, notes White.

“Apart from ‘Lord of the Rings,’ other Hollywood movies filmed in New Zealand include ‘Vertical Limit,’ ‘The Last Samurai’ and ‘Bridge to Terabithia,’” White reports. New Zealand production companies have also worked on the visual effects of big Hollywood movies like “King Kong,” “Avatar,” and “X-Men: The Last Stand.”

The government consistently endeavors to promote New Zealand as a “film-friendly” location. “Local and regional ordinances make it easy to secure permits and apply for incentives. Also, our country is relatively free from corruption,” White points out.

Surely, Filipinos can learn a lot from the “private-public partnership” that propels New Zealand cinema forward.

A stereotypical notion suggests that there are more sheep than people in New Zealand. From among its current population of 4.5 million, 10 percent is of Asian descent and 1 percent is Filipino.

One of the short films, “Take 3,” zooms in on three Asian actresses’ struggles with stereotypes in the movies. The short

“Coffee & Allah” centers on an Ethiopian refugee family in the suburbs.

Another short, “Noise Control,” is an animated comedy on farm life; another short, “Tama Tu,” is a live action drama that focuses on Maori soldiers assigned in Europe during World War II.

The full-length features “Boy” and “Whale Rider” chronicle personal stories from the Maori community. The other films—“The Topp Twins: Untouchable Girls,” “Eagle vs. Shark,” “Second-Hand Wedding,” “In My Father’s Den,” “No. 2” and “Sione’s Wedding”—offer kaleidoscopic glimpses of New Zealand society.

“Our country is a melting pot of cultures. These films show the diversity of contemporary New Zealand,” says White.