Wonder Woman Swoops Into The 2017 American Film Institute Top 10

The American Film Institute released their annual top 10 list and helped the eclectic and diverse crop of Oscar contenders in the list gain major traction. For starters, The Big Sick got a major boost with its inclusion and Wonder Woman got its first mention in any Best Picture lineup this season. Whether Wonder Woman can be a major threat going forward remains to be seen. But it’s nice that the film hasn’t become forgotten.

One thing that’s noticeable is how this lineup isn’t different from the Best Picture lineup on the Critic’s Choice Awards. The only film from the Critic’s Choice lineup not to be found here is Darkest Hour but that’s because AFI only considers films that are at least co-produced by the U.S. and Darkest Hour is a U.K. production. Some other misses include Mudbound, Phantom Thread, I, Tonya, and even Coco given how they’ve embraced animated films before (Zootopia, Inside Out, Finding Nemo, etc.).

AFI Movies Of The Year:

The Big Sick

Call Me By Your Name

Dunkirk

The Florida Project

Get Out

Lady Bird

The Post

The Shape Of Water

Three Billboards Outside Ebbing, Missouri

Wonder Woman

What Makes A Film Considered Important Enough To Win The Best Picture Oscar?

When it comes to predicting what will win Best Picture, it typically comes down to what film feels important. It can be a film that tackles important subject matter like Spotlight which is about heroic journalists taking down pedophile priests, or 12 Years A Slave which is a harrowing depiction of slavery and racism. Also, it could be a film that Hollywood feels is important to them like Argo which is about American hostages in Iran being saved by Hollywood producers, or Birdman which is a satire depicting the cultural dominance of superheroes in Tinseltown.

This year, we have contenders that are important in a more obvious manner like The Post directed by Steven Spielberg, starring Meryl Streep and Tom Hanks. The Post depicts the importance of the press and free speech which makes it timely in the era of Trump who has repeatedly blasted media publications he views as biased against him and he is going as far as to try and gut net neutrality which would make the Internet less free. It also depicts the story of Kay Graham (Streep), the first female editor of an American news publication, trying to expose the patriarchal U.S. government and their involvement in the Vietnam War. It is a story that provides shades of Hillary Clinton who became the first woman to become a Presidential nominee and ran against the chauvinistic Donald Trump in the 2016 election. Also, a film about a woman exposing the government’s dirty secrets is quite similar to the Harvey Weinstein scandal which involves multiple women coming forward with their experiences of being sexually harassed by the famed Hollywood mogul and other powerful men in the industry as well.

Its timeliness, importance, and even its star power should be enough for people to label The Post as a heavy frontrunner for Best Picture. However, let’s not forget that there are other films in the conversation that not only carry importance but are important in a way that’s more subtle.

For instance, there’s the queer romance Call Me By Your Name which just won the Gotham Award for Best Film. It may be a simple coming-of-age story about a 17 year old in Italy who falls for his father’s 24-year old protégé. But it still manages to possess political importance. When actor Anthony Rapp came forward with his story about being sexually assaulted by Kevin Spacey when he was 14, Spacey cited his homosexuality in his response to the accusations. But Call Me By Your Name, which depicts a loving relationship between two males despite a slight age gap, serves as a reminder that not every gay male who pursues a younger male is predatory. The Kevin Spacey scandal has been painting the gay community in a negative light so a film like Call Me By Your Name proves to be a necessity.

Usually, when Best Picture is awarded to a film that’s timely and important, a film that is presented in a matter of fact, straightforward manner is what typically wins. Get Out is timely with its depiction of modern-day racism but it is presented in a darkly comical manner and has dominated the pop culture landscape more than any other film this year besides Wonder Woman. Ever since its release back in February, people have made Internet GIFs out of film clips from it and even trailer parodies. For example, the website Funny Or Die made a trailer parody reimagining Get Out but with the Trump family. If that were to win Best Picture, it would be historical because it’d be the first film helmed by an African-American male in his directorial debut, the second Best Picture winner in a row helmed by an African-American male (after Barry Jenkins helming Moonlight), and it would also be the first horror comedy to win the top prize.

Then, there’s Lady Bird which has been winning the hearts of everyone. It’s the most well-reviewed movie of all time on Rotten Tomatoes with 185 positive reviews and no negatives. Also, so far, it has made about $12 million domestically in under 800 theaters. Even if it might be seen as a quirky indie, a Best Picture win would be significant because it would be the first female-driven film helmed by a woman to do so. In the wake of the Harvey Weinstein scandal which has involved female artists being silenced and even blacklisted, Lady Bird winning Best Picture would serve as a reminder that more female filmmaking voices need to be heard. The plot of Lady Bird may not be topical but that doesn’t mean the film doesn’t have any resonance.

Moonlight, which last won Best Picture, was a simple coming of age story about a black youth discovering his sexuality. But it was still an important film because of what its Best Picture win represents. It’s the first LGBTQ+ film in history to win Best Picture and the first film with an all-black cast to win as well. It was a sign that there are stories about both communities that need to be told and the story didn’t need to be politicized to get that message across.

So, a film that wins Best Picture typically may have to be considered important enough to win and have emotional resonance. But as you can tell, there are different levels of importance. A Best Picture contender can be important because of the subject matter that the story depicts and/or because it captures the cultural zeitgeist. It can also be important because of what its win would mean for the communities that it represents.

More Love Across The Board For The Shape Of Water With The 23rd Critics Choice Awards Nominations

The nominations for the 23rd Critics Choice Awards are in and even if the critics don’t vote for the Oscars, they still have an interesting insight into the Oscar race. For starters, the fantasy romance The Shape Of Water led with 14 nominations while Call Me By Your Name, Dunkirk, Lady Bird, and The Post racked up eight nominations apiece. Also, Patrick Stewart pulled off a surprise Supporting Actor nomination for Logan, proving himself to be a major dark horse, and The Big Sick managed to surprise in Best Picture which gives it a much needed boost after under-performing at the Gotham and Independent Spirit Awards.

But with those major surprises comes some major snubs. For instance, The Florida Project cracked the Best Picture field and got an expected Supporting Actor nomination for Willem Dafoe, but nothing for writer/director Sean Baker. Also, Mudbound proved itself to be a formidable awards player by landing nominations in Adapted Screenplay, Supporting Actress for Mary J. Blige, and Cinematography for Rachel Morrison. However, it didn’t land a Best Picture nomination and disappointingly, no Director nomination for Dee Rees. Greta Gerwig managed to crack the Best Director category but who says Gerwig has to be the only woman to do so? Lastly, despite there being seven slots in Supporting Actress, there was no room for presumed heavy hitter Melissa Leo in Novitiate. After getting ignored here and by the Independent Spirit Awards which seemed like an easy get for her, she’ll have to contend on a wing and a prayer.

Full list of nominees:

Best Picture 

The Big Sick
Call Me by Your Name
Darkest Hour
Dunkirk
The Florida Project
Get Out
Lady Bird
The Post
The Shape of Water
Three Billboards Outside Ebbing, Missouri

Best Actor 

Timothée Chalamet, Call Me by Your Name
James Franco, The Disaster Artist
Jake Gyllenhaal, Stronger
Tom Hanks, The Post
Daniel Kaluuya, Get Out
Daniel Day Lewis, Phantom Thread
Gary Oldman, Darkest Hour

Best Actress 

Jessica Chastain, Molly’s Game
Sally Hawkins, The Shape of Water
Frances McDormand, Three Billboards Outside Ebbing, Missouri
Margot Robbie, I, Tonya
Saoirse Ronan, Lady Bird
Meryl Streep, The Post

Best Supporting Actor 

Willem Dafoe, The Florida Project
Armie Hammer, Call Me By Your Name
Richard Jenkins, The Shape of Water
Sam Rockwell, Three Billboards Outside Ebbing, Missouri
Patrick Stewart, Logan
Michael Stuhlbarg, Call Me by Your Name

Best Supporting Actress 

Mary J. Blige, Mudbound
Hong Chau, Downsizing
Tiffany Haddish, Girls Trip
Holly Hunter, The Big Sick
Allison Janney, I, Tonya
Laurie Metcalf, Lady Bird
Octavia Spencer, The Shape of Water

Best Young Actor/Actress 

Mckenna Grace, Gifted
Dafne Keen, Logan
Brooklynn Prince, The Florida Project
Millicent Simmonds, Wonderstruck
Jacob Tremblay, Wonder

Best Acting Ensemble 

Dunkirk
Lady Bird
Mudbound
The Post
Three Billboards Outside Ebbing, Missouri

Best Director 

Guillermo del Toro, The Shape of Water
Greta Gerwig, Lady Bird
Martin McDonagh, Three Billboards Outside Ebbing, Missouri
Christopher Nolan, Dunkirk
Luca Guadagnino, Call Me by Your Name
Jordan Peele, Get Out
Steven Spielberg, The Post

Best Animated Feature 

The Breadwinner
Coco
Despicable Me 3
The LEGO Batman Movie
Loving Vincent

Best Action Movie 

Baby Driver
Logan
Thor: Ragnarok
War for the Planet of the Apes
Wonder Woman

Best Comedy

The Big Sick
The Disaster Artist
Girls Trip
I, Tonya
Lady Bird

Best Actor in a Comedy 

Steve Carell, Battle of the Sexes
James Franco, The Disaster Artist
Chris Hemsworth, Thor: Ragnarok
Kumail Nanjiani, The Big Sick
Adam Sandler, The Meyerowitz Stories (New and Selected)

Best Actress in a Comedy 

Tiffany Haddish, Girls Trip
Zoe Kazan, The Big Sick
Margot Robbie, I, Tonya
Saoirse Ronan, Lady Bird
Emma Stone, Battle of the Sexes

Best Sci-Fi/Horror Movie

Blade Runner 2049
Get Out
It
The Shape of Water

Best Foreign Language Film

BPM (Beats Per Minute)
A Fantastic Woman
First They Killed My Father
In the Fade
The Square
Thelma

Best Original Screenplay 

Guillermo del Toro and Vanessa Taylor, The Shape of Water
Greta Gerwig, Lady Bird
Emily V. Gordon and Kumail Nanjiani, The Big Sick
Liz Hannah and Josh Singer, The Post
Martin McDonagh, Three Billboards Outside Ebbing, Missouri
Jordan Peele, Get Out

Best Adapted Screenplay 

James Ivory, Call Me by Your Name
Scott Neustadter and Michael H. Weber, The Disaster Artist
Dee Rees and Virgil Williams, Mudbound
Aaron Sorkin, Molly’s Game
Jack Thorne, Steve Conrad and Stephen Chbosky, Wonder

Best Cinematography 

Roger Deakins, Blade Runner 2049
Hoyte van Hoytema, Dunkirk
Dan Laustsen, The Shape of Water
Rachel Morrison, Mudbound
Sayombhu Mukdeeprom, Call Me By Your Name

Best Production Design

Paul Denham Austerberry, Shane Vieau and Jeff Melvin, The Shape of Water
Jim Clay and Rebecca Alleway, Murder on the Orient Express
Nathan Crowley and Gary Fettis, Dunkirk
Dennis Gassner and Alessandra Querzola, Blade Runner 2049
Sarah Greenwood and Katie Spencer, Beauty and the Beast
Mark Tildesley and Véronique Melery, Phantom Thread

Best Editing 

Michael Kahn and Sarah Broshar, The Post
Paul Machliss and Jonathan Amos, Baby Driver
Lee Smith, Dunkirk
Joe Walker, Blade Runner 2049
Sidney Wolinsky, The Shape of Water

Best Costume Design 

Renée April, Blade Runner 2049
Mark Bridges, Phantom Thread
Jacqueline Durran, Beauty and the Beast
Lindy Hemming, Wonder Woman
Luis Sequeira, The Shape of Water

Best Hair and Makeup 

Beauty and the Beast
Darkest Hour
I, Tonya
The Shape of Water
Wonder

Best Visual Effects 

Blade Runner 2049
Dunkirk
The Shape of Water
Thor: Ragnarok
War for the Planet of the Apes
Wonder Woman

Best Song 

“Evermore,” Beauty and the Beast
“Mystery of Love,” Call Me by Your Name
“Remember Me,” Coco
“Stand Up for Something,” Marshall
“This Is Me,” The Greatest Showman

Best Score 

Alexandre Desplat, The Shape of Water
Jonny Greenwood, Phantom Thread
Dario Marianelli, Darkest Hour
Benjamin Wallfisch and Hans Zimmer, Blade Runner 2049
John Williams, The Post
Hans Zimmer, Dunkirk

Innovative Movie Talent Shines Once Again With The Film Independent Spirit Awards Nominations

In case you somehow missed it, the 2018 Film Independent Spirit Awards announced their nominees, presented by Lily Collins and Tessa Thompson, an event growing in stature and significance each year. Not only is the roll-out of such exceptional work from the indie film scene an integrated part of the Academy Awards build-up, it is also an exciting, essential recognition of the diverse, unique talent on show.

Oscarologists are likely to get their knickers in a twist over both the films hitting big in many categories, as well as those missing out on several, or not showing up at all. In the meantime, though, let’s continue to celebrate and embrace the innovative work of independent cinema, with these nominations and beyond. 

BEST FEATURE

Call Me By Your Name
Lady Bird
Get Out
The Florida Project
The Rider

BEST FIRST FEATURE

Columbus
Ingrid Goes West
Menashe
Oh Lucy!
Patti Cake$

JOHN CASSAVETES AWARD

Dayveon
A Ghost Story
Life and nothing more
Most Beautiful Island
The Transfiguration

BEST DIRECTOR

Sean Baker (The Florida Project)
Jonas Carpignano (A Ciambra)
Luca Guadagnino (Call Me by Your Name)
Jordan Peele (Get Out)
Benny Safdie, Josh Safdie (Good Time)
Chloé Zhao (The Rider)

BEST SCREENPLAY

Greta Gerwig (Lady Bird)
Azazel Jacobs (The Lovers)
Martin McDonagh (Three Billboards Outside Ebbing, Missouri)
Jordan Peele (Get Out)
Mike White (Beatriz at Dinner)

BEST FIRST SCREENPLAY

Kris Avedis, Kyle Espeleta, Jesse Wakeman (Donald Cried)
Emily V. Gordon, Kumail Nanjiani (The Big Sick)
Ingrid Jungermann (Women Who Kill)
Kogonada (Columbus)
David Branson Smith, Matt Spicer (Ingrid Goes West)

BEST CINEMATOGRAPHY

Thimios Bakatakis (The Killing of a Sacred Deer)
Elisha Christian (Columbus)
Hélène Louvart (Beach Rats)
Sayombhu Mukdeeprom (Call Me by Your Name)
Joshua James Richards (The Rider)

BEST EDITING

Ronald Bronstein, Benny Safdie (Good Time)
Walter Fasano (Call Me by Your Name)
Alex O’Flinn (The Rider)
Gregory Plotkin (Get Out)
Tatiana S. Riegel (I, Tonya)

BEST FEMALE LEAD

Salma Hayek (Beatriz at Dinner)
Frances McDormand (Three Billboards outside Ebbing, Missouri)
Margot Robbie (I, Tonya)
Saoirse Ronan (Lady Bird)
Shinobu Terajima (Oh Lucy!)
Regina Williams (Life and nothing more)

BEST MALE LEAD

Timothée Chalamet (Call Me by Your Name)
Harris Dickinson (Beach Rats)
James Franco (The Disaster Artist)
Daniel Kaluuya (Get Out)
Robert Pattinson (Good Time) 

BEST SUPPORTING FEMALE

Holly Hunter (The Big Sick)
Allison Janney (I, Tonya)
Laurie Metcalf (Lady Bird)
Lois Smith (Marjorie Prime)
Taliah Lennice Webster (Good Time)

BEST SUPPORTING MALE

Nnamdi Asomugha (Crown Heights)
Armie Hammer (Call Me By Your Name)
Barry Keoghan (The Killing of a Sacred Deer)
Sam Rockwell (Three Billboards Outside Ebbing, Missouri)
Bennie Safdie (Good Time)

ROBERT ALTMAN AWARD

Mudbound (Director: Dee Rees; Casting Directors: Billy Hopkins, Ashley Ingram; Ensemble Cast: Jonathan Banks, Mary J. Blige, Jason Clarke, Garrett Hedlund, Jason Mitchell, Rob Morgan, Carey Mulligan)

BEST INTERNATIONAL FILM

BPM (Beats Per Minute), France (Robin Campillo)
A Fantastic Woman, Chile (Sebastián Lelio)
I Am Not a Witch, Zambia (Rungano Nyoni)
Lady Macbeth, U.K. (William Oldroyd)
Loveless, Russia (Andrey Zvyagintsev)

BEST DOCUMENTARY

The Departure (Lana Wilson)
Faces Places (Agnés Varda, JR; Rosalie Varda)
Last Men in Aleppo (Feras Fayyad; Kareem Abeed, Søeren Steen Jespersen, Stefan Kloos)
Motherland (Ramona S. Diaz; Rey Cuerdo)
Quest (Jonathan Olshefski; Sabrina Schmidt Gordon)

BONNIE AWARD – recognizes mid-career female directors with a $50,000 unrestricted grant.

So Yong Kim
Lynn Shelton
Chloé Zhao

JEEP TRUER THAN FICTION AWARD – presented to an emerging director of non-fiction features who has not yet received significant recognition, includes a $25,000 unrestricted grant funded by the Jeep brand.

Shevaun Mizrahi (director of Distant Constellation)
Jonathan Olshefski (director of Quest)
Jeff Unay (director of The Cage Fighter)

KIEHL’S SOMEONE TO WATCH AWARD – recognizes a talented filmmaker of singular vision who has not yet received appropriate recognition, includes a $25,000 unrestricted grant funded by Kiehl’s Since 1851.

Amman Abbasi (director of Dayveon)
Justin Chon (director of Gook)
Kevin Phillips (director of Super Dark Times)

PIAGET PRODUCERS AWARD – honors emerging producers who, despite highly limited resources, demonstrate the creativity, tenacity and vision required to produce quality, independent films, includes a $25,000 unrestricted grant funded by Piaget.

Giulia Caruso & Ki Jin Kim
Ben LeClair
Summer Shelton

Review: Call Me By Your Name

A review by Bianca Garner

“Nature has cunning ways of finding our weakest spot.”

These words are profound and they sum up the power of love, it makes us weak in ways we never thought possible, but this same weakness can make an individual stronger. Call Me By Your Name addresses the complexities of a person falling in love with another. It peels back the norms of society and holds up a mirror to reveal the truth of love, that it is unpredictable and has ways of manifesting out of the blue. Romance can be a tangled mess that can make or break a person, and it’s universal as at some point or another we’ve fallen for someone that perhaps we shouldn’t have, or at least we’ve lusted after them.

Love and lust are often blurred in the realms of a relationship. In the rules of attraction we are first attracted to someone else by their appearance, their beauty and their youth, which starts as the foundations of many relationships. It is certainly the foundations for the relationship between seventeen year old Elio (Timothée Chalamet, who is wonderfully genuine) and American graduate (Armie Hammer). Their relationship throughout the film is an honest, true depiction of the complexities of relationship.

The film is set in the idyllic year of 1983 (before AIDS exploded and held back male sexuality revolution from evolving) and follows the arrival of Oliver, an American research assistant who is studying with art history with Elio’s father Professor Perlman (Michael Stuhlbarg) at Perlman’s gorgeous villa in Northern Italy. At first Elio is undecided on his opinion of Oliver, who he agrees is good looking but openly mocks the way he uses the phase ‘Laters’. As the narrative unfolds, the two men become closer and their relationship blossoms. However, like with all tragic love stories, there is the prejudices of society at play which our star-crossed lover will need to overcome if they are to remain together.

The film caused a ‘moral panic’ style outrage on Twitter led by the slightly misinformed actor James Woods, who felt troubled by the age gap between the two characters in the film. Being seventeen is on the cusp of adulthood, and Elio is not presented as a victim of any abuse. Oliver is not presented as a malicious predator who grooms his teenage lover, and this is not a male version of Lolita. Both parties give consent and no one is forced or abused, this is not that kind of movie but rather one that shows the reality of two young adults trying to explore their sexuality and discover their identities.

Hammer gives a career best performance as effortless cool Oliver who oozes style and sophistication simply by being able to ride a bicycle with no hands. He dominates the screen with his charisma and charm, with his handsome classical Hollywood looks and attractive on screen and off screen persona. Although it is the tender and emotion provoking Chalamet who really shines here, with his graceful, intelligent and vulnerable performance truly capturing the essence of the transgression from young adolescence to adulthood. Although Chalamet has acted before, this is his first major leading role, I for one, will be carefully watching his career as the sky’s the limit. The supporting cast is brilliant too, especially Stuhlbarg who is witty and humble as Elio’s father and brings some real depth to what could have been an easily forgettable character.

One could easily dismiss Call Me by Your Name as 2017’s answer to Moonlight, however unlike Moonlight which seemed to be too safe in it’s depiction of anything sexual in nature, director Luca Guadagnino does not shy away from showing us a realistic depiction of a very human relationship. There is sex within a relationship of two adults, people are driven by lust and beauty, and sex does make up a huge part of any relationship. And unlike the depiction of sex in Stranger by the Lake, Call Me By Your Name is not overtly erotic or hardcore in it’s sex scenes. Guadagnino is interested in setting up the mood, in creating a romantic atmosphere and showing the needs of the two characters which go beyond just sex and lust, and show that they require companionship as well.

There is also another profound difference between Moonlight and Call Me By Your Name, the character of Elio is not a victim but he comes from a stable middle class background. One might argue that this a prime example of white privilege? However privileges aside, it shouldn’t distract you from enjoying the beauty and the visual delight of the film. And, it is a gorgeous film which deserves to be treated in admiration in the same way of a beautiful piece of fine art. The director and the cinematographer capture the natural beauty of the film’s location, with it’s endless sunshine and clear blue seas. It’s a film that leaves to yearning to take your own romantic vacation, to rediscover who you truly are.

Call Me By Your Name deserves all of its praise. It’s a film that delivers a heartbreaking, realistic portrayal of a relationship. The film stays with you long after it’s finished, with its indie pop soundtrack combined with classical musical pieces. It was a film that left me in tears, and that’s a compliment. Most importantly, it’s a film which shows the bravery of a leading man like Hammer taking on a role which reflects a realistic gay/bisexual character, something which Hollywood needs to embrace more often. We, as a society have moved past the prejudices and taboos of homosexuality, so it’s about time Hollywood did too.

NZIFF: Wellington Opening Weekend

So the second venue of the New Zealand International Film Festival is underway, and the uncompromising selection of films on offer at Wellington is mouth-watering. Kicking off yesterday (28th July New Zealand time zone) the venue holds festival films through to 13th August. Here are just some of the highlights screening this very weekend.

Citizen Jane: Battle for the City

Documentary telling the tale that gave planners and architects nightmares following the release of Jane Jacobs’s book The Death and Life of Great American Cities in 1960. Activist Jacobs was involved in several New York city feuds but also championed a plight of urban culture.

Manifesto SOLD OUT

So Cate Blanchett plays 13 different characters, and when we say different I mean vastly so. As if we did not know Blanchett was one of  the best of her generation of performers the Australian gets to sink her teeth into even more depths to entertain her audience.

Kobi

Another documentary worth your time, this time about Kobi Bosshard, “the grandfather of contemporary New Zealand jewellery”, intimately put together by his daughter Andrea Bosshard – who will also be present at the Q+A sessions after the screenings.

Ethel & Ernest SOLD OUT

Based on the book by Raymond Briggs, Ethel & Ernest is an animated movie directed by Roger Mainwood. Premiering at the London Film Festival last year, the poignant story follows the lifetime together of the title characters. You may well recognize the voices of Jim Broadbent and Brenda Blethyn.

Stalker

The 1979 Soviet sci-fi film from Andrei Tarkovsky is a philosophical, psychological journey The term in the film’s title was attributed to the Strugatsky brothers’ use in their novel Roadside Picnic and Rudyard Kipling’s Stalky & Co. tales.

Beatriz at Dinner

Salma Hayek impresses as Beatriz who walks unintentionally into some strife when a massage soon turns into an invitation to a dinner party where the death of a  goat becomes the topic of conversation. Released this year, Beatriz at Dinner also stars John Lithgow, Connie Britton, and Chloë Sevigny, to name but three.

The Lost City of Z

The Lost City of Z depicts the real events when British explorer Percy Fawcett traveled to Bolivia on numerous occasions to try and find an ancient lost city in the Amazon. Charlie Hunnam plays the lead in a film literally about the exploration and intrigue a man can experience if he has the determination to never give up on what he believes.

Call Me by Your Name SOLD OUT

Premiering at the Sundance Film Festival earlier in the year, Call Me by Your Name received high praise by critics. Directed and co-written by Luca Guadagnino, with James Ivory and Walter Fasano also scripting, the film is adapted from André Aciman’s novel. Timothée Chalamet, Armie Hammer, Michael Stuhlbarg and Amira Casar star.

Head on over to the Wellington section of the NZIFF website.