Sam Hunt is one of New Zealand’s most eccentric characters, known for his personality as much as his poetry. Purple Balloon is a loosely structured narrative of Hunt’s life. Included are the biographical details of his upbringing in Auckland, significant milestones, various jobs and numerous road adventures. The film is not arranged in chronological order, rather information is presented randomly, much like the perplexing compositions of Hunt’s poetry.

Interviews with prominent New Zealand artists, personalities and literary figures such as Robin White, Dick Frizzell, Gary McCormick and C.K. Stead provide varying angles of Hunt. Interestingly, Stead receives a large proportion of screen time with no clear intent, except to perhaps contrast traditional literary style with the idiosyncrasies of Hunt. The image of Hunt that transpires from these interviews is one of stark authenticity, and it appears that the documentary is attempting to achieve this same sense. The inclusion of raw interview footage (awkward questions such as “Are we filming now?” are not edited out) presents a somewhat earnest impression, but the effect is lost after the second occurrence.

A captivating opening scene depicts Hunt reciting some of his much-loved poetry, with quick editing to complement the lyrical flow. Yet this slows for the duration of the documentary, causing some points to become tedious. Fortunately, the quirk and charisma in the words of Hunt, rarely shown without a glass of wine or smoke in his hand, carry the film forward. Strangely enough, Hunt asserts that he did not utter a word until the age of four (a tale which is confirmed by his brother) and suffered from a stutter throughout adolescence.

A great deal is made in reference to James K. Baxter, who was a significant influence and early mentor for Hunt. When talking about writer’s block, Hunt fuses Baxter’s poetic notion of listening with his own, describing how one must go to a place in order to listen to it. The documentary delivers a candid portrayal of a local icon, and would be warmly received by those who enjoy him and his work.

Sam Hunt: Purple Balloon
Director: Tim Rose

Waste Land is a documentary study of ‘pickers’, people who live off the waste of others by sifting through landfills seeking recyclable materials to sell. Jardim Gramacho is Rio de Janeiro’s biggest landfill. Much of the surrounding area is plagued by the drug trade, and it is no coincidence that many pickers are the victims of addiction. 50% of what goes into the landfill can be recycled, and demand for materials is dictated by recycling wholesalers. Each day, pickers take out 200 tons of recyclable materials from the landfill, and can make around US$20-25. This is equivalent to the rubbish produced by a city of 400,000 people. Hence, the pickers are crucial to the landfill’s capacity.

There is a strong sense of community existing within the pickers, and an association called ACAMJG has been established to promote their rights. Since its conception, it has successfully campaigned to have a sewage system set up for the pickers’ shantytown residence. The people work together, exemplified by Irma, who recovers unspoilt food from the waste and cooks it to feed fellow workers, while Zumbi unearths books to set up a local community library.

The film centers on Vik Muniz, who left an impoverished life in Brazil to seek opportunity in New York in 1983, where he eventually became an established artist. Muniz’s artwork involved photographing the pickers, making a collage of their portrait using items collected from the landfill, and shooting the resulting image to make an enlarged print. He then exhibited the images in New York’s Museum of Modern Art, with some reaching US$50,000. In a life-changing act, the proceeds are then given back to the pickers.

In the course of the documentary Walker goes back to Rio to take a closer look at the subject’s personal lives. The optimism and pride that these people hold on to, despite their scorned-upon status, is remarkable. The reality of their situation is exaggerated by the sheer magnitude of waste in the area they inhabit. A close up shot of rubbish zooms out to encompass hundreds of specks representing the people picking among the waste. Waste Land is a haunting reminder of the privileged people who carelessly consume and create waste, while the destitute are ultimately left to clean up the mess.

Screening as part of the New Zealand International Film Festival:

Saturday 17th July, 1.45pm—Paramount.
Wednesday 21th July, 6.15pm—Paramount.
Monday 26th July, 11:15pm—Paramount.

While a film about singing nuns might call to mind Whoopi Goldberg, this film is nothing like Sister Act. An older generation may take nostalgic delight to ‘the singing nun’, who had the hit song ‘Dominique’ in 1963, but Sister Smile tells a more harrowing side to the story.

Jeanine Deckers is a talented and captivating young woman. She dreams of travelling to Africa, but cannot escape pressure from her mother, who tells her that her top priority in life is to find a husband. Jeanine wants more from life but is not sure what, confiding in a priest: “I want to be free… But also locked up.” She finds friendship with the artistic Annie, but when she finds out that Annie is actually in love with her, Jeanine bolts, afraid to defy sexual norms. By not wanting marriage, there is little other choice but to join a convent. It is here that she can suppress her sexual confusion and thwart her parents’ marital pressure.

Although the obedience is difficult at first, Jeanine fights to express herself through music. When a film crew is let into the convent, Jeanine’s singing talent is discovered. After the success of ‘Dominique’ she eventually leaves the confining order to pursue a singing career.

Outside however, Jeanine finds the rules of the world to be just as difficult. She goes on tour to Montreal where her free spirit is contested once again. After she debuts the ‘The Golden Pill’ (a song about how the pill was sent from God for women), this ‘singing nun’ is found to be too controversial and the tour is cancelled.

Jeanine then gives up music and embraces her love for Annie. Yet the two realise that they cannot live as they want in this world, and with a growing drug dependency and financial burdens, the pair decide to escape for good.

Jeanine’s character, played by Cecile de France, stands out in the film. Her vivacious persona heightens the tragedy in showing that there was no space for her in this society. Sister Smile gives a realistic portrayal of the ‘free loving 1960s’ that are so often idealised in contemporary films.

Although the film is long, the narrative is eased along without getting boarded down with too much with biographical factuality. The abrupt ending of Sister Smile may be loose on the facts; nevertheless it was extremely effective in making the tears flow.

SISTER SMILE
Directed by: Stijn Coninx

If you have seen Peter Jackson’s Heavenly Creatures and are ensnared by one of New Zealand’s most disturbing murders, then Anne Perry – Interiors is a documentary worth watching.

In 1954 Juliet Hulme (now Anne Perry) and her friend Pauline Parker “did something stupid” in murdering Pauline’s mother. Since then, Perry has found reclose in rural Scotland, changing her name to live a new life. Yet she has not been able to change her past.

Jackson’s film made her name public after the film was released in 1994. However, the name ‘Anne Perry’ was already well known as the author of many successful crime novels.

Director Dana Linkiewicz has successfully managed to permeate Perry’s world and provide an answer to the intrigue that surrounds Perry’s life. The film initially presents Perry’s public authorial image, but gradually gets closer and closer into her interior world as the details about her chilling past are shared. Perry obviously has a lot of control over the representation of her image within the film. This suggests that she wants to show the world that she is more than a just a ‘murderer’.

Change is a significant premise of the film. Perry informs the participants in her writing workshop that characters must change for a narrative to be successful. Like these characters, Perry too has changed.

Set in the bleak, Scottish countryside, the visual harshness of the landscape is used to break up the layers of Perry’s life. Interiors is made up of a series of observational shots, which allows the viewer to indulge in the chilling fascination of this woman.

The film culminates when Perry breaks down and speaks frankly about the murder. Through tears she testifies that she can’t change what has happened, and must live with it. She also explains her friendship with Pauline, and gives some insight into the crime.

This film would be more of interest to someone who has seen Heavenly Creatures, or for someone who has read Perry’s books. Some may find it a bit slow-moving otherwise. The grizzly background information of the crime is needed to push the narrative along.

This representation of Anne Perry is a far cry from Jackson’s gory drama. This portrayal is far more personal and gentler. It paints a forgiving image of a woman who is haunted by her past, but has found redemption through change.

ANNE PERRY—INTERIORS
Directed by: Dana Linkiewicz

Rocksteady is a documentary that follows the musicians who developed the rocksteady sound as they gather in Kingston, Jamaica, to celebrate their musical origins and play a reunion concert.

Rocksteady was a development of ‘step’ music that was popular in Jamaica in the 1950s and early 1960s. Many of the newer musicians could not keep up with the fast step beat, so rocksteady, with a slower tempo, emerged to suit those less technical. However, with the amount of screen time these musicians get to show their craft, it is evident that they have perfected their technical skill over the years.

The documentary touches on the important political and social climate that heavily influenced the origins of rocksteady. Following Jamaica’s independence in 1962, the country was experiencing an intensive growth period during which rocksteady became a way of telling the people of Jamaica to ‘slow down’. During the 1960s a high unemployment rate led many young, bored men to join gangs and cause trouble. The subculture of ‘rude boys’ subsequently developed, and this became the subject matter of several rocksteady songs.

There are many beautiful scenes throughout the documentary, including extensive shots of the Jamaican landscape. Humour is well used to create many heartwarming moments. One such scene occurs when two of the old musicians visit a local school and sing with the school band.

A large part of the film is made up of the musicians playing together in the studio, yet this is well balanced with a wide range of archival footage. Scenes depicting locals dancing to step music is contrasted with political news footage of Selassie’s 1966 visit to Jamaica.

It would have been nice to see more detail connecting the individual musicians to their original music within the rocksteady genre. I found it interesting when they did this with Ernest Ranglin and Rita Marley and would have enjoyed finding out more about the other musicians.

This is a good watch for anyone who enjoys music documentaries, especially those with specific interests in roots, reggae and ska music. On a sly side note, Rocksteady would also be well accompanied with some appropriate enhancements to make the visual and aural experience that much more sweeter.

ROCKSTEADY—THE ROOTS OF REGGAE
Directed by: Stascha Bader
Part of the World Cinema Showcase

Capital college of classical composition circumscribed

The University of Canterbury’s proposal for a new music school is looking to go ahead.

The proposed new building for Christchurch would give the city a claim in a leading position as New Zealand’s premier classical music educator.

In November, the Christchurch City Council voted to support the proposal with a narrow 7–6 vote in favour.

There is debate as to where the new building will be located. The council favours the plans which would see the music school shift from the current location on the suburban Ilam campus to the Arts Centre in the central city.

It is hoped that the new building would replace the current inadequate facilities, allow room for new music programs to develop and give the university a more significant link to the city.

Many who work within the Arts Centre are in favour of the school as it would solve the economic problems that the centre currently suffers from. It would give the Arts Centre financial security for many forthcoming years. City businesses are also in favour of the new location as it would bring back business that has been lost in the last 20 years to suburban retailers.

The architectural designs intend to keep the building style in synch with the gothic-styled heritage buildings that exist already within and around the Arts Centre. The development cost at $24.3 million will be met by the City Council.

However, there are many who oppose the proposed central site. Save Our Arts Centre is one group vocally contesting the new building. They believe that the new building would overshadow the Arts Centre site and be out of place with the heritage buildings.

Yet with the backing of the council, a new music school for Canterbury University looks well on its way.

Latest figures show that the average Australian weekly income has risen 2 per cent to AUS$1226 (NZ$1580). This widens the growing wage gap between Australia and New Zealand, and has reawakened fears of a ‘brain drain’.

The unemployment rate also has fallen to 5.3 per cent, making New Zealand’s decade-high 7.3 per cent look even more alarming.

These figures have provoked a warning from some in the business community that New Zealand could be on the edge of another brain drain period, which would make the recovery from the recession even harder.

These fears are not irrational, as the outlook for university graduates does look far brighter across the Tasman.

Renee Lynch, 20, in her final year of a commerce degree at the University of Queensland, works as a tutor in Brisbane and is paid AUS$29.60 per hour. This is an exceptionally good rate as the average is AUS$23 per hour. However, this far exceeds the price of any tutoring job currently listed on the Student Job Search Website, which offers positions at NZ$15 per hour.

For a casual position in a bar in Queensland, someone over the age of 20 can expect to be paid around A$18.50 per hour, whereas similar jobs listed within the Wellington region on Student Job Search rarely exceed NZ$12.50 for any age.

While the minimum wage in Queensland is AUS$14.20 (NZ$18.28) for over 20-year-olds, Lynch says that “most of her friends (who are studying) don’t work for less than $17”.

The New Zealand Government announced in late January that the minimum wage would increase by 2 per cent from $12.50 to $12.75 per hour. Business NZ agrees that it is appropriate in the current economic climate.

However, the Council of Trade Unions disputes this amount. They say that the cost of living has risen and people need to be earning a suitable wage to support a decent standard of living.

There is one saving grace: the average price of alcohol is cheaper in New Zealand than in Australia. Good for those wanting to drink their pitiful pay sorrows away.

It is not often that I would go to the theatre to see a dance show, and can openly admit that my experiences with interpretive dance were rather limited and prejudice. Yet Rule and Exception provided an exception to my idea of ‘physical’ theatre. It was insightful, polished and well communicated, even to a novice like me.

The show opened by highlighting the routine events that humans exist within in their everyday lives. Using an office setting as the bland terrain, the loss of individuality is shown through the way a person dons a mask to face the outside world with indifference. This defence mechanism puts up a barrier to others, and lets one fade into the crowd. One of the few props used is a metronome, which is set with a ticking noise so to show the passing of time in this dreary existence.

As recent graduates from Wellington’s dance school Te Whaea, the three performers certainly show that they are skilled dancers. The grace and composure in which they move gives the show direction and sets a standard from which meaning can be looked for within.

There is not so much of a narrative, rather it is more of a set of different ideas. Attention is drawn to the vulnerable underneath that each human being has, which gets lost among the monotonous grind that is the modern world.

The simplicity of the performance was enhanced by the costuming that was as minimal as the narrative. A tie represents the control of corporate life; a skirt tied like an apron suggests the control of the domestic sphere; and a pair of gloves symbolises the restricted creativity of the hands and the loss of freedom.

Of course, the performance was a very abstract piece and it invites the audience to make their own interpretations. The beauty of a show such as this is that it is open for the viewer to take whatever they want from it. In the sense, contrary to the pessimistic theme, the performance finally reasserts that there is a space for individuality in this world.

Rule and Exception
BATS Theatre Tuesday 8–Saturday 12 September
Directed by Adam Tatana
With Alysha Firbank, Zahra Killen-Chance and Cameron Lithgow

Classic fairytales survive centuries for a good reason: they make a good story. Hansel und Gretel is such a story, full of evil stepmothers, poverty, witches, clever children and morally questionable father figures. The narrative, as it traditionally stands, is easy to follow, however, this new take on Hansel und Gretel leads the narrative to twisted new realms of magic mushrooms and lobotomies. And while I am never opposed to fresh new takes, this narrative was taken to the wrong places.

The original Brothers Grimm fairytale was set in Germany, and this version used the time context of the Nazi period. This is an interesting idea and could have been done well, had the references not come so sporadically and without substance. Mentioning of ‘final solutions’ and some repetitive Hitler Youth-styled salutes are included in jest, but fail to project further depth on the issue that would have justified the time context.

It is not a rare occurrence for racial stereotypes to be used to provoke a laugh, but it gets tiresome when these gags use clichés. Ning Ning, the evil Asian stepmother has married to avoid deportation, and remarks about Wong Tongs and Thai green curry follow incessantly. Perhaps something could have been pulled off here if the actor was able to keep inside the character, but the joke was lost when she let herself laugh in reaction to the audience. Further racial calls are made with the character who plays the witch, who is introduced as “an immigrant that can’t be seen in the dark”. If these racial jokes are purposely included to correspond with the racism of 1930s Germany, then a connection is not clearly made. Instead, they come off as lame, unnecessary and bordering on offensive.

A sign of a good show is found in the way that it pulls the audience in and immerses them into the dramatised world. Hansel und Gretel lost this when the actors continually came into contact with the stage set and detracted from the magic that they were trying to convey.

The production aim was to keep the audience awake and attentive, and it did manage to do this with a good balance of song and dance. The actors can be commended on their energetic performance, in particular the character of Hansel who stirred a few laughs. Unfortunately this was not enough. The production as a whole was lacking in an original script and more is required to lift this show from a high school play to a professional theatrical performance.

Hansel und Gretel
Devised by Short Term Visitor Parking
Directed by Adam Donald
With Shane Boulton, Bronwen Pattison, Aaron Baker, Melissa Phillips and Fern Pakamon Karun

At BATS, 8:30pm, 9–19 September 2009
Book at www.bats.co.nz

Agnes Varda became prominent in the French New Wave of the early 1960s. Although she is often left out of the New Wave canon, her distinct personality and style has allowed her to pave her own way through the film industry continually creating inspiring and captivating films.

This collection of short films is centred on the city of Paris, particularly around Varda’s home territory in the streets and boulevards of the Left Bank. This view of Paris is far from the glitzy Hollywood eye that usually projects the city.

Three films in particular give a detailed perspective of Paris. The So-called Caryatids looks into the history of the forgotten sculpted female figures that decorate the columns of many older Parisian buildings. In The Volatile Lion a narrative is created around the bronze Lion de Belfort that stands proudly in the central city. Seven Rooms, Kitchen and Bath retells a variety of stories contained within the walls of an empty apartment, and You’ve Got Beautiful Stairs, You Know… a tribute is made to the Parisian iconic theatre Cinémathèque Française.

A reoccurring theme of Varda’s is the search for a female perspective within her filmmaking. This can be seen in Opera-Mouffe, where the rough streets of rue Mouffetard are presented through a pregnant woman’s eyes. Images of fruit and doves link to ideas of birth and purity, which is then contrasted with those who dwell in the rough side of town. However, Varda’s social conscience prevails when she makes the point that these rouges were also once babies who had “their bottoms patted and talked.”

Elsa the Rose is a poetic and charming anecdote of a wife through the eyes of the surrealist writer Louis Aragon. The use of old photographs combined with present-day footage is reminiscent of Varda’s celebration of her own husband’s life in Jacquot de Nante. Varda’s humour and personality is presented in a slapstick silent film, The Mac Donald Bridge Fiances, starring Jean Luc Godard without his trademark glasses on.

At some points the narrative gets lost in among the metaphors that cannot be translated from French to English. But it is through these images that the vibrancy of Varda’s personality that makes her so enjoyable shines through. This collection is well worth a look for anyone wanting to be inspired by original filmmaking by a far underrated director.