Saturday, 4 July 2015

Force Majeure: DVD Review

Force Majeure: DVD Review

Cast: Johannes Bah Kuhnke, Lisa Loven Kongsli, Vincent Wettergren, Clara Wettergren, Kristofer Hivju, Fanni Metelius
Director: Ruben Ostlund

What would you do?

In the latest film from the Nordic provinces, it's the big question that faces the head of a family after an incident at a ski resort during a week's vacation.

It's all going well for the family on her holiday; mum and dad, two kids, the perfect piste and pristine snow and weather. But on day two, at lunch, when a controlled avalanche heads towards the family, Tomas (Kuhnke) panics, and runs leaving the family to fend for themselves, much to the horror of his wife and screaming two children.

When the snow powder clears, it becomes obvious that all is not well with the family and Tomas begins to feel the consequence of his actions.

Force Majeure is brilliantly filmed, with the extreme whites of the snow and the mountains framing the piercing problems ahead.

Kuhnke gives a performance that's as head-scratching as it is thought provoking - it's unlikely anyone watching this wouldn't throw a few thoughts over what they may do and how instinctive the survival gene actually is.

As the film slowly plays out, the creeping tension is almost unbearable and ironically, very little actually happens on screen, but Ostlund makes great fist of the locations (hotel corridors, the mountains, the close up shots) to convey a sense of dread not felt in a snow-set hotel since The Shining.

It's a film of psychological terror, yet it remains distinctly recognisable and humanly possible thanks to some humour at some oddly placed moments. Touches like these elevate Force Majeure into the realms of something truly different as the serenely and quietly terrifying tale progresses.

The only thing letting it down is the ending which seems at odds with what's gone before - a glimpse into the abyss has been offered and it's almost as if those in charge were too scared to stare too deeply within for fear of what it may say about us.


Friday, 3 July 2015

Batman Arkham Knight: PS4 Review

Batman Arkham Knight: PS4 Review

Studio: Rocksteady
Publisher: Warner Bros Games
Platform: PS4

It's no lie to say that the Batman series has been excellent on the console.

A heady mix of sleuthing, combat, great voice work and attention to story and DLC has meant that anticipation for the conclusion of the series has easily reached fever pitch. Leaving aside the fact there are issues affecting the PC Version of Arkham Knight, it's worth making sure that you go to whatever lengths are necessary to get this.

The story takes up after the end of Arkham Origins and starts on a particularly bleak and dark note as you get to incinerate / cremate one of Bat's nemeses. It's the visual equivalent of a punch to the gut and really does give you the feeling that this latest take on Gotham is the end of the road.

And after that start, Batman's finding the city of Gotham has settled into an uneasy peace, with a vacuum filling the quiet streets. However, that's all trumped, when the Scarecrow shows up on the scene, threatening the city with a fear gas attack that prompts a mass evacuation and kicks Batman into action. Throw in an unknown villain, the Arkham Knight, who's determined to kill Batman...

There's no denying that Batman: Arkham Knight has scope.

Gotham is huge and flying through the air with the Batman, wind flapping through his cape, it's exhilarating stuff. Gliding through the skylines you can use all of the prior Batman gadgets and weapons as well as beatdowns, which have already been prevalent in the previous outings.

Combat is still as fluid as it was; this time though, a few new moves have been added in including Fear attacks where you target victims as you're beating down the first. There's a definite fluidity to the game and it's a touch which really does make you feel like you're the Batman, meting out justice.

The story is epic, and once again, it's up to you to switch between detective mode, tracking down clues - though the focus this time isn't as strong on that front, which is probably a good thing lest the studios get accused of repeating themselves.

Side missions litter the game - with over 200 from the Riddler alone guaranteeing that the side-lines could give the completist gamer a real headache as they try strive to make the grade and the inevitable trophies on offer.

Once again, the main star of the Batman Arkham games is the story and voice-work. Kevin Conroy's Batman's never sounded better but I think the real hero of the piece is ironically John Noble. The Fringe star's turn as The Scarecrow exudes inherent menace all wrapped up in the silky tones of the Aussie actor. As his voice booms around in parts of the game, there's certainly the dread feeling the game needs.

And it's a good thing, because the main addition to the proceedings is somewhat of a disappointment - the Batmobile. While it looks incredible in slow-mo cut scenes as it rushes to meet its master (oh yeah, you can remote control) and can work to help fire you into the sky, there's too much of a reliance of the car in the main game, certainly the earlier parts. Using the grappling hook and guns to take out drones and tanks, there's no other option but to utilise the Batmobile. Equally, some of the Riddler missions require the vehicle. Rocksteady, we get it, it's cool, but it's not really why I love the immersiveness of the Arkham games, and certainly it slows the pace as you realise once again you have no choice but to clamber in and fire up the jets.

Upgrades, combos and weapons, as well as suits can all be bought in-game and all work well, but there's nothing to really beat soaring through the air, listening to conversations of the criminal element inhabiting Gotham.

If this is really the end of the road for the Arkham games (aside from the amounts of DLC on the way), it's a great finish for the series and a great entrance into the next gen world.

Fantastic rendering on the PS4's grunt gives it a graphical edge that really breathes seedy life into Gotham - but the thrill of Arkham Knight is seeing Rocksteady's vision, verve and years of association with Batman play out.

It's a game that if you've invested the time in the others, you can't afford to be without and Batman Arkham Knight is a masterclass on how to do a genre game the justice it deserves.


Mortdecai: Blu Ray Review

Mortdecai: Blu Ray Review

Rating: M
Released by Roadshow Home Ent

Already rated as one of the worst films of 2015 and a low note on Johnny Depp's CV, Mortdecai arrives with hardly much expectation hanging on its shoulders.

Depp is Charlie Mortdecai, a moustachioed eccentric, art dealer and rogueish cad who, along with his manservant Jock (played with bit-of-rough charm by Paul Bettany) is forced to investigate the theft of a painting by the police. With no choice but to investigate thanks to an 8 million pound debt to Queen and country, Mortdecai is sent on a global chase to find the painting before time runs out and it falls into the wrong hands.

Mixing heist caper, Terry Thomas style speech and Rowley Birkin QC gibberish, Depp's OTT performance stands at odds with everyone else around him as he preens and pirhouettes his way through the story which has elements of Gambit within. The problem is while his manchild antics are the central turn with stupidity being more his MO, everyone else around him is taking it terribly seriously with their best plummy British accents on show for all to see.

Bettany fares well as a put upon man servant in the vein of Kato amidst Mortdecai's bumbling and to be frank, the whole affair zips along with a pace that belies its weak script and hammy lead performance.

Depp's character spends a lot of the film asking if it "will be all right in the end"; and you can't help but wonder if that's a meta touch and comment on his own career which seems to be spindling and circling the plug hole after a row of bombs belying some of the great work he did early on. You can see why he was attracted to the bounder role; a chance to riff on the English aristocracy and the art world, but the end result is such a mess that the ongoing joke about a gag reflex every time his wife kisses him soon becomes an involuntary audience reaction to large parts of what transpires on screen.


Thursday, 2 July 2015

Jupiter Ascending: Blu Ray Review

Jupiter Ascending: Blu Ray Review

Rating: M
Released by Roadshow Home Ent

Space opera, stunning visual effects and a big messy plot all collide with limited effect in the Wachowski’s latest outing.

A doe-eyed Mila Kunis  stars as Jupiter, a cleaner who dreams of another life and who finds her dream is more of a reality than she realises when she becomes the victim of a space war.

It turns out Jupiter is actually a princess and an heir to the ownership of the Earth, a fact imparted to her when she’s saved by half-wolf/ half-human Caine (a pointy-eared Tatum). With killers dispatched by Balem Abrasax (Eddie Redmayne, prone to whispering and then shouting for no obvious reason) the tyrant heir of a family, Caine and Jupiter soon find themselves on the run and trying to restore Jupiter’s rightful position in the cosmos.

It’s clear where the money’s gone on the Wachowskis' latest.

Sumptuous space visuals, an array of creatures and alien races all appear to have gobbled up the cash that could have been spent on the story.

Saddled with some laugh-out-loud dialogue (one brutally forced in moment of contrived romance sees Jupiter telling Caine that she loves dogs – another reveals that bees can recognise royalty as they swirl around Kunis), thrown in overt references to the likes of Cinderella and Beauty and the Beast, some incredibly lazy and missing character development, Jupiter Ascending becomes an incomprehensible visual mess, lacking in coherence and offering nothing more than an assault on the eyeballs.

Kunis manages as best she can in her role, but suffers through some of the indignities of the script and the pacy directing; Tatum is near mute (and pointlessly shirtless) as his bland character grunts his way through continually skating through the skies (no, seriously) to save Jupiter; and Redmayne’s Ming-the-merciless wannabe villain is so underdeveloped that his greatest threat appears to be utilising his over-bite to chew through the scenery as he becomes a last-act villain plot device.

It’s a shame that the Wachowskis who brought us such visual feasts as The Matrix trilogy, Cloud Atlas, Speed Racer are reduced to this near incoherent hot mess. If the story stopped occasionally to breathe once in a while and take in the scenery, it would have been a slightly less flawed execution. Instead by racing breakneck speed between action sequences, having Caine continually save the day, throwing in a leftfield romance simply because, and providing a lack of consequence, this wannabe Star Wars clone has less bite than Tatum’s dog-eared lycan.

Though commendation must be given to one light sequence where Jupiter has to have her ID and regency validated; the Wachowskis’ satirical touch and take on bureaucracy is hilariously on the money and reminiscent of Brazil (replete with Terry Gilliam cameo).

Plundering from the giant treasure trove of sci-fi may have proven a fruitful ground for The Wachowskis in terms of stunning aesthetics and truly out of this world visuals mixed with extravagant costuming and an overly bombastic and overloaded OST.

But by failing to observe some the fact that character is what helps these stand up over the years after the FX have proven outdated, the cinematic folly that is Jupiter Ascending is more facing a descent into cinematic obscurity.


The Falling: Film Review

The Falling: Film Review 

Cast: Maisie Williams, Maxine Peake, Florence Pugh, Greta Scacchi, Monica Dolan
Director: Carol Morley

Ethereal, bizarre, ambiguous, filled with subtext, trees and to be endlessly debated in film school.

All of these can be levelled against the dreamlike film The Falling, from the director of the truly sad documentary Dreams of A Life.

It's 1969 Britain at an all girls school and Abbie (Pugh) and Lydia (Williams) are intense BFFs at a time when sexuality and an awareness of the world around them are blossoming. However, when a tragedy occurs involving Abbie, Lydia's life is turned upside down by mysterious rhapsodic fainting fits.  Things get worse when other members of the school are similarly affected by the fits and soon there's an epidemic....

Hazy echoes of Sofia Coppolla's The Virgin Suicides riddle parts of The Falling, garnering it with a touch of the mysterious and occasionally, the aloof. Themes of alienation and awakening are peppered through Morley's, at times slow, piece. It even borders on the fine line between enigmatic and deliberately opaque as it plays out. At one point, one character even intones "It's not simple, it's all about perception", a knowingly self-aware line that appears to tip its hat to the hauntingly oblique story within.

Game of Thrones' Arya Stark is self-assured throughout, imbuing her Lydia with a preternatural presence that's unsettling, leading you to question what's true and what's not. Equally, Pugh engenders her Abi with enough charisma to make you understand Lydia's loss. Peake makes a good fist out of the agoraphobic mum, Scacchi plays against type as a teacher and Dolan is suitably prissy as the school head.

But the real star of The Falling is the tone; granted there will be frustrations for some over lack of answers, but thanks to it being evocatively and disturbingly moody throughout with directorial use of subliminal flashes spliced in head-scratching moments, there's enough to ride you through the lulls and into the idea that a collective mania / strong bond could cause such ripples.

The one moment that feels out of place is the culmination of an incest story thread that worked better as a troubling portent rather than an outright exploration.

Ultimately arty, occasionally oblique and destined for debate, The Falling shows Brit cinema is in rude health and talents are rising to the top, even if the answers are short on coming.


Wednesday, 1 July 2015

Terminator:Genisys: Film Review

Terminator:Genisys: Film Review

Cast: Arnold Schwarzenegger, Jason Clarke, Emilia Clarke, Jai Courtney, Matt Smith
Director: Alan Taylor

"Old, but not obsolete" is a line thrown out by Arnold Schwarzenegger's T-800 (and meta-nod)  in the latest soulless blockbuster from the Terminator franchise.

Yet in many ways, it's also symbolic of the film itself, but sadly not quite as obsolete as perhaps it should be.

This time around, at a pivotal point in the war against the machines, Skynet and pretty much any of the logical senses, Jai Courtney's Kyle Reese is sent back in time to 1984 by John Connor (Jason Clarke) to protect his mother Sarah Connor (Game of Thrones' Khaleesi Emilia Clarke). But the rub this time around is that Connor's not quite the innocent Reese is expecting and the timeline as he's remembered it has altered. (Let's not bother addressing the logic of time-travel in sci-fi, because as one character shouts at one point - "Time travel makes my head hurt")

Soon, Connor, Reese and The Guardian (Schwarzenegger) are back on the run, facing off against the might of a Terminator sent back to take them out and fighting for their survival as well as the world's.

A relentless juggernaut of unoriginal action sequences follow in Terminator Genisys, each attempting to dull your senses and defy any kind of logic or any of the laws of physics; it's all connected together with a plot that becomes more and more muddled as each moment transpires. It's not that these action moments are thrown in, more that Thor: The Dark World's director Alan Taylor has produced nothing that's memorable in their execution.

A clutch of running gags about Arnie's age, his attempts to blend in by awkwardly smiling give the Austrian Oak a chance to flex those comic muscles, reminding us that the action hero of yore has been replaced with an almost cuddly caricature (he's even called Pops throughout the film by his Connor charge).  Nods to the original iconic moments from the first two Terminators including a younger digitised Arnie Terminator only serve to remind you of how good the earlier installments of this series actually were. Equally, a liquid T-1000 reminds you of Robert Patrick from T2 and again proves that this film has simply taken the best bits of the prior flicks and bundled them in with an absence of new ideas or a new direction to take the series.

It's a problem of balance in this film - there are unnecessary comic moments that take you out of the film. One such problematic scene is a mugshots inspired riff on the COPS reality series that tips way too much of a wink to the audience to make you feel you're watching a film anymore, merely a parody of what once was.

Thankfully, JK Simmons' turn as a cop caught in years of conspiracy, veers on the right side of the humour, while espousing such lines as "Goddamned time travelling robots - always covering their tracks" and injecting them with a self-deprecation that's welcome. (Less welcome is the gratuitous product placement of a certain brand of footwear)

Emilia Clarke acquits herself reasonably, even if she has none of the internal turmoil of Connor downpat, Courtney serves only to be a vessel for the endless garbled exposition and imbues his Reese with a workmanlike sheen - thankfully, Jason Clarke makes a memorable job of a scarred John Connor, even if his best moments have been ruined with the trailers for the film.

Arnie may be back in Terminator Genisys, but ultimately the machines of Hollywood have won this battle - what's transpired on screen is a muddled, messy flick that lurches through the rhythms of action, exposition ad nauseum before leaving you with a feeling that this series needs to be Terminated.


Tuesday, 30 June 2015

Talking the Incredibly Strange at the NZIFF with Ant Timpson

Talking the Incredibly Strange at the NZIFF with Ant Timpson

Ant Timpson’s Incredibly Strange.
Ant Timpson

Not only is that a description of the great man himself, but also the section of the Film Festival he’s programmed. He’s back this year and I spent some time chatting the films he’s chosen for our entertainment.

You’re all about the Gasm this year, Ant – Deathgasm and Orgasm in Love 3D. Firstly, Deathgasm seems like it has home grown hit all over it and appears to embrace our love of homebred splatter and gore?
I think this first question could be your worst opener in all the years you’ve been doing this, Darren. I’m all about the ‘Gasm’ this year? Let’s let that slide and focus on the part that actually makes sense – that Deathgasm could be a home-grown hit. Well like last years fest smash Housebound, it’s also a comedy with horror elements. The film has had a phenomenal festival run so far – from a slambang opening at SXSW to just recently being voted 3rd favourite out of all the films that played Sydney Film Festival. I’m pretty sure folks here in NZ will love its guerilla good-time spirit and that despite all the metal and carnage, it’s actually framed around a pretty sweet love story.
Deathgasm, playing at the 2015 NZIFF

Gaspar Noe’s Love 3D looks guaranteed to be divisive – what kind of controversy are you expecting for this and what do you have to say to your detractors?
Love 3D
We’re expecting little to no controversy about Noe’s latest. Unfortunately. This is no Irreversible which devastated Strange fest audiences back in 2003 nor is it as experimental as Enter The Void. It’s about love and how multi-faceted that can be. Yes, the film does contain hardcore pornographic material but in this day and age when Youporn is everyone’s favourite incognito tab in chrome that's not going to shock many. Obviously Noe’s talent and the 3D medium sets the film apart from casual online wankbank fare – I’m tending to think it’s probably not what people are expecting.  At the end of the day it’s a new film by Gasper Noe and he’s a filmmaker that always excites. Bring your parents along for an awkward time had by all.

Last year’s Q&A saw me hold a gun to your head, and ask you to talk about your film choices. This year, I’m being a bit more lenient – it’s a court setting and you stand accused of being Incredibly Strange. Defend your choice of The Invitation, a film guaranteed to unsettle.
I’ll have to go back and read that Q&A as I was sure it was me that was holding a gun to your head or maybe that's just a recurring fantasy I have. The Invitation screened to acclaimed at the SXSW festival this year and everyone thought it was a killer comeback of sorts for Karyn Kusama the director of Sundance hit Girlfight many moons ago. She went from that into a major film called Aeon Flux and so this is a return to indie film-making - and she displays being director in full control of the material. The set-up is a slow-burn scenario with a couple being invited to a dinner party with old friends and lovers. However, something is just a little off about the proceedings and our couple begins to question the real reason why they are there. It’s just another small gem of a US thriller like Blue Ruin that I hope people take a chance on.
Goodnight Mommy

Festival director Bill Gosden’s said that Goodnight Mommy is “the most viscerally disturbing film seen in years”; this psychodrama looks positively upsetting and works better if you know little – how do you answer that charge?
I saw Goodnight Mommy last year and there are images from the film I haven’t been able to shake out of my memory. The conceit is rather ingenious. Twin brothers are waiting for their mother to return home. When she arrives, she’s bandaged after cosmetic surgery. The kids begin to doubt that this person is actually their mother. The comparison to Austrian maestro Haneke is probably one that film scholars will pooh-pooh as being lazy but I think it's a fair comparison for most cinephiles. There’s something very austere about the work – it’s so beautiful and calculated – it could be directed by a surgeon and an architect. And it’s shot on 35mm and therefore essential viewing. I would say its probably the one title out of the whole section that I think will have the most people talking about it.

The prosecution was somewhat surprised by the emotional feels of Finders Keepers, a film (documentary) that takes a stolen mummified leg, a couple of warring former buddies and America’s obsessions with a 15 minutes of fame mentality and bundles it all up into something warm and oddly fuzzy. Is this a deliberate attempt to maybe make us think twice about your attitudes to programming?
Finders Keepers
So you’re keeping up with this court schtick, huh? I really hope I’m not expected to answer with puns and legal lingo just to make you look better. Your synopsis is a little off about Finders Keepers – it’s not about warring former buddies. It’s about a fame monster trying to cash in on someone else’s unfortunate situation and how both of them are battling demons from their past.
I think every year there’s a balance to the programming – for every film that could be a tough watch there’ll be something at the other end of the scale which has a sweetness to it. A bit like me don’t you think, Darren? There’s always a documentary or two that provides what may be lacking from some of the other narrative films. This year, we have two docs that both feature larger than life characters who provide audiences truly genuine moments of humour and pathos.

There could be charges of nepotism laid, given that you’re a producer on Deathgasm and Turbo Kid too. We’ll put that to the back of our minds for now, and ask how is Turbo Kid – it looks an 80s piece of TV writ large?
Well luckily nepotism reigns supreme this year because without it there’d be no NZ narrative features selected for this year’s festival. Both features I produced Deathgasm and Turbo Kid were the only ones selected! They cleared by festival director and other programmers for my section. Mainly because if I was a filmmaker who had a film turned down and then see the programmer with two films he’s involved with in the line-up I’d be kinda annoyed – especially if they weren’t good. Luckily, both films are great and both have had a tremendous international roll-out and critical acclaim before finally coming back to NZ.
Turbo Kid premiered at Sundance and was one of the surprise hits this year. Everyone - from Variety to Wired to Entertainment Weekly - has all been championing the film. It's a NZ and Canadian co-production and was made by three Quebec directors who I approached many years ago with the idea of turning a short film of theirs into a feature and expanding the universe they created. Then legendary movie villain Michael Ironside got involved and everything picked up speed after that. You’re  incorrect about it being 80s TV writ large – the film’s roots are all from feature films of the 80s not TV – it’s been born from the love of movies like BMX Bandits, Mad Max and Braindead.  A fun hybrid of a coming-of-age pic alongside post-apocalyptic splatter films. It’s got a real sweet love story running throughout the film and all the actors just delivered fantastic on point performances. It celebrates the culture it came from. It doesn’t wink at it or make fun of it. It comes from a very pure place.
It’s good to see that you’re joining the Marvel-befuddled masses and are programming I Am Thor, a doco that looks at a competitive bodybuilder. Are you going soft or is there really something to recommend here – and is it a coincidence that there are similar themes with Finders Keepers?
I Am Thor
Well again, I gotta say you’re one hell of a sloppy lawyer when it comes to the facts. I’d be on death row or worse if you were my lawyer in real life. The doc I AM THOR is not really about a competitive body-builder. Sure, he was a body-builder but the real story of the incredible human named Thor is about watching his decades long odyssey in trying to become the greatest rock god of all-time. At one stage his band was going to be the next KISS – then everything kind of went off the rails when he kidnapped himself. Yes that is not a grammatical mistake. There are a few parallels with Finders Keepers – both feature subjects that you want to succeed – total underdogs who deserve to come out on top. I think Thor is an amazing person and his tenacity to succeed is admirable.

We know you like to push your own films, but give us 3 other films from the main programme that have you genuinely excited to view them with a crowd over the coming weeks?
What you calling pushing my own section, I call fulfilling my contractual obligation with the NZ Film Festival. If we were in a courtroom, you’d be accused of badgering the witness.
Peace Officer
I’ve seen a lot of great docs this year – people should rush to see PEACE OFFICER, BEST OF ENEMIES, CARTEL LAND, WOLFPACK and BEING EVEL. The narrative features I thought were must-sees would be reissue of the mind-blowing The Colour of Pomegranates (a visual spectacular) The Duke of Burgundy (an erotic romp with the amazing actress from the TV show Borgen), A Girl Walks Home Alone at Night (a striking debut from a gifted female filmmaker), Kiss Me Kate (one of the best musicals of all time in knockout 3D), The Look of Silence (companion piece to Oscar nominated The Act of Killing), Spring (which I had to drop from my section but is a monstrous love story – slimy and sexy), and The Tribe   (a brutal polariser told completely in sign language)

We can ascertain you’ve been doing this for a while now -  what’s been the best reaction to one of your films, which was it, and have you been chasing that high ever since? Is there anything this year that could potentially match it?
Good question. And those are two words I never thought I‘d say to you, Darren. It’s strange for most to think of a high when programming but there’s absolutely a direct correlation to an audience giving themselves over to a film you love and your pleasure synapses doing a rumba. There have been many such highs over the 21yr period of doing this programme. From the utter joy of an unsuspecting audience seeing Wet Hot American Summer for the first time, to curiosity seekers having their minds blown by oddities like Psyched By the 4D Witch to the one-off screening of Irreversible that had people fainting, walking out and finally crying before slowly making their way out to the real world. I don’t think anything is going to match that this year but for me personally I’m going to enjoy seeing what audiences think of the utterly loony and fun Turbo Kid because it’s been quite a journey to get that film here in front of kiwis.
Yakuza Apocalypse

Yakuza Apocalypse seems to be quite wild and crazy (according to the programme). Is this the film which will garner the best crowd reaction?
I think fans of Miike (Gozu, Dead or Alive, Visitor Q, Ichi The Killer, Happiness of the Katakuris etc) are going to love this return to violent goofy lunacy and everyone else will be sitting there with jaws open saying “WTF?”

The defence and prosecution rests for now (judgement to be given out after this year’s festival and frankly, because this lame idea ran out of steam) – but in closing this piece, I have to commend you for being involved in the films and co-pros, is it still something you enjoy doing and do you have any further projects lined up?
Thank you and your world of entertainment, Darren. This faux court proceedings must rank as one of the laziest Q&A gags I’ve seen since reading an issue of ZOO magazine. I do have future projects but in this game you never know which ones will blossom. Making films is mostly a series of endless hassles interspersed with moments of unadulterated joy. You could say that about life I suppose.

Ant Timpson's selection of programmed films at the 2015 New Zealand International Film Festival can all be found on the official NZIFF website.