DEGNZ members Fiona McKenzie and Scott Flygerโ€™s short film Peninsula has been officially selected to have its World Premiere at the Tribeca Film Festival. Directed and written by Fiona, the film follows a father trying to reconnect with his estranged son, leading to unexpected consequences.

Speaking to Scoop, Flyger, the editor and producer of the short film, stated how thrilled he was to see Peninsula, an independently produced and funded film, selected by one of the worldโ€™s top tier festivals, a โ€œno mean featโ€. The film was shot in Banks Peninsula in 2019.

Peninsula will have its World Premiere on June 16.

Essie Davis and Thomasin McKenzie in The Justice of Bunny King

Congratulations to DEGNZ member Cushla Dillon, editor on The Justice of Bunny King, after it was announced that the film will have its World Premiere at the esteemed Tribeca Film Festival that runs annually in New York City.

The Justice of Bunny King follows Essie Davis as a mother of two battling against the world, with her niece (Thomasin McKenzie) by her side. Speaking to the New Zealand Film Commission director Gaysorn Thavat stated that she is incredibly proud and excited to have their filmโ€™s World Premiere at the Tribeca Film Festival, a film that โ€œcelebrates the struggles of ordinary women facing extraordinary strugglesโ€.

It will also compete for the Best Female Filmmaker and the Best New Narrative Director Awards.

The Tribeca Film Festival runs from June 9-20 and will be available online.

The Screen Industry Workers Bill is back on the menu with the Government now wanting to to move it along. And thatโ€™s a good thing.

If thereโ€™s one issue that crops up more than any other at DEGNZ itโ€™s individual contracts.

New Zealand moved away from collective bargaining with the changes to employment legislation that eroded a workerโ€™s right to pre-agreed terms and conditions from the 70โ€™s through to the 2000โ€™s. Individual workers are left to negotiate their own remuneration and terms and conditions with the engagers (companies) if they become classed as contractors, which applies to a very high percentage of screen industry workers. This has been particularly bad for directors and editors, unless you are an in-demand person.

There are now generations of workers who have never had union representation, or benefitted from collectively negotiated agreements.

You, the individual director or editor, are required to negotiate your remuneration and the terms and conditions under which you work with the production company or broadcaster that has the resources in most cases to either engage a lawyer or have their own in-house legal counsel. This creates a playing field thatโ€™s ripe for exploitation by the unscrupulous. Many of you sign the contracts you are given with little or no negotiating power, and itโ€™s these contracts we often see when people become unhappy with how they are treated.

The Screen Industry Worker Bill is one approach, agreed to by all unions and associations in the screen industry, to provide minimum protection to screen workers. It should prevent outright exploitation and offer the opportunity to get fair terms and conditions in a collective manner. There will still be the opportunity to negotiate individually as there is now. There will be a floor below which no engager can go, but no ceiling except that beyond which the individual engager will not go. In other words, you can push up, but they canโ€™t push down below the minimums.

At DEGNZ we have worked hard with all the other screen guilds and associations to get the Screen Industry Worker Bill in place. The three unions in the screen industryโ€”us, the Writers Guild and Equity NZ, the actors guildโ€”are working with the Council of Trade Unions to try and get the best legislation for screen workers we can. But the battle is still not won.

New legislation is tricky to get through Government. It gets changed, watered down, and other things get in the way, like the Fair Pay Agreements that Government and other non-screen industry unions are hot on at the moment.

While we continue to work on getting the Screen Industry Workers Bill passed, Iโ€™d like to ask each and every one of you to familiarise yourself with the Bill, because itโ€™s for you. You can read the current draft here, which we are seeking improvements to. You can learn about the legislative process here. And most importantly, you can talk to others about it, because once it is in place and we negotiate a collective agreement, each one of you will have an opportunity to vote on whether you want the minimums we bring to you. And if you donโ€™t, your vote can tell us to go back and try again as long as you are a member with rights to vote.

Thatโ€™s democracy in action in a union.

 

Tui Ruwhiu
Executive Director

Wonderful to see the launch of the dystopian, black comedy series Creamerie, directed by member Roseanne Liang. DEGNZ member Jochen Fitzherbert edited the series, alongside Academy Award Nominee Tom Eagles. The series is set eight years after a plague killed all men, and follows three women who run a dairy farm, who accidentally run over the last surviving male human on the planet.

Creamerie is now available on TVNZ OnDemand to binge, or if youโ€™d rather sit down in front of the tele and savour it slowly, the show is being broadcast on TVNZ 2.

Rebecca Tansley (DEGNZ) directed the cinematic version of NZ Operaโ€™s live production of Semele late last year. Now you can grab tickets to enjoy this powerful story of ambition on the big screen, with select screenings coming up in Christchurch, Wellington and Auckland.

Drawn from Ovidโ€™s Metamorphoses, the sensual story explores a love triangle between Jupiter, King of the Gods, his wife, the goddess Juno, and his lover, the mortal princess Semele.

The site-specific production was made in Aucklandโ€™s Holy Trinity Cathedral, and stars Emma Pearson, Amitai Pati and a host of other New Zealand-born and international operatic talent.