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Our congratulations goes out to Show Me Shorts winners Dylan Pharazyn, winner of the DEGNZ Best Editor award for the music video Career by Wax Chattels, and Isaac Knights-Washbourn, who was awarded the DEGNZ Best Director award for Money Honey.

Stuck in the middle of Auckland’s housing crisis, two young hustlers discover some money and try to double it in the hope of buying an epic sandwich in Knights-Washbourn’s Money Honey. Catch the film in The Sampler. Dylan Pharazyn directed and edited the music video for Wax Chattels, which also took home NZ On Air Best Music video. This vivid tale plays as part of Tangled Worlds.

In another special mention, the Department of Post Best NZ Film Award went to Tweedie Waititi and DEGNZ member Cian Elyse White for Daddy’s Girl (Kōtiro).

DEGNZ is again a proud sponsor of the Best Director and Best Editor awards at Show Me Shorts Film Festival this year (October 2 – 28). Our warmest congratulations to the 2020 nominees! We look forward to celebrating the award winners at the Awards Night on Sunday 4 October at Rialto Cinemas Newmarket, in Auckland.

DEGNZ Best Director

  • Isaac Knights-Washbourn for Money Honey 
  • Hannah Marshall for Frankie Jean and the Morning Star 
  • Cian Elyse White for Daddy’s Girl (Kōtiro) 

DEGNZ Best Editor

  • Dylan Pharazyn for Career by Wax Chattels 
  • Damian Golfinopoulos and Arielle Sullivan for We Rock!
  • Annie Collins for Daddy’s Girl (Kōtiro) 

Since 2009, the Guild has supported talented up-and-coming directors and editors with Show Me Shorts.

The 2020 hybrid programme will entail both cinema and online screenings at 30 venues nationwide. Be sure to grab your tickets to what is Show Me Shorts’ largest festival yet, with 75 short films and 3 music videos in the programme.

Congratulations also goes out to our members who have directed or edited New Zealand Official Selections:

Cian Elyse White (Dir. Daddy’s Girl – Kōtiro), Annie Collins (Ed. Daddy’s Girl – Kōtiro), Kerri Roggio (Ed. Oranges and Lemons), Claire van Beek (Dir. Daniel), John Gilbert & Conan Mornard-Stott (Ed. Daniel), Alexander Gander (Dir. Hit Me Where It Hurts by Alae), Anna Rose Duckworth (Dir. Pain), Brendon Chan (Ed. Pain), Damian Golfinopoulos (Ed. Money Honey), Kyan Krumdieck (Dir. Working Class).

After unveiling a brand new look and identity, Whānau Mārama: New Zealand International Film Festival has announced the highly-anticipated programme for its online and in cinema programme.

Congratulations to all of the Directors & Editors Guild of NZ members who have been selected to play in the 2020 festival! We strongly encourage you to support these filmmakers and your film community by packing out limited cinema screenings or renting Kiwi films to enjoy at home. DEGNZ members are eligible for concession prices where offered.

The Girl on the Bridge

Directed by member and NZ Arts Laureate Leanne Pooley and edited by DEGNZ board member Margot Francis, The Girl on the Bridge follows the inspiring journey of 21-year-old Jazz Thornton during the pivotal two-year period she was emerging out of her own struggles with suicide to become a powerful advocate for mental health.

The feature documentary is set to have its world premiere at NZIFF on July 25, 4pm at ASB Waterfront Theatre, then available online and in select venues.

 

The Girl on the Bridge

New Zealand’s Best 2020

This year, director Tusi Tamasese was the guest curator for this competitive short film programme, selecting the top six finalists. Four of the six feature the talents of DEGNZ members.

Set in 1973, Oranges & Lemons tells a bullied girl’s story to find her voice in the strangest place, directed by Robyn Grace and edited by Kerri Roggio.

Anna Duckworth‘s Pain, Claire van Beek‘s Daniel and Cian Elyse White‘s debut short Daddy’s Girl (Kōtiro) were made through the NZ Film Commission’s Fresh Shorts initiative. Pain explores a young girl’s earth-shattering realisation that her father is not invincible and is edited by member Brendon Chan.

Daniel will have its NZ premiere at Whānau Mārama after its world premiere at MIFF and in competition selection for Clermont-Ferrand International Short Film Festival. The film was edited by John Gilbert and member Conan Mornard-Stott.

Cut by Annie Collins, Daddy’s Girl (Kōtiro) is a story about the powerful love between a father and his daughter in the face of a painful truth.

The programme will be in cinema at select venues or online from July 26 – August 1. If you watch NZ’s Best, make sure you vote for the Audience Choice Award.

 

Oranges and Lemons, Pain, Daniel, Daddy's Girl (Kōtiro)

Ngā Whanaunga Māori Pasifika Shorts 2020

For the first time, Ngā Whanaunga will be a competitive programme. Purea is written and directed by Kath Akuhata-Brown. Māori elder Hamo must bear the burden of carrying the spirits of her ancestors to their sacred mountain.

Ngā Whanaunga will premiere in cinema on July 26 and is available to watch online from July 27 – 2 August.

 

Purea

Kiwi Shorts

Kiwi Shorts is a curation of six New Zealand shorts that the Festival promises will put a smile on your face. Garage Stories: A Strange Collective Experience of Isolation, directed by Catherine Bisley, captures our nation’s recent experience under Level 4 lockdown.

Two nine-year-old girls find an enterprising way to satisfy their craving for ice cream in Ruby Abbott HarrisTriple Scoop. The programme also features Missy Fishy from director Erin Murphy – a whimsical tale about Miss Fish, a super mum, who struggles to tame her otherworldly urges.

Available to rent from August 1 – 7.

 

Garage Stories, Triple Scoop, Missy Fishy

Rūrangi

Premiering at the Festival and directed by DEGNZ member Max Currie, Rūrangi is New Zealand’s first transgender drama series. Made by gender-diverse talent, the drama is about a burnt-out trans activist returning to the rural dairy community from which he fled ten years ago. All five episodes have been programmed together as a special festival presentation, which will have its world premiere in cinema at ASB Waterfront Theatre in Auckland, on July 26, 7pm. You can also rent it online between July 26 – August 1.

 

 

Tickets for the Festival’s premiere screenings go on sale from July 10 and rental options can be purchased from the first available screening date, starting July 25. If you’re planning to watch at home, NZIFF suggests you start getting ready: set up your account, test, browse and start planning.

Tema Pua
Events & Marketing Manager

Best Director Armagan Ballantyne with DEGNZ President Howard Taylor

Congratulations to our member Armağan Ballantyne for taking home the DEGNZ Best Director award for her short film Hush, presented at the Show Me Shorts 2019 Auckland Opening & Awards Night on October 5th. Hush tells the story of Ava, a young woman who surprises her brother and friends when she suddenly turns up in her small home town with a secret.

Congratulations to Annie Collins for winning DEGNZ Best Editor for 16-minute thriller . In the film, a pregnant woman finds herself alone and in a dangerous situation with a violent gang member.

Annie told the audience that she will be giving her space on stage to emerging editors from now on – short films should be cut by emerging editors. Annie continues to be a mentor to many and lead DEGNZ’s efforts for editors and assistant editors.

 

Annie Collins with DEGNZ President Howard Taylor

Past Winners:

The Directors & Editors Guild of NZ has proudly supported excellence in directing and editing at Show Me Shorts since 2009.

 

2018DEGNZ Best DirectorSummer Agnew – The Brother
DEGNZ Best EditorBetsy Bauer – Cleaver
2017DEGNZ Best DirectorZoe McIntosh – The World in Your Window
DEGNZ Best EditorTom Eagles – Do No Harm
2016DEGNZ Best DirectorNed Wenlock – Spring Jam
DEGNZ Best EditorBryan Shaw – Shout at the Ground
2015DEGNZ Best DirectorAlyx Duncan – The Tide Keeper
DEGNZ Best EditorJames Cunningham – Accidents, Blunders and Calamities
2014DEGNZ Best DirectorHamish Bennett – Ross & Beth
2013SDGNZ Best DirectorJoe Lonie – Honk If You’re Horny
SDGNZ Best EditorThomas Gleeson – Home
2012SDGNZ Best DirectorSam Kelly – Lambs
SDGNZ Best EditorJeff Hurrell – Lambs
2011SDGNZ Best DirectorJack Woon – The Great Barrier
SDGNZ Best EditorLewis Albrow – 3 Hours
2010SDGNZ Best DirectorMark Albiston & Louis Sutherland – The Six Dollar Fifty Man
SDGNZ Best EditorHayley Lake – Make Me
2009SDGNZ Best DirectorJames Cunningham – Poppy
SDGNZ Best EditorPaul Swadel and James Cunningham – Poppy

Photos courtesy of Show Me Shorts.

View from the Top banner

I had the good fortune to attend the Busan International Film Festival (BIFF) for the official launch of the Alliance of Asia-Pacific Audiovisual Writers and Directors (AAPA) last week. Guild president Howard Taylor signed the MOU for DEGNZ’s participation in this alliance in Tokyo in May.

AAPA is dedicated to serving as an independent and impartial advocate on behalf of the audiovisual creators community in the Asia-Pacific region and seeking to strengthen copyright protection.

Already we are benefitting from belonging to this Alliance with considerable support coming from Writers & Directors Worldwide (W & DW) and the International Federation of Societies of Authors and Composers (CISAC), under whose umbrellas the Alliance sits.

Present at BIFF were two guild members with their films: David Stubbs with his feature Daffodils, and Sam Kelly with Savage, which had its world premiere in Busan. It has been a while since a New Zealand feature was selected for BIFF, so it’s quite a coup to have two here. Congratulations to David and Sam for their achievements in getting their features into what is arguably still the most prestigious film festival in Asia.

While there, I took the opportunity to look at the feature film projects being pitched from around the Asian region, both by young emerging filmmakers and those more established. It was interesting to note the similarities and differences between what is happening across Asia and in New Zealand.

One of the first things that struck me was that like many aspiring New Zealand writer/directors, many Asian writer/directors expect to write a script from their treatment and have it move into production within one year. The average time for a film to move from initial idea to completion (if it does get made) in New Zealand and Australia is five to seven years. Case in point is Sam Kelly’s film Savage, which spent over six years in development. I asked Professor Darcy Parquet, who lectures in Korean film at the Busan Asian Film School, if in Asia it was unrealistic to expect such rapid progression. He agreed that it was.

Budgets also vary considerably. In speaking to one Japanese producer, I was told that indie film budgets in Japan typically sit in the range of US$30,000 – 300,000. Korea is a highly commercial market where indie films struggle as they do in Japan. Korean independent films have slightly higher indie budgets than Japan, but nowhere near the typical US$5 million budget a Korean commercial film gets. Elsewhere in Asia, indie film budgets seem to range from US$200,000 to US$600,000 – 750,000. An important consideration to remember is that there is not a lot of government support for film around Asia, unlike in New Zealand and Australia.

We are certainly not alone in wanting to tell dark dramas. In a number of pitches I heard, cancer and suicide featured frequently and there were quite a few tough films wanting to be told. This was balanced by genre or genre hybrid projects—a reflection I believe of the lower budgets, lack of government funding and a need to get returns for investors, as well as a desire to tell more genre stories.

Highly obvious at the Asian Film Market that sits alongside BIFF is the European presence. Many European organisations and producers are seeking to strengthen ties with Asia for co-production, which is the mainstay of the European film industry. There is also a fascination with Asia and its stories. Europeans, who are masters of co-production and have access to a variety of soft-funding sources, are searching out talented Asian filmmakers with strong stories to support. It’s such a pity that co-production in New Zealand and Australia is so limited by both attitudes and resources, as well as isolated by geographic distance. New Zealand has co-production agreements with South Korea, Singapore, China and Taiwan, but these are rarely used.

I’d have to say that I’ve never before met as many film festival programmers from other festivals before as I met here. That can probably be attributed to the fact that it’s a smaller market than others I’ve been lucky enough to attend. I think, however, that it’s another sign of the European interest in the region.

Streamers are having the same impact in Asia as is happening elsewhere, with the future of indie film still very uncertain. SVOD still hasn’t picked up the slack that DVDs used to bring in terms of revenue. That doesn’t seem to have slowed the Asian passion for indie features though. Everyone still seems to be rushing forward. But nobody it would seem is yet sure if it’s towards oblivion or a brighter future.

Tui Ruwhiu
Executive Director