‘TENOR: My Name is Pati’ Hits a $1M Crescendo at NZ Box Office

TENOR: My Name is Pati, directed by DEGANZ member Rebecca Tansley and edited by fellow member Thomas Gleeson, has cemented itself as one of Aotearoa’s most successful documentaries, surpassing the $1 million mark at the box office.

The film has had a stellar theatrical run, connecting well beyond traditional documentary audiences to draw packed houses, repeat viewings and steady support across the country. After one of the strongest opening weeks for a New Zealand film in 2026, it has continued to build momentum through a well-planned release, word of mouth and community backing, drawing new viewers weeks into its run.

NZFC Chief Executive, Annie Murray, commented on the film’s success, saying,

For a documentary to achieve this level of success is a clear sign the film has resonated with audiences. Alongside the success of Tinā, it shows the continued connection audiences have with stories grounded in Pasifika values. This momentum matters and reinforces the value of championing bold, authentic storytelling.

If you haven’t seen it yet, see what all the fuss is about at a screening near you!

 

Last updated on 23 April 2026

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Webby and Zhu Make the Cut for PASC’s Short Film Development Lab

The Pan Asian Screen Alliance (PASC) has announced this year’s participants for the Short Cuts Development Lab, with DEGANZ members Kim Webby and Julie Zhu among those selected.

Now in its fifth year, Short Cuts will bring together nine teams for a 2.5-day development lab running from 22–24 May 2026. Over the course of the programme, filmmakers will take part in a series of lectures, workshops, and one-on-one mentor sessions. Following the lab, teams will receive ongoing support to further develop their projects, with two projects awarded production grants of $40,000.

The initiative aims to strengthen Pan-Asian representation in the short film landscape while empowering emerging filmmakers to develop and produce scripted work.

Kim Webby is the writer/director of Piki Kōtuku, with Rob Margenstern producing and Lee Li serving as associate producer.

Julie Zhu is attached to Unknown Unknown as director, working alongside writer Carolyn Deng and producer Matilda Bose-Wong.

Congratulations to Kim and Julie on their selections!

 

Last updated on 23 April 2026

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Eady Selected for Screen Accelerator Project

DEGANZ member Dan Eady is one of 14 filmmakers selected for this year’s Screen Accelerator Project (SAP).

The six-week programme supports unscripted filmmakers to develop original concepts into fully realised, internationally marketable pitches. Led by Emmy Award–winning producer Jon Kroll, SAP helps participants uncover the core hook of their project, refine format and audience appeal, and craft a pitch that resonates with global television buyers.

Now in its fourth year, the initiative focuses on shaping local stories for the international market while strengthening homegrown producing talent.

Congratulations, Dan, on this exciting opportunity, and we look forward to finding out more about your project in due time!

Last updated on 23 April 2026

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DEGANZ Watch List: Across Genres and Generations

DEGANZ members have been keeping busy! This Watch List features new work across music, drama, children’s content, and factual, showcasing work that crosses genres and generations.

From a striking new music video and a whimsical children’s series to a quietly intense feature trailer and the return of a competitive equestrian web series, these recent releases highlight the diversity of voices and formats shaping the local screen landscape right now.

Chemistry

Music Video

Director & Editor: Gwen Lin

New song and music video from local artist Tyrun.

 

Moss & Freud

Drama Feature Trailer

Film Editor: Nick Carew

The newly released trailer offers a glimpse of the film’s quiet intensity and teases the charged dialogue and growing trust between Moss and Freud.  Set in London in 2002, the film follows Moss at the height of her fame as she agrees to sit for the notoriously private Lucian Freud. Over months of sittings in his studio, the encounter becomes far more than a portrait commission, evolving into a deep creative exchange that challenged both artist and muse.

 

Mr. Hugo’s Little Library

Kids Series

Director: Caroline Bell-Booth

Join Mr Hugo (aka Hugo Grrrl) in his eccentric library for a spectacle of storytelling! With Mr Hugo’s bookwork bestie, Dewey, each episode invites young viewers inside the magical books where they’ll find a world of larger-than-life characters, incredible outfits, hilarious lip-syncing, and show-stopping songs.

 

Young Riders (season 6)

Factual Web Series

Post Director: Carolyn Sylvester

Young Riders returns with a brand new series, following Aotearoa’s most talented young showjumpers as they compete to reach top rankings in the 2025/26 season. Fans can expect a mix of familiar faces – including hilarious breakout stars Wiremu and Tama – as well as three debuting riders, all vying to be top of the leaderboard.

 

Last updated on 23 April 2026

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Spare A Thought For Production… But Not at The Expense of Crew

View from the Top banner

Petrol and diesel are inescapable costs for production.

It doesn’t matter if it’s a two-person crew with a director, or a 3-500 crew on an international show; they all need fuel, particularly diesel.

Gaffer, grip, and unit trucks, four wheel drives, SUVs, vans, personal cars—all those production vehicles clock up the mileage, and the IRD rate of approximately $1.20 isn’t cutting it any more.

I just filled up my 4WD, and it was $3.99 a litre for diesel.

Productions, whether in planning, prep, or underway, will be looking sideways at their contingency and overhead and at ways to cut costs. And of course, thought will turn to cast and crew rates and how to squeeze them.

Collectively negotiated agreements under the Screen Industry Workers Act, should we achieve them, will provide some protection for cast and crew in this case, and any other. Production will not be able to go below the base negotiated rate, preventing the worst cases of exploitation. So the old chestnut of: “If you won’t accept this terrible offer, we’ll find someone else,” will be harder to pull off, because the occupational negotiated base rate will apply to everybody. In other words, there will be a floor that will be impossible to go below. And it won’t just be base rates that will be negotiated. Occupational terms and conditions will also be on the table for discussion.

Collective agreements will help to deal with the cowboy producers and productions. And there are a few. We are fortunate, though, that most producers try to do the best they can for those who work for them.

We are all facing an uphill battle right now, which has been made worse by the Middle East situation. Rising costs were an issue before that mess happened. And will remain so even if a way through that disaster is found.

New Zealand’s funding bodies are going to have to factor all of this in going forward. Production budgets will rise, and not just because of the cost of petrol and diesel. There are myriad other things that have gotten costlier.

In the meantime, spare a thought for your producer, line producer, and production manager who are grappling with how to make budgets work right now. Just make sure you are not the one paying for it.

 

Tui Ruwhiu
Executive Director

 

Last updated on 9 April 2026

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