DEGANZ member Jake Tabata‘s web series The Creature is out now, following its early selection to this year’s NZ Web Fest! The four-part series follows Aidan, stuck in the online dating rut of swiping with no results. He is ecstatic when he matches with his ‘dream man’ but must first face the perturbed Creature lurking in the shadows of his home.

In an interview with Re: News, Jake discusses how his identity informs his work. He says,

The Creature is loosely based on my own personal experiences with online dating as a young, queer man. I felt quite alone, really struggling with all the challenges I see with online dating and romance anxiety.

The series, produced by fellow member Isabelle (Izzi) Hoskyn, was entirely crowdfunded on Boosted and was made by a team of young, queer, and POC creatives.

You can watch the series here!

Last updated on 20 June 2024

The acclaimed series Ahikāroa is back for its 6th season, with editing by DEGANZ member Jack Woon and writing and storylining by Onehou Strickland (DEGANZ).

The series is a bilingual te reo Māori show that follows a group of kura kaupapa-raised rangatahi navigating the trials and tribulations of urban Māori living in Auckland. This season all hell breaks loose with shock exits, surprising returns, and new characters with new challenges. While delving into the usual drama of parties, drugs, and sex, this season also veers into Māori politics and spirituality.

Fans will not want to miss this newest season! The first six episodes are out now on MĀORI+ with more dropping each week.

Last updated on 20 June 2024

View from the Top banner

The financial woes besetting TVNZ with a projected loss of at least $28 million, again highlight the inaction of the current government to address the issues with broadcasting, brought about by the severe negative impact international digital platforms are having on our local media companies. TVNZ advertising revenue is down nearly 16% in comparison to the same time last year. Read about it here.

This diminished advertising revenue is at the heart of the problems with all NZ media companies; screen, print and online.

Labour’s Aotearoa New Zealand Media Bill was intended to help address this but went west with the change in government.

Former Digital Media and Communications Minister Melissa Lee was supposedly formulating a response to the shutdown of Newshub and the reduction of News and Current Affairs at TVNZ as part of the new government’s response to the issues. There was even talk that she was looking at revising our antiquated Broadcasting Act. Then she lost her job and PM Chris Luxon appointed Paul Goldsmith to take over. Nothing’s happened since.

Meanwhile in Canada, the government there has after three years of back and forth passed Bill C11, the Online Streaming Act. The contentious law is intended to address the disruption of content distribution and monetization models that result in a global media market through amendments to their broadcast act. C11 targets social media platforms and streaming services such as Netflix, Crave, Spotify, Amazon Prime Video, Disney+ and YouTube and seeks to subject them to Canadian content requirements and regulations comparable to traditional broadcasters. Read about it here.

The global digital platforms and streamers fought C11 tooth and nail, citing amongst other things the trade agreements the law supposedly contravenes.

As I’ve written about previously, the Australian Government has been going through its own hand-wringing exercise about what to do, with a touted commitment to introducing a streaming quota by July of this year. The Australian screen industry has been pushing for a quota on the streamers to help protect their own domestic industry.

After years of walking the government corridors in both Australia and New Zealand, lobbying against anything that would affect their businesses, the studios/streamers, represented in our territory by the Australia and New Zealand Screen Association, has come out publicly declaring that content quotas would contravene the US-Australia Free Trade Agreement.

Screen Producers Australia have rejected this claim and stated their case for why it should happen. Read all about it here.

We can expect the same fierce reaction from the global platforms and studios/streamers to quotas or levies in NZ. They will undoubtedly haul out our General Agreement on Tarriffs and Trade and World Trade Organisation commitments—There are certainly views here that these are not insurmountable.

The New Zealand government is in the enviable position of seeing how other countries are dealing with this issue: Canada and Australia being two useful examples for us, while in Europe a number of countries already have quotas and/or levies already in place.

Our problem though is that past governments have essentially done little or nothing about it, as exemplified by the parlous state today of our broadcasters and media organisations.

By the look of things, I don’t think we are going to get anything better from the current lot.

 

Tui Ruwhiu
Executive Director

Last updated on 6 June 2024

The third and final season of Netflix’s Sweet Tooth is out today, with episodes three and four directed by DEGANZ member Robyn Grace.

Based on the comic book by Jeff Lemire of the same name, Sweet Tooth is a post-apocalyptic adventure series where a deadly virus and animal-human hybrid babies emerged simultaneously, leaving the world in disarray. Gus, a young part-deer boy sets out to find his mother in this new world and meets a ragtag team along the way.

This season Gus and the gang are off to Alaska in search of the answers to the series’ biggest questions. With new foes and threats on the horizon, alliances are tested while the fate of humanity hangs in the balance. It is sure to be a thrilling end to the series!

Robyn also directed on the series’ first two seasons, earning her a Children’s & Family Emmy nomination in 2022.

You can find the full series on Netflix now.

Last updated on 6 June 2024

Sydney Film Festival (SFF) is on now, with features and shorts from DEGANZ members.

This year marks the 71st iteration of the festival with over 200 films from 69 countries in the programme. From 5-16 June, there will be screenings, film talks, red carpets, and parties across the city to celebrate the cinema and creatives selected.

SFF is launching the First Nations Award this year, establishing the world’s largest cash prize in global Indigenous filmmaking. 10 films have been selected including The Convert, Ka Whawhai Tonu, First Horse, The Mountain, and Lea Tupu’anga/Mother Tongue from Aotearoa with DEGANZ members involved.

Check out all films from DEGANZ members below!

The Convert

Programme Strands: Special Presentations, First Nations Award

Munro, a soldier turned lay preacher, comes to New Zealand to minister to the first British colonists, but he is converted by the powerful chief Maianui to serve a different purpose.

Editor: Luke Haigh

First Horse

Programme Strands: First Nations Award, Shorts Before Features

It’s 1826, and Aotearoa is on the cusp of colonisation. A young Māori girl’s encounter with a dying man and his horse exposes her to the best and worst of her rapidly changing world.

Editor: Cushla Dillon

Ka Whawhai Tonu

Programme Strand: First Nations Award

Set in Aotearoa New Zealand in 1864, Ka Whawhai Tonu tells the story of a pivotal battle in the first New Zealand land wars in the Waikato region. A battle fought with impossible odds between Māori and the Colonial forces. This heroic conflict is told through the eyes of two young teenagers forced to take control of their own destiny amidst the chaos of the battle and their escape.

Editors: Te Rurehe Paki and Martin Brinkler, ACE

Lea Tupu’anga/Mother Tongue

Programme Strands: First Nations Award, Shorts Before Features

A young speech therapist disconnected from her Tongan heritage lies about her Tongan language skills to get a job. Out of her depth, she must find a way to communicate or else she risks her patient’s life. Sundance 2024.

Director: Vea Mafile’o

The Mountain

Programme Strand: First Nations Award

Rachel House makes her directorial debut with this riotous and colourful drama about three children discovering friendship’s healing power through the spirit of adventure.

Co-Editor: Cushla Dillon

The Moon is Upside Down

Programme Strand: Features

A mail-order bride from Siberia, the lonely wife of a wealthy property investor, and an anaesthetist looking for frisky fun, are the engaging central characters in this sharply observed slice-of-life set around Wellington.

Director: Loren Taylor

Last updated on 6 June 2024