Films by Collection

Gemma Gracewood

Gathering in auditoriums with our fellow humans for entertainment's sake is the stuff of the ages. I love how the NZIFF becomes our humming town square for the season. 

I have hazy, formative memories of screaming at the screen at the full-house, midnight screening of Pump Up The Volume at The Civic during the 1990 festival. I reckon this year's best music party will be a tie between The Punk Singer - seen it, adore it - and Pulp: A film about life, death and supermarkets. 

Any film showing young women making their way in the world is going to push my feminist buttons, so 52 Tuesdays, Sepideh - Reaching for the Stars and We Are The Best! are naturally on the list. I've added Linklater's highly-anticipated Boyhood for balance. 

The Armstrong Lie is a jaw-dropping piece of journalism; Is The Man Who Is Tall Happy? puts two of my favourite humans in a room; Frank has Fassbender, say no more. Orphans and Kingdoms is on the list because it's the debut feature by the guys I made the short film Dead Letters with, and what's the point of nepotism otherwise? (Also, actor Colin Moy is a privilege to watch).  

Finally, I've been disgusted, appalled, scared shitless, revolted, visually assaulted and pants-wettingly hysterical at Ant Timpson's festival selections, but I have never, ever been disappointed. 

 

Gemma Gracewood is a producer and writer, and reviews film for Metro magazine.

Pulp: a Film about Life, Death & Supermarkets

Florian Habicht

NZer Florian Habicht’s acclaimed collaboration with Jarvis Cocker fixes the triumphant 2012 concert billed as Pulp’s last ever within a loving portrait of Sheffield and Sheffielders.

Boyhood

Richard Linklater

Richard Linklater’s enthralling and moving drama of a boy’s progress from childhood to young manhood is truly unprecedented: it was shot over 12 years, capturing its star and his fellow cast as they themselves grew and changed.