Definition Oct/Nov 2026 - Web

THE VIEW FROM... INDUSTRY

KIRSTY GRIFFIN - © WATERMELON PICTURES

talented filmmakers with specific local voices to just do what they do best is [how] we become competitive in that international space.” The NZFC wants filmmakers to be able to stay in the country if they want to, but it also encourages and enables filmmakers to go and have successful careers internationally. “We have many incredible New Zealanders working in the screen industry all around the world,” says Gardiner. “Taika, Cliff Curtis and Jason Momoa have also just bought a studio here in Auckland, with the idea of bringing their Hollywood films back to NZ. Jason’s not from here, but loves it here. They want to create opportunities for other indigenous filmmakers.” According to Gardiner, there’s probably not a filmmaker from NZ who hasn’t been mentored by another incredibly successful filmmaker before them. “There’s a huge culture of that, which we pride ourselves in,” she says. “Taika and Cliff have obviously got economic aspirations in mind for the studio, but there is also a desire for them to feed into the next generation of filmmakers.” For Mossman, it is particularly telling that filmmakers who could work anywhere in the world still make NZ part of their creative lives. For example, Peter Jackson has continued to invest in filmmaking infrastructure and businesses within the country and Jane Campion has repeatedly returned to the country for work alongside her international career. “Their ongoing commitment shows that the impact of those landmark productions wasn’t temporary,” explains Mossman. “They helped create lasting creative and technical expertise, infrastructure

HOME GROWN New Zealand filmmakers have made their mark, such as Taika Waititi with Hunt for the Wilderpeople (top left) and Boy (above), and Taratoa Stappard with Mārama (top right)

through film, even when money is tough.” Mossman remains optimistic for the future of NZ cinema, as the country continues to see distinctive voices emerge and tell stories with real confidence and a strong sense of identity. “Filmmakers such as Paloma Schneideman, Taratoa Stappard and director duo Thunderlips [Jordan Dodson and Sean Wallace] represent a new generation of storytellers bringing fresh perspectives to the screen,” he points out. “What encourages me is that we’re building on something substantial. NZ has developed deep creative and technical capability over many years, and we’re continuing to see new filmmakers, new stories and new opportunities emerge alongside it.”

and innovation that continue to shape the industry today.” Unlike many other countries, Gardiner points to the fact that almost all New Zealanders have the experience of seeing an NZ film that has shaped them, whether it was one of Peter’s films, Jane’s or Taika’s. This is also true of myself, someone from outside the country, having been raised on The Lord of the Rings trilogy. No doubt many others my age would say the same. “We’re also working hard in my team here to make sure filmmakers have every opportunity to make the best film that they can under the circumstances,” Gardiner adds. “It’s heartening to see people popping up, making films in different ways and I think there will be some sort of resurgence. Filmmakers are always going to find ways to express themselves

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