Before the first frame 

Up until the Divina Commedia was written, Aotearoa had existed in the absence of people. A land of pure, uninterrupted natural domination. But history always brings forth pivotal moments that resonate through the ages. Soon, humans arrived, bringing with them their arts and artifices, and eventually, cinema made its debut on the no-longer-unspoiled island, inevitably creating a vibrant and complex debate on the topic of national cinematography.  

It is possible to pinpoint the moment when it all started – October 1896, when New Zealand was still part of the British Commonwealth. However, let’s fast-forward a bit – to the 1970s. Due to the multinational character of the country and the bicultural division between the Indigenous people of Aotearoa/New Zealand – the Māori – and other ethnic groups, the need for a national cinema began to arise.  Cinema gained both cultural and economic significance, becoming not only an artistic platform but also a protective measure against the dominance of American imperialism. After a short recession following the closure of a tax loophole in the late 1980s, New Zealand/Aotearoa cinema managed to regain its footing. 

Among the early voices: Melanie Read, the country’s first female film director, with Trial Run. Soon followed Barry Barclay, the first director of Māori descent. And then yes – Peter Jackson arrived, dragging along with him the future of blockbusters shot in the land of long white clouds. 

Modernity and market pressure 

The twenty-first century has drawn clear lines between the advantages and disadvantages of making films in New Zealand/Aotearoa. Embedded in the global market and cultural flows, the cinema of the islands has become part of the ongoing debate around the balance between art and industry. With the recent WGA and SAG-AFTRA strikes, this question is as sharp as ever. As Natàlia Ferrer Roca highlights in her Analysis of the New Zealand Feature Film Industry, we are left to wonder: what is the real balance between creating local national films and aiming for commercial viability? 

Because of its small population, this dilemma doesn’t arise in the same way as it does in the more densely populated histories of European national cinema. And yet, New Zealand’s use of English does offer an advantage in global distribution. Still, the lack of a European-style co-production community makes low-budget local films harder to sustain. 

Economics vs. Art. 

The Peter Jackson Effect and Cultural Capital 

Another important point is the role of foreign capital. Peter Jackson arguably did for New Zealand/Aotearoa what Luca Guadagnino still dreams of doing for Italy. His major productions didn’t just employ local professionals; they transformed the entire economy. Consider the post-Hobbit tourism phenomenon – it’s real, it’s lucrative, and it’s ongoing.  

But circling back to earlier historical discourse – when cinema was seen as a global representation of the national face and a battlefield against cultural imperialism – one has to ask: does that mission still hold true in the era of Avatar? Do top-tier, big-budget productions still advance local culture? Or does the race for worldwide distribution end up putting pressure on truly local and Indigenous voices? Can Aotearoa still see itself in what’s being filmed on its soil – or is it just hosting someone else’s fantasy? 

Film festivals: Where the Locals Gather 

Let’s shed light on some of the main cinema events of the country, where people meet and good cinema is shown.  

• Whānau Mārama: New Zealand International Film Festival 
  Held annually from July to August, this festival emerged from the union of major city festivals in Auckland and Wellington. Its roots trace back to the 1970s – the same period we previously explored, when national identity and film found each other in the dark of the theatre. 

• Wairoa Māori Film Festival 
  Celebrated every June at the Kahungunu Marae in Nūhaka, this festival showcases both Māori and Indigenous cinema. It also features international Indigenous filmmakers, providing a truly global Indigenous lens. 

• 48Hours 
  This energetic, chaotic, and beloved national competition challenges teams to write, direct, and edit a short film in just two days. It is held in various cities across the country and has become a rite of passage for many Kiwi filmmakers. 

What to Watch 

Sure, you might already be familiar with Peter Jackson’s epic landscapes and dragons. Avatar and The Chronicles of Narnia were also shot in New Zealand – these films have done wonders for tourism and the country’s cinematic reputation. 

But today, I’ll recommend Boy (2010) by the incredible Taika Waititi. A tender, funny, and slightly heartbreaking story of a child and his relationship with his absent father. It shines a light on many aspects of traditional Kiwi cinema, while also showcasing Waititi’s unique sense of humor and his comedic superpowers. 

Smolkin Viktor

Sources:
– Ferrer Roca, Natàlia. Small Country, Big Films: An Analysis of the New Zealand Feature Film Industry (2002–2012). PhD diss., Victoria University of Wellington, 2013.
– New Zealand Film Commission

fonte immagine in evidenza: https://carsonsbookshop.co.nz/p/nz-general-non-fiction-aotearoa-new-zealand