The short story came to mind as I was watching the Homegrown: Works on Film short film programme. I am a big fan of the short story and some of my favourite writers are so for their mastery of the genre. I appreciate the fast moving plot, conciseness, and lack of unnecessary descriptive detail. It fits perfectly in to my modern impatient world. The short film on the other hand fails to satisfy me in the same way, as I prefer the nuances of a feature film’s longer story. Often during the Homegrown screenings I was left unfulfilled and wanted an hour or so more.

The New Zealand environment is inescapable in our art; its centrality was shown here in the beautiful outdoors with dark undertones or a gritty urbanity.

Three of the films have crime as subject in different settings which feature strongly in the narrative. The Speaker, by Tearepa Kahi, concentrates on young Maori taggers in a rough suburban setting. Their crime, the tagging, is surprisingly sophisticated in its political nature. Typical notions of taggers and their craft are questioned. The protagonists add to the complexity in their relationships with each other, the police (the see-sawing of power and control that occurs), and other locals. Nature’s Way, by Jane Shearer, shows a different suburban setting and type. The houses here are new and sterile next to lush native bush (where the action takes place) and the main character is quite reclusive in nature. It is a story told vividly without dialogue but with the odd grunt or deep breath. I became quite engrossed and felt it could have been the beginning of more intriguing minutes to come. We the Living by David Rittey, set in a rural holiday spot, had the most beautiful setting but seems less clear in plot. The beauty contrasted with the dark secrets it held and the sad reflective emotions of those on holiday.

Dead Letters by Paolo Rotondo differs in its urban historical setting (a war time romance). The setting itself with costumes and props is highly effective. There is a lovely old world quality that reminds you how damn stylish things were then. The visual appeal didn’t translate to a captivating story but perhaps that wasn’t the point.

Shona McCullagh’s Break is the third in her series of dance-based films. The outdoors where much of the action takes place is shown in all its stunning glory. The dancers move to striking music and sounds, climaxing in an airborne display. Films like The Matrix and Crouching Tiger, Hidden Dragon came to mind as they levitated, suspended in time. The cinematography, dancers, and soundtrack are unified as the rhythm ebbs and flows.

Kiwiana was embraced in Grant Lahood’s comical Chop Off. The three woodchoppers (two young and one old) competing in their singlets brought back child hood memories of the Easter show. The competition is really between the quaint audience watching the woodchoppers and the woodchoppers themselves, in drawing out the biggest laugh. It was a light fun way to end the session.

Questions arise about what happens to the short film once completed. You ask who will view them and when, and so why make one. Like the short story their place often is in collections, where such an inclusion sadly makes them soon forgotten.—Nicholas Butler