Lego Horizon Adventures: PS5 Review

Developed by Guerrilla Games, Studio Gobo

Published by Sony Interactive

Platform: PS5

The Horizon world is one that's ripe for the kind of humorous approach the Lego games have taken in years previously.

With a very po-faced story and reams of scenes of characters espousing dialogue, the original Horizon: Zero Dawn was slightly ruined by its over-reliance on exposition.

But the Lego approach sees some of that mocked in a purely affectionate way.

Following the same story beats as the original adventure about a foundling outcast searching for answers in a post-apocalyptic world, Lego Horizon Adventures is more about refashioning the game for a (much) younger audience, already versed in the Lego world and subsequent franchises.

Consequently, while the game is cute and enjoyable enough, it's also a little too young for fans of the Horizon series who will be after the trademark action and combat that the original offers.

With the emphasis really being on co-op playing and the beautiful Lego-led sets of various scenes throughout, the developers Guerrilla Games and Studio Gobo have clearly had their eye on what it's like to play with Lego among friends.

Rivers flow with blocks, and the very essence of nature is made up from the plastic bricks. It's a joy to behold and a pleasure to play in that world. 

But the further into the game's relatively short campaign you get, the more it feels surface-level gameplay. Combat is fine, requiring you like in the original to target key components to weaken enemies - something which becomes key later on - but mostly just shooting repetitively has the same effect.

The randomness of weaponry appearing too makes things a little trickier and while combat difficulty can be adjusted throughout, the game's non-adherence to some rules proves to be a more taxing proposition.

Character work is good too - with exaggerated versions of the game's heroes set more to amusing than serious. Aloy's definitely more lively and a little less serious than before and the narration is very much tongue-in-cheek.

With a central base, Mother's Heart, able to be customised with a variety of LEGO props, the game's got plenty to do if you want to collect studs, but it's not quite as unlockable as you'd expect from the Travellers Tale versions. And what is really with the chance to unlock outfits from other Lego franchises (like Ninjago and City) seems a bit difficult to explain, other than to provide an entry point for younger would-be gamers.

Yet it's in the co-op the game excels, giving younger players the chance to perhaps actively experience the Horizon world, rather than passively watch others run around the original.

Overall, while Lego Horizon Adventures seems a little confused in its raison d'etre in parts, it does offer some light relief from the continual unrelenting triple A blockbusters.

Here's hoping for a Lego God of War next...

Gladiator II: Movie Review

Cast: Paul Mescal, Denzel Washington, Joseph Quinn, Tim McInnery, Connie Nielsen
Director: Ridley Scott

It was always going to be a tricky proposition to follow 2000's Gladiator.

From its iconic action to a star-making turn from Russell Crowe as the lead to singular moments that have lasted, the idea of a sequel was perhaps always a little stymied before it made it to the screen.

So it's no surprise to say that while director Ridley Scott builds on the kind of vision more recently witnessed in Napoleon than perhaps on his 2000 effort, Gladiator II is lacking a little heft in the shadow of its own past.

When Paul Mescal's Lucius is captured after Rome's army sacks his North African province and kills his wife, he vows revenge on General Marcus Acacius (Pascal). But Lucius has to escape the confines of his jail via the Colosseum and the hordes of challengers facing him.

From CGI killer monkeys to a water-filled stadium teeming with sharks, it seems like the script of Gladiator II has gone too far the other way for its spectacle, losing sight of the level of intimacy that helped propel the first to iconic status.

Juggling a story about the corruption and fall of Rome along with the political machinations of Denzel Washington's Macrinus as well as destiny and heritage, Scott had a rich vein to mine. Yet somehow, the script fails to service the legacy while simultaneously failing to carve out a new story that measures up.

Mescal also inevitably suffers in comparison to Crowe, reduced to seething moments of rage without the bonus of well-written dialogue to support him. It was always going to be a tricky idea, but it's largely the fault of the script that Gladiator II won't rise from the shadows.

In terms of the Colosseum spectacle, the games lack none of the brutality of the past, even if the emotional edges fail to match up. It's more in keeping of reality, given how swift the action is and how quickly enemies are dispatched - but it does nothing to satiate those looking for vicarious pleasures to match the weaker edges.

The first film talked repeatedly of what was being done echoing in eternity.

But unfortunately, Gladiator II fails to even break free of the former's shadow - and while it's a perfectly serviceable, if overly long watch in parts, it can't help but feel disappointing.

Win a double pass to see Gladiator II in cinemas

To celebrate the release of Gladiator II in cinemas November 14, thanks to Paramount Pictures NZ, you can win a double pass to see the movie!

About Gladiator II

From legendary director Ridley Scott, Gladiator II continues the epic saga of power, intrigue, and vengeance set in Ancient Rome. 

Years after witnessing the death of the revered hero Maximus at the hands of his uncle, Lucius (Paul Mescal) is forced to enter the Colosseum after his home is conquered by the tyrannical Emperors who now lead Rome with an iron fist. 

With rage in his heart and the future of the Empire at stake, Lucius must look to his past to find strength and honour to return the glory of Rome to its people.

Gladiator II is in cinemas November 14.

Strange Darling: Movie Review

Cast: Willa Fitzgerald, Kyle Gallner, Barbara Hershey, Ed Begley Jr.

Director: J.T. Mollner

Writer/ director J.T.Mollner's electric Strange Darling is a difficult film to review. 

Mainly because the film's taut and lean production works best as a film that you know least about - and whose surprises rely more on ignorance rather than prior knowledge.

Loosely, the film begins with Fitzgerald's The Lady being pursued by Gallner's The Demon - and that's as much as you need to know.

With a blast of freshness and and a penchant for twists, the non-linear tale is divided up into a tangled narrative that slowly unwinds as the tension increases. But with searingly focussed performances from both Gallner and Fitzgerald, the movie becomes increasingly suspenseful as it plays out.

A booming OST and crisp visuals make this an experience that messes with perceptions of what a film like this would be setting out to do. And while a second viewing may not necessarily provide the thrills a clean-watch offers, Strange Darling's aesthetic and unnerving adherence to the perversion of genre tropes proves to be frighteningly fresh.

There's much in the dialogue which proffers insight into societal expectations of both men and women and some of the discussions of dating prove to be intriguing insights into how the film messes with the ideas on show.

Not everything works - a sequence with police later on feels awkwardly out of place and goes against the ideas espoused and seems to be an unusual commentary.

But that single moment is the only one that stands out in a singularly-executed vision that's thrilling and unnverving.

Rogue Flight: PS5 Review

Developed by Truant Pixel

Published by Perp Games

Platform: PS5

Rogue Flight's penchant for fixed vision arcade-style shooting is a welcome return to the kind of classics you'd encounter back in the 1980s fish'n'chip shops.

Its story seems nicely 80s led too - setting it as it does when Argus, an AI goes rogue, unleashes missles and makes the world burn. But unfortunately, there's a group of resistance fighters called BOW who decide to fight back.

While there's little outside of a predetermined route for your fighter, and it's a case of fighting back against incoming barrages of baddies, Rogue Flight's steely determination to simply do nothing outside of what's expected on screen proves to be one of its selling points.

With barrel rolls, targetting missiles and the chance to unleash on multiple targets at once, Rogue Flight has a small arsenal up its sleeve against the onslaught. But it also uses its combos wisely - with health power ups on offer and a chance to survive for longer.

While the story is nothing sensational, the use of adaptive triggers, haptic feedback and the in-controller mic make it feel like you're really in a dogfight, flying high in the sky.

The only real frustration from Rogue Flight comes from a need to start each level from the very beginning, meaning either re-enduring some tough flights or potentially failing to learn from what you've already done. 

For a smaller indie game with pixel sensibilities, Rogue Flight does soar in places, but given how short it is overall, it's one to improve your skills with early on to able to enjoy it the most.

 

Paddington in Peru: Movie Review

Cast: Ben Whishaw, Hugh Bonneville, Emily Mortimer, Antonio Banderas, Olivia Colman
Director: Dougal Wilson

It's easy to cynically dismiss the latest Paddington film.

A movie that at its heart is swathed in unbowed cynicism and eternal optimism, Paddington has always been a ray of cinematic sunshine about the good-natured bear winning over the villains of the piece. This latest is no exception to the rule - and even manages to throw in a parody of the Sound of Music and an Alien homage as well.

When Paddington hears his beloved Aunt Lucy has disappeared from the retirement home she lives in in Peru, he sets out with the Brown family to find out what exactly has occurred.

With the thinnest of plots and the penchant purely for jungle-set interludes and excursion ahead, Paddington in Peru does not quite reach the lofty heights of the previous outings (though a deliciously unexpected ending utterly delights). But what it does do, is provide solidly entertaining family fare - as long as you're willing to forego the slower start to proceedings. 

With plenty of sight gags and mini sequences thrown in initially, Wilson's film reminds you of the slapstick nature of the bear before settling into something more akin to a BBC TV Christmas special where the normally cosy family heads to foreign climes.

But with scene-stealing appearances from Colman as the smiling and seemingly sinister Reverend Mother and a scenery chewing outing from Banderas as the Captain of a boat tormented by his ancestors, there's much to enjoy throughout once you get past the endurance of the earlier stages.

In amongst it all though is Whishaw as Paddington - a vocal performance that's as comforting as the fur that flowers all over Michael Bond's bear himself. Filled with warmth and heart, it's easy to see why this version of the infamous character has gained so much traction. 

And while there's plenty of strong arguments to say that this franchise probably needs resting now, and that the unbridled English cynicism about a bear whose dream to get a passport and travel to a world that doesn't necessarily want him has plenty of Brexit parallels and has a thumbing the nose to current political elements, it's hard to overlook the fact this slice of marmalade-led escapism has a cinematic syrupy goodness that's impossible to resist.   

Nightbitch: Movie Review

Cast: Amy Adams, Scoot McNairy, Jessica Harper, Zoe Chao, Mary Holland
Director: Mariella Hellar

A satirical take on motherhood that has occasional flashes of deadpan brilliance amid frustrations over where the story could potentially have gone, Amy Adams gives a mightily impressive performance as a woman foist into motherhood and feeling trapped by having done so.

Having given up a career as an artist for the new role, Adams' character begins to resent the monotony of her routine and the ignorance of her partner (McNairy) who just appears when not working but is mostly absent during the parenting part.

One day when her son tells her she's getting fuzzy, she notices new hairs. Dismissing them as life pre-menopause, it becomes clearer that she's getting more feral and before long, the mother is out at nights as a dog...

What could have been a bizarre body horror drama feels more sanitised than perhaps its source material might suggest, but that doesn't mean Hellar's film is as neutered as that may appear.

Adams gives a stellar performance to the growing, bubbling inner rage of the mother - buoyed by a script that mines the dark humour in sardonic places and the wry observations over the archaic expectations of motherhood, her imagined monologues give way to both some of the film's harshest truths but also its saddest realities.

There are elements which pertain to the loss of identity and the more frustrated she becomes, the more feral she reveals herself to be. And it's here that Nightbitch feels like it's been watered down for the big screen as elements which could have had real bite, feel more muzzled for wider audiences.

In among all this though, make no mistake - Adams soars in the role, making the most of the absurd premise and giving humanity to the hardest truths that are born from the tragedy and bittersweet joy of parenting.

Memory: Movie Review

Cast: Jessica Chastain, Peter Sarsgaard, Josh Charles

Director: Michel Franco

There's a complexity to director Michel Franco's Memory, a film which addresses some darker themes in a sensitive and moving manner.

Oscar winner Chastain plays Sylvia, a single mother recovering from alcoholism and estranged from her own mother. Navigating a complicated relationship between the two of them, Sylvia's sister Celia persuades her to come to a reunion, despite her protestations.

On leaving the party, she's followed home by a man, Saul, (Sarsgaard) who ends up spending the night outside her house....

To say more about Memory's plot is to rob it of some of its elements of surprise and its seismic revelations.

Needless to say it is impeccably acted by both Sarsgaard and Chastain, a pair whose chemistry is palpable but also whose lived-in experiences feel raw, real yet grounded throughout.

As elements of the story reveal themselves like an onion, there's a temptation to overplay the dramatic edges but director Michel Franco wisely holds back from over-egging elements and pushing it into the melodrama.

It's a decision that pays off handsomely as Memory with its twists and subtle edges plays out. By keeping a close rein on proceedings and a tight eye on the histrionics of the drama, Memory does much to stay long in the memory after the lights have gone up.

A Real Pain: Movie Review

Cast: Jesse Eisenberg, Kieran Culkin, Jennifer Grey, Will Sharpe

Director: Jesse Eisenberg

A Real Pain may have its roots in a personal story from Jesse Eisenberg but it's anchored by a larger-than-life performance from succession Kieran Culkin.

The pair play David and Benji (Eisenberg and Culkin respectively) brothers whose life circumstances and distance have driven apart. Coming back together for a pilgrimage to Poland after their grandmother's death, they find their yin and yang relationship sorely tested after the initial joy of the reunion wears off.

Booked in as part of a group tensions are further exacerbated by others swooping in and out of their orbit as they close in on their emotional destination.

What starts off with the promise of an Odd couple trip - from Eisenberg's neurotic worrying on the way to the airport ' soon acquiesces into something a little more dry and whimsical.

Blessed with unexpected moments of humour and edges of grounded reality, A Real Pain gets to the nub of fraternal relationships, both the good and the bad. Along with an eye for the local scenery and the heft of a concentration camp, Eisenberg manages restraint over mawkishness nicely, treading a fine line but never once wobbling over.

While Culkin has the more obvious role as the seemingly cocksure overcompensator of the two, there's much to be said for Eisenberg's subtle touches that provide the right balance.

With a depth that only reveals itself seemingly by accident there's a poignancy in a real pain that's not quite enough to propel it into classic status, but which does enough to make you rethink a lot of what transpires early on.

A thoughtful and pensive piece, carefully constructed, A Real Pain shows distinct promise from Eisenberg.

Ring launches five new features, including 24/7 Recording, through new subscription plan tiers

New features and subscription tiers help Kiwi customers see more, know more, and protect more with Ring Home

Ring is excited to launch five new home security subscription features, including the much-requested 24/7 Recording (select devices only - see below), Doorbell Calls, Video Preview Alerts and Extended and Continuous Live View. These new features are part of Ring's refreshed subscription plan tiers, now called Ring Home (formerly Ring Protect), designed to bring more convenience and peace of mind to Kiwi customers, and available from today. 

24/7 Recording

One of Ring's most requested features has been 24/7 Recording, which is now available as part of the Ring Home Premium plan. 24/7 Recording allows eligible wired and plug-in cameras* to continuously record and capture activity outside of motion zones giving customers an even better understanding of what is happening at home. 

Doorbell Calls

Included as part of Ring Home Standard and Premium plans, Doorbell Calls help customers never miss a doorbell ring. When someone rings the doorbell, Doorbell Calls will ring the customers designated connected phone, like they're receiving a video call, instead of receiving a push notification and needing to open the app. Customers can then answer the doorbell and speak directly to their visitor through Live View via their phone.

Video Preview Alerts

With new Video Preview Alerts, included as part of all Ring Home plans, customers will be delivered a short video clip in their push notification, letting them see a preview of the motion activity without needing to open the Ring app and easily decide what to do, from nothing to using features like Two-Way Talk or Live View. 

Extended Live View and Continuous Live View

In listening to customer feedback, Ring has heard that users want even more Live View time than the current 10 minutes, so they can feel like they're in two places at once. Whether it's wanting to see their kids playing outside while inside cooking or to see how a pet behaves home alone, Extended Live View (included in Ring Home Standard) lets customers watch their camera feed live for up to 30 minutes. The Ring Home Premium subscription tier, coupled with cameras offering 24/7 Recording, unlocks Continuous Live View for eligible customers. 

New Features, New Name, Same Price

These new features are available now through Ring Home, which replaces Ring Protect, and offers three plan tiers:

Home Basic (NZD: $4.95/month, $49.95/year) which covers one doorbell or camera device 

Home Standard (NZD: $14.95/month, $149.95/year) which covers all devices at your home

Home Premium (NZD: $29.95/month, $299.95/year) which covers all devices at your home

To learn more, please go to: https://ring.com/au/en/plans 

*24/7 Recording is available only on Ring Stick Up Cam (wired and plug-in only), Stick Up Cam Pro (wired and plug-in only), Indoor Camera (2nd Gen) and Pan-Tilt Indoor Camera.

My Old Ass: Movie Review

Cast: Maisy Stella, Aubrey Plaza, Percy Hynes White
Director: Megan Park

Maisy Stella's performance in My Old Ass is the kind of appearance that launches a star.

While the plot of the film and its subsequent twists and turns are nothing new and original as it teeters its way toward sentiment and mawkishness, it's her portrayal of Elliott that grounds the film from some of its narrative obviousness.

On the brink of heading away to university and leaving her family, Elliott (Nashville's Stella) goes for one last blast night away with her friends. Consuming a mushroom-infused tea, she suddenly discovers she's face-to-face with her 39-year-old self (played with deadpan and dramatic flair by Aubrey Plaza).

While nobody else can see the interloper, Elliott soon finds herself listening to advice from her future self and questioning everything she knows.

The mechanics of this relationship don't exactly make sense - how can a future self communicate via phone - but what does make sense in director / writer Megan Park's film is a complete sense of self and of time and place for My Old Ass.

Granted the film descends into sentiment as it ties itself up with a familiar message of appreciating what you've got before you don't have it, but over a brief 90 minute run time, what emerges from My Old Ass is a film that's stolen by its confident lead.

Having Stella's performance grounded in both ease and reality, the story's zanier edges are steeled against the traditional young adult fare that emerges in situations like this. And while the narrative's not immune from the genre's trappings, Stella sells the reality with an ease and perfection that's hard to deny.

Plaza once again shows off her dramatic depth (something built on by both The White Lotus and Emily The Criminal) but in truth, she's not on screen long enough to massively overshadow proceedings.

It's hard to deny some of the emotional edges of this, and while even the hard-hearted can see what's coming, thanks to a real and well-acted story, My Old Ass manages to serve up its message of appreciation is probably a good one to take on board as we near the end of 2024.

My Old Ass begins streaming on Prime Video from November 7.

Silent Hill 2: PS5 Review

Developed by Bloober Team

Published by Konami
Platform: PS5

Silent Hill 2 is a broody, moody affair.

The Bloober Team remake of the 2001 favourite follows James Sunderland, a widower, who heads to Silent Hill after getting a letter from his dead wife saying she's there.

But when he arrives, he finds mystery, a lingering fog and a whole lot of jump scares.

The third person game is favourable to the original, while still adding levels of its own intentions on it. Atmospheric and bleak, the game's terrifyingly claustrophobic feeling does much to engender a sense of unease in the player.

Although a lot of the game sees you stumbling through streets and areas awaiting something to happen, it does much to lull you into a false sense of security. And while the game does remain largely faithful to its source material, the inclusion of new cinematics aside - players who've never experienced the original are still able to lean in and enjoy it.

With minimal lighting and dense fog, the game works well on modern day consoles, building in layers of unfurling danger and causing you to squint at what could lie ahead, just out of sight.

There can be frustrations solving puzzles and patience is greatly required throughout as levels of discomfort increase. In fact, it's hard to face the fact that much of Silent Hill 2 is based on misery and unhappiness - but perversely, that's also its thrill.

And while combat is a little trickier than the original and there's more of it, the general atmospherics of Silent Hill 2 ensure the game is one to dive into - and to suffer through. 

It may be tricky in parts, and pantwettingly unrelenting in others, but all in all, Silent Hill 2 proves that remakes when handled well can work - and that this franchise is desperately in need of a dust down for its next generation - and perhaps a new episode unleashed by Konami to inspire and frighten for years to come.

Loading Docs Directors Q&A

Loading Docs season 10 launches on DocPlay on November 4.

Season 10 sees a brand new collection of exceptional films made by some of New Zealand's most exciting emerging storytellers. From a professional gamer to a former meth addict to a teenage bodybuilder, the subjects of these films share stories of the most vulnerable, desperate and hopeful times in their lives.

We caught up with the directors of the latest batch of films for a chat.

Here the Wild Things Are | Director Kelly Gilbride

Tell us the name of your Loading Doc

Here the Wild Things Are Give us the elevator pitch in 10 words or less

A global race to discover the wild hidden in our cities Tell us the moment you realised this project was going to be special to you

Honestly, each time the film added a new crew member who understood the kaupapa and brought their own flavour and ideas. And, of course, after conversations with the scientists involved! From the outset, Madison (Producer) spearheaded this project with a genuine belief in the story and her faith in the film really kept me going through the challenges of finding funding. When we met Isaac (Director of Photography), we just knew the visual storytelling was going to be stunning and Callum (Composer) approached the music with such care and attentiveness. From his earliest drafts, I knew the music was going to play a powerful part in the film. The most special moment was the end of the first day of editing with Heidi. Up until then, I didn't really know how it was all going to come together and I was a bit daunted going into the edit. But it became clear very quickly that we had found a fantastic storyteller with

a great sense of humour. It was so freeing and empowering to experiment in the edit and I knew

we were going to make the exact film we wanted to (and we did!)

Tell us the most difficult filmmaking moment and how you overcame it?

The most important lesson I learnt from this process was to get to know the people you

want to work with before bringing them onboard. Have a Zoom meeting with them,

get a coffee, and get to know them outside conversations around the film.

Make sure they're someone you can trust and that they're creatively aligned and open to

your vision. Know what is important to you in collaboration and seek that out. Not everyone is going to be a good fit for you or the film and that's ok. I learnt I really need people that are honest,

funny and are driven by their own desire and standards to make good, authentic work.

Tell us what's next for you

Continuing to merge art and science in fun and innovative ways - not necessarily just

through film but also theatre and puppetry! I have a few filming contracts along this vein

coming up and would love to do a feature documentary. Tell us which of the other Loading Docs you admire, and why.

I love them all. All the teams did a workshopping weekend right after getting funded

And to see how the films developed from inception to delivery was so awesome.

I was very proud of everyone at our premiere back in September.

Hifi Ulu | Director Chantelle Burgoyne:

Tell us the name of your Loading Doc

Hifi Ulu

Give us the elevator pitch in 10 words or less

When your culture rests on your shoulders Tell us the moment you realised this project [ your film] was going to be special to you.

From the moment I conceived the idea for Hifi Ulu I knew it

would be special to me as it is such a personal film involving my family with my nephew Luka at

the centre of it. The film follows Luka and his family in the lead up to his hifi ulu, the traditional

Niuean hair cutting ceremony that is a rite of passage for young Niuean men.

When the family and especially Luka granted me permission to film them during this journey,

I knew it would be a taonga (treasure) for our family and would hopefully resonate in the wider

Pasifika community and beyond as well. 

  Tell us the most difficult filmmaking moment and how you overcame it? 

I found that the day of the hifi ulu ceremony was the most difficult for me. I felt like I was both

‘within and without’ in my role as the director trying to capture the day as best as I could whilst also

feeling torn about not being able to fully enjoy the day and celebrate as an Aunty. I tried to be present

as much as I could and in moments when I needed to be part of the ceremony (my Mum and I were

called early on to cut a piece of hair) I was able to trust my producer Hayley and our crew to capture

what was needed. I learned that it’s okay to ask for help and I can’t always do everything myself.

  Tell us what's next for you?

I have a few feature film ideas and a series idea that I’m working on. At the moment, I’m focussed on

developing a feature film called The Pressbox which is based on my relationship with my dad

who played for New Zealand in the Kiwi’s Rugby League team in the 70s.

He battled with a gambling addiction that ended up consuming his whole life until he tragically

passed away very suddenly when I was a teenager. 

 

Tell us which of the other Loading Docs you admire, and why?

There are so many great Loading Docs that have been made throughout the years.

I especially admire the other films and filmmakers who are part of season ten alongside Hifi Ulu as

I got to see the journey they all went through, the different challenges they faced and overcame to make

their films. 

A film from a few years ago which I love is Night Ridedirected by my friend Todd Karehana. It’s a personal film in which he tries to understand the

motivations behind his mother going out into the night to feed stray cats that live near their old home.

The film is beautifully captured and is a mix of quirkiness and heartfelt vulnerability which has made

me laugh and cry anytime I’ve watched it. I also really love Fast Eddie, directed by Keeley Meechan,

which follows her and her father as they go on one last adventure together cycling the Lake Dunstan

trail after he was diagnosed with Multiple System Atrophy. I admire the bravery and vulnerability it

took to be willing to film such a deeply personal and difficult time for their family and it is a

bittersweet watch as it has a beautiful uplifting air to it despite the tragic circumstances of

Eddie’s terminal diagnosis.

Tū Tonu – Still Standing | Director Brady Polkinghorne:

Tell us the name of your Loading Doc

Tū Tonu – Still Standing

Give us the elevator pitch in 10 words or less

When the cost of standing up is risking what you love

Tell us the moment you realised this project [ your film] was going to be special to you.

The first time filming Zane speaking at an environmental protest in downtown Auckland to a

crowd of thousands, we understood that this would go on to inspire anyone who watched the film.

Seeing his passion and humility enliven people to stand up for what’s important was infectious

and that was the fuel that drove our project.

  Tell us the most difficult filmmaking moment and how you overcame it? 

Our original intention was to follow Zane’s pursuit of his dream to become World Tree

Climbing Champion however the filming window didn’t fit that narrative timeline.

It meant we needed to pivot, a few times, to find a story that was still true to his first love

of tree climbing, balanced with his activism and reclamation of his whakapapa.

Perhaps the biggest difficulty was fitting all of this into a 10min documentary,

for which we’re grateful for our incredible editor, Adam Scholz!

Tell us what's next for you?

Lots of sleep! We’re currently in various rounds of funding applications to produce a

feature-length version of the documentary, aiming to tell the original story of Zane’s desire

to win the World Tree Climbing Championships, here in Aotearoa for the first time, in 2025.

We’ve got all fingers and toes crossed that we receive some funding to fully realise this exciting story.

  Tell us which of the other Loading Docs you admire, and why?

We were blown away by the entire collection and how such a diverse range of topics could work

so well together. We thought the ‘Mauri Moana’ film highlighted an incredibly important kaupapa

that’s not getting anywhere near enough attention. ‘Hifi Ulu’ was gorgeous in its presentation of a

moving story whilst ‘Here the Wild Things Are’ was probably our favourite, presenting a fun and

engaging insight into small but meaningful ways to celebrate te taiao.

Out There | Director Alexis Smith:

Tell us the name of your Loading Doc

Out There

Give us the elevator pitch in 10 words or less

A search for extraterrestrials

Tell us the moment you realised this project [ your film] was going to be special to you.

When I was a little girl, I looked up to the stars and questioned who I really was and how I ended

up on this place called Earth. When I was a teenager, I made a promise to myself that I would search

for truth and share my findings with the world through documentary. When I was an adult, I spent

10 years mastering the craft of documentary, sharing other people's stories. Now, I turn the camera

on myself and fulfil the promise I made as a teenager, in the hopes of answering the questions

I asked as a young girl. And that's the film I bring to you today, called Out There.

Tell us the most difficult filmmaking moment and how you overcame it? 

There were lots of challenges attempting to film the most elusive creature on Earth - extraterrestrials!

It required months of preparation from the team following the CE-5 protocols, which involved sitting

in meditation in an attempt to consciously connect with beings from another planet and invite them to

be filmed. Yes, it sounds like a sci-fi movie, but it's a documentary! We spent 4 nights under the stars

in one of the biggest dark sky reserves in the world and attempted to film the unpredictable

anomalous light activity. It turned out the timelapse cameras were the most helpful,

as we could set up multiple cameras and have them facing different directions,

leaving them running all night. We filmed some very unusual activity -

watch the documentary to decide for yourself if what we filmed is extraterrestrial! 

Tell us what's next for you? After sharing this short film with as many people as possible to get the discussion going, my goal is to turn this short film into a series or a feature length documentary to explore the topic in greater depths. There is so much to explore here and this is just the beginning! Please like and share our film - the more we can display there is an active and interested audience, the more likely we are to get it funded as a bigger project, where I want to get an answer once and for all - are extraterrestrials really visiting us here on Earth?

Tell us which of the other Loading Docs you admire, and why? I admire all of the Loading Docs short films - they each bring their own unique voice and that variety is nourishing as a director. Being an indie filmmaker is a tough feat and what everybody has managed to pull off on tight budgets and juggling it with their busy lives is truly astounding. I personally love the arthouse style of Hifi Ulu and the adorable young boy they follow, Luka; the twist at the end of The Man Outside; the stunning footage of the natural world in Maori Moana; the awe-inspiring story of the activist in Tū Tonu - Still Standing; and the kooky, light-hearted approach to helping our environment in Here the Wild Things Are.

The Man Outside | Director Liv McClymont:

Tell us the name of your Loading Doc

The Man Outside

Give us the elevator pitch in 10 words or less

When the law can't protect you, who will?

Tell us the moment you realised this project [ your film] was going to be special to you.

I knew the Man Outside would be special when we started our crowdfunding campaign.

As soon as we announced that we were making The Man Outside, to highlight the fact

there are no laws against stalking in Aotearoa, we had an incredible response,

hitting our funding goal in one day and quickly doubling it. Countless people

reached out sharing their horror at the lack of laws or sharing their stalking experiences.

One friend shared that a friend of hers had been murdered by her stalker.

I realised stalking is much more pervasive than I ever could have imagined,

and it reaffirmed my belief that we were making a very special film that could help a lot of people. 

Tell us the most difficult filmmaking moment and how you overcame it? 

Initially we planned to interview the real May on camera about her experience, but realised that

sharing her identity could potentially put her at risk of both further harm from her stalker, and

legal repercussions. I was really upset - she wanted to have this moment to take her power back

and speak openly about her experience, and now we couldn’t give her that. I felt like he was

silencing her again. I realised that this was a prime example of how difficult it is for victims of

stalking to speak up about their experiences, and that we needed to highlight that in the film -

that it was not safe for her to share her identity because of the lack of laws to support her.

I wanted her to still have her voice heard, which is where actors performing verbatim

interviews came in. Meg, the wonderful actor who played May, learned May’s mannerisms,

vocal tone and expressions so that she could authentically perform May’s interview “verbatim”.

The reveal at the end of the film that she is an actor always hits home for me. I learned that

reflecting on the challenges in telling stories, can inform and ultimately improve them.

Tell us what's next for you?

Jess (Producer of The Man Outside) and I are currently writing, and later this year directing and

producing a series called The Sender - an absurd teen whodunnit… Sex Education meets Gossip Girl, but distinctly kiwi.

It’s something completely different for us (which we’re both so excited and ready for!!) and has

been informed by making our doco I Stand For Consent last year, where I spoke to plenty of amazing rangatahi about the issues that specifically affect them.

Gen Z/A are fascinating, hilariously honest and we hope to make something fun and relevant

that engages them on their level.

Tell us which of the other Loading Docs you admire, and why?

Oh gosh, hard to pick as all of the films are outstanding! I think Hifi Ulu really hit me hard emotionally - it was so beautiful to see a Father/Son relationship like that, a

beautiful representation of positive masculinity as well as Niuean culture. The Director, Chantelle,

has such a gorgeous, honest and  kind-hearted approach to filmmaking, and I think you can really

see that in this film.

Director Mauri Moana was also approached for a Q&A but didn't complete the form by deadline.

Loading Docs can now be watched on DocPlay.