Latest news with #NZIFF
The Spinoff
18 hours ago
- Entertainment
- The Spinoff
Review: Life in One Chord and Anchor Me linger on two tricky yet brilliant artists
Documentaries on Shayne Carter and Don McGlashan make our past gleam, and show success can take very different forms and paths. Shayne Carter and Don McGlashan are a similar age, and their careers follow an uncannily similar arc. Inspired by punk; early bands blown up through accidents; second acts which looked destined for greatness but burned out early; peripatetic late careers which somehow find them at peace, perhaps for the first time. Both are now subjects of documentaries which trace their lives in music, each an exceptional example of the form. Yet it's also telling that there is no crossover between the talking heads within these respective documentaries. You can almost feel old simmering tensions between the alty, boozy Dunedin scene and the (only slightly, with hindsight) more establishment Auckland set. Life in One Chord is the story of Shayne Carter, which had its Auckland premiere in a rammed and transfixed Hollywood in Avondale on Sunday, to close out the NZIFF for the city. The crowd was ageing, but you got the feeling many would have been in the crowd for some of the electrifying live archive. That this documentary was both about Carter and about a generation of people in and around music who had no place to go, so built one for themselves. It traverses his whole career, from sneering punk, to the more artful DoubleHappys, to the searing Straitjacket Fits and the moody Dimmer. Much like her previous film, on Christchurch's dank, drunk, art-damaged band Into the Void, Margaret Gordon's Life in One Chord is a quite wilful object. The subject is beloved but not quite famous. Spending years following Carter around is not a fiscally rational decision. But that obsessive interest in him radiates through the documentary, lovingly fixating on elements it would have been easy to gloss, while (comparatively) flying past those too-brief moments of international fame. His childhood in the thoroughly ordinary suburb of Brockville is a location we return to throughout. Carter, now 61, walks its streets, which seem almost entirely unchanged, and makes a return to his childhood home, welcomed by the gracious current inhabitants. He wanders from room to room, recalling a Bruce Lee poster and Friday nights which inevitably turned violent. He heads to his school, reading multiple reviews (!) of his first band, Bored Games, playing a talent quest in the late 70s. The principal walked out in disgust, twice – a badge of honour. This was a different era, where offence was very much intended. A bandmate was called Basil Spaz, and Carter adored the London SS. That attitude naturally brought confrontation. Carter visits the Maori Hill (no tohutō back then) Community Hall, where his early bands played alongside the nascent Clean and Chills, while boot boys waited to bash them when they got off stage. You can really feel the two New Zealands of that era, epitomised by the Springbok tour in '81, which probably still exist. The staid conservatism standing arms folded and glaring at those seeking to push well past those constraints. Gordon asks Carter if he has anything good to say about the Dunedin of his youth: 'can't help you there', he jokes. It's to the film's immense benefit that Carter remains so charismatic and funny. A scene with Steve Braunias interrogating him at the Dunedin launch of his superb memoir, Dead People I Have Known, is gorgeous. Throughout Life in One Chord we're treated to passages from that book, read initially by him, then by Carol Hirshfeld. It's a joke which got out of hand, and initially jars, but you get used to it soon enough, and the contrast between the grimy scenes of the early years with Carter and Hirschfeld's laconic reflections ('Brockville smelt like stew') provide insight that Carter can sometimes struggle to generate; he's rightly suspicious of earnestness in musicians. As the 80s develop, this punk starts to sense that he has more than just rebellion in him. The death of Wayne Elsey is an emotional gut punch, even when you know it's coming, and results in Carter's first unalloyed masterpiece, the single 'Randolph's Going Home'. The pace picks up from there, with Straitjacket Fits getting agonisingly close to the big time their songs and look (Carter, who 'looked like a criminal', according to Miranda Harcourt, was maybe the most handsome guy in the world from '87-'93) deserved. An interview with co-leader Andrew Brough, conducted before his untimely death in 2020, provides good humoured insight into the ego-driven tensions which eventually broke the band. Too much talent to coexist. Then it's on to his reinvention in Dimmer. Carter's obtuse nature is to the fore. An extraordinary singer and songwriter, he stops singing and writing, devoting himself to snarling improv guitar squalls, like 'Crystalator', the heart-stopping single which opens the film. Then the project evolves into something entirely different – the smouldering I Believe You Are a Star, his favourite album and the closest he got to a true mainstream acclaim. Instead of pushing on in that direction, he kept taking left turns. The sections of him caring for Chris Knox post-stroke are deeply affecting, and Peter Jeffries points out the profound lunacy of his creating an album for piano, an instrument he had never before played. Then writing that memoir. Carter explores his status as a Māori / Pākehā dude, living in the space between, and the way his parents' very difficult upbringings echoed down the generations, while seemingly landing in reflective, reformed behaviour from Carter and his sister, Natasha Griffiths. Griffiths saw Carter tear up her teddy live on stage at the age of seven. Carter started life boiling with talent and resentment, yet today is gentle, funny and wide open. Life in One Chord captures that whole strange trip (apologies to the Grateful Dead, who he memorably insults) and when the credits roll it's hard to think of a better film about music out of this country. Anchor Me – the Don McGlashan Story isn't quite its equal, but doesn't miss by much. McGlashan can feel like the nearly man of New Zealand's singer-songwriter pantheon, lacking the global fame and acclaim of Neil Finn, and not quite recipient of the national treasure status which has accrued to Dave Dobbyn. This view is somewhat supported in Anchor Me, a beautifully made documentary from the prolific Shirley Horrocks, in periods which assess the material gains which accrued to McGlashan. He reflects apologetically on the beans and rice his kids grew up on, while Moe and Louie speak, without rancour, about living in army barracks-style housing at a time when their father was touring the world. But if McGlashan didn't get the rewards of his songwriting peers, that's perhaps less due to his manifestly extraordinary talents, and more due to the unconventional and somewhat restless way he assembled his career. Like Carter, his best moments are scattered amongst at least five distinct acts, which, along with an uncommon introspection, is precisely why he's such a strong subject for a documentary. McGlashan is old enough, at 66, to have played in a club perched atop the North Shore City mall while well underage. He played with the Auckland Symphonia and was a meaningful part of punk and new wave scenes, along with the unclassifiable From Scratch and musical comedy-performance art group The Front Lawn. All before turning 30. The two most popular periods of his artistic life compose the bulk of the film. The Front Lawn both predicted and influenced Flight of the Conchords, and looms as a great what-if story, wowing the Edinburgh Festival and turning down opportunities in TV others work their whole lives just to glimpse. The Mutton Birds, on the other hand, burned bright but perhaps too briefly, due to the prickly nature of their membership. Their best songs remain incredibly potent, and Horrocks, like Gordon, has the good sense to just let them play often enough. This is all supported by stunning archive, both the visually compelling videos created for those bands, and intimate footage from, for example, the first Mutton Birds show, or an early sound check in a grimy flat. It sags a little around the third act. There's a hole in the timeline in the 2000s, which feels somewhat glossed, and McGlashan's personal life can feel too shrouded. There are references to the temptations of the road, and his first marriage is replaced with a second without much explanation. Similarly, sections with him extolling the virtues of New York feel mawkish. By comparison, Carter is much more candid about how destructive his drinking became, at least until a strong dose of MDMA pulled his head out of his ass. But McGlashan is still a very magnetic figure, never more so than when explaining his process of writing both music and lyrics, justifiably inspiring awe from his peers. At times McGlashan comes off as almost burdened by his talents, so multidimensional that they can't be channeled. Both Carter and McGlashan appear as rugged individuals who could never quite get comfortable in a group setting for too long. Neither could they intellectually tolerate just showing up and playing the hits forever – they'd rather leave that money on the table in search of something new. For McGlashan it's soundtracking the animated hit Kiri and Lou with his longtime collaborator Harry Sinclair. For Carter it's learning to play piano, and write. Two originals, from opposite ends of these long slender islands. Neither content to play it straight.
The Spinoff
12-08-2025
- Entertainment
- The Spinoff
Everyone needs to see The Weed Eaters
A new comedy horror with a $19,000 budget may be the best local release in years, writes Madeleine Chapman. I really didn't want to see The Weed Eaters. As a 'miniscule-budget stoner horror', it falls into none of my preferred genres of film. I'm terrified of horrors (can barely watch a thriller) and the only stoner movie I've loved is Friday (1995). So I saw the blurb for The Weed Eaters and thought good on you but not for me. The night before its NZIFF premiere, I drank 2x beers and had my arm twisted into seeing it ('just close your eyes if you're scared'). I have never been so thankful for peer pressure because watching The Weed Eaters with hundreds of other film fans at The Civic was the most fun I've had at the movies in a long time, and The Weed Eaters has cemented itself as my favourite local film in recent memory. First, the premise: four friends (loose term) go on a New Year's trip to a shed in rural North Canterbury and find some ancient weed. The weed turns them into cannibals. That premise would fit right at home in a 48Hrs Film Festival short, and Sports Team (Callum Devlin and Annabel Kean) are mainstayers of the short film festivals with this being their debut feature alongside collaborators Finnius Teppett, Alice May Connolly and Samuel Austin. All but Devlin act in the film, and between the five of them they cover credits from director (Devlin), cinematographer (Austin), screenplay (Teppett), costume design (Kean) and producer (all but Austin). It's like if a media studies group project turned professional, and the collective represents a welcome disruption to the local industry. The Weed Eaters is a perfect example of what can be achieved when creative people have a vision and just really, really want to make it so don't wait around for permission (or funding). There is the obvious caveat of the filmmakers acknowledging their parents' support in providing accommodation and filming locations for the movie, but even so, The Weed Eaters releases with a budget a cool million dollars cheaper (at least) than other local features of recent years. It might have a $19,000 budget (or thereabouts, raised through a Boosted crowdfunding campaign) but it doesn't look like a cheap film. In fact, thanks to Sports Team's resume of music videos, every shot in The Weed Eaters looks deliberate, beautiful and clever. There's a lot of effective playing with light, whether the logistically-nightmarish-but-beautiful golden hour scenes, fireside chats or a particularly fun sequence lit entirely with camera flashes. I began the movie on edge (it was a dark scene and ominous so I closed my eyes) but the first indication that we were in safe, capable hands was when the central couple Brian and Jules (Teppett and Connolly) speak for the first time. There was no big joke or dramatic delivery, it just sounded like a real interaction that a couple in their 30s would have. And that, ultimately, is what made The Weed Eaters so enjoyable. Beyond the shock of cannibalism and classic horror gore, The Weed Eaters follows four people who feel like real New Zealanders who could only ever be in New Zealand. Where so often it can be cringe-inducing to watch 'ourselves' on screen, I felt like I was spying on four friends who I knew rather than watching four people act. Connolly and Kean in particular cut right to the core of millennial kiwi (pākehā) women as the new partner entering an established friend group and the caustic longtime friend respectively. The movie is 80 minutes long which is short for a feature. And yet it's the perfect length. There would have surely been scenes and gags that could've been stretched out for a few more beats to hit that 90 minute sweet spot but I'm grateful they resisted it. As someone who hates horrors, I can confidently say that The Weed Eaters is far more comedy than horror, and in fact I only had to close my eyes on three brief occasions. Besides, it is genuinely very funny. And blissfully, once the joke has been delivered, the film knows when to move on. The only stumble in the 80 minutes is, ironically, at the finish line. While not enough to impact my enjoyment of the rest of the movie, the ending felt a little rushed and is the only hint that everything was made quickly and cheaply. Had they stuck an original landing, it would be a near perfect film. Even without, it delivered on its promises. There are obvious parallels to draw between The Weed Eaters and the early films of Peter Jackson – Bad Taste and Braindead in particular. The genre, for one, but also the sense that the filmmakers have made something far better than their circumstances should have allowed. It makes me wonder what they could possibly achieve with even a 'small' budget, but also makes me fear it too, given the very appeal of this film is in the necessarily intimate way it was made. Whatever they do next, I'll be watching and donating to the Boosted campaign. And in the meantime, I'll swallow my fear of horror movies and happily watch The Weed Eaters again when it inevitably becomes a cult classic.
Otago Daily Times
08-08-2025
- Entertainment
- Otago Daily Times
Five fixes for a fabulous festival
Winner of the Golden Lion at the Venice Film Festival for The Circle (2000), and later winner of the Golden Bear at the Berlin International Film Festival for Taxi (2015), Jafar Panahi completes a European film festival treble with Cannes' Palme d'Or winner It Was Just an Accident . This Iranian political thriller is the NZIFF's opening night film selection for a reason. Driving at night, an accident damages Eghbal's car, whose night goes from bad to worse when the garage he pulls into is that of a former political prisoner, who believes Eghbal to be the intelligence officer who tortured him. The Regent Fri Aug 15, 7pm The Regent Wed Aug 20, 3.45pm THE TEXAS CHAIN SAW MASSACRE + CHAIN REACTIONSTobe HooperAlexandre O. Philippe USA I'm cheating a little bit on the five-film pass with this double feature, but these two deserve to be paired together. It's difficult to call as divisive a genre as horror "good value", but a 4K restoration of one of the genre's most important documents, paired with an exploration of its legacy by one of cinema's most studious documentarians, Alexandre Philippe, is not to be missed at this year's festival. Chain Reactions looks at the cultural legacy of the Texas road trip that turned bloody. The Regent Sat Aug 16, 9pm The Regent Sun Aug 17, 10am (Q+A) EDDINGTONAri Aster USA Eddington is one of the few films on this list that could easily have been cast under any ticket. This conspiracy Western is set amid the Covid-19 pandemic, in New Mexico. With three significant movies already under his belt, Aster might be the most recognisable name at the festival this year. Expect Beau is Afraid , not Midsommar , in this polarising satire about TikTok, misinformation, and libertarianism. The Regent Sun Aug 17, 5.15pm WENT UP THE HILLSamuel Van Grinsven New Zealand/Australia Aotearoa's glowing winter scenery serves as the backdrop for this tonally sombre and narratively fantastical reimagining of the classic nursery rhyme, Jack and Jill . Dacre Montgomery and Vicky Krieps are transcendent (literally) as estranged son and grieving widow to Elizabeth, layering agony and endurance into each frame. As the pacing settles in, so too does the tonal horror, and new truths about their relationships come to light. Rialto Thurs Aug 21, 6pm WERCKMEISTER HARMONIESBela Tarr, Agnes Hranitzky Hungary/France/Germany/Italy Bela Tarr and Agnes Hranitzky's art-horror funeral march on lingering fascism in Eastern Europe is desolate, desperate, and formally distinct. Werckmeister Harmonies is one of the most important texts in cinematic history, and a once-in-a-lifetime chance to see it projected on the big screen should not be passed up. Rialto Sat Aug 30, 12.45pm 2. WORLD CINEMA Here's a globetrotting adventure in world cinema for a fraction of the cost of plane tickets, spotlighting five unique cultures and countries that figure prominently as characters in this mixed bag. THE PRESIDENT'S CAKEHasan Hadi Iraq/USA/Qatar The first of several Cannes award-winning films under this ticket, The President's Cake is the directorial debut of Iraqi writer/director Hasan Hadi. Nine-year-old Lamia is chosen to bake a birthday cake for President Saddam Hussein. Amid the Gulf War's crippling food shortages, Lamia faces an Odyssean task of gathering ingredients to avoid imprisonment. The Regent Tue Aug 19, 1.30pm The Regent Sat Aug 23, 10am THE SECRET AGENTKleber Mendonca Filho Brazil/France/Netherlands/Germany The Secret Agent is a high-stakes political thriller out of Brazil. Starring Wagner Moura and set during the period of Brazilian military dictatorship, the film won best director at Cannes and can be expected to feature prominently with other award bodies until the Oscars, in March, next year. Filho's last award-winning film, Bacurau , was an electronically-scored Spaghetti Western-feeling political thriller about a small town resisting colonial genocide. The Regent Sat Aug 23, 2.45pm THE NEW YEAR THAT NEVER CAMEBogdan Muresanu Romania/Serbia This slow-burning historical "tragicomedy" explores six convergent lives during the 1989 Romanian revolution, which saw 42 years of Marxist-Leninist communist government come to an end. The ensemble piece is a snapshot of this moment, teleporting viewers back in time, into the streets of Bucharest. Rialto Sat Aug 23, 3pm SOUND OF FALLINGMascha Schilinski Germany This gothic German anthology film follows four women over the course of a century, exploring their intersecting lives, which slowly twist together and emotionally unravel as secrets are spilled, and their intergenerational trauma haunts the narrative. Rialto Sun Aug 24, 12.45pm HAPPYENDNeo Sora Japan/USA A near-future Orwellian exploration of Japan's social environment, Happyend is a lo-fi science fiction film that tackles adolescence and the surveillance state. Faced with the threat of a catastrophic earthquake, two troublemakers turn their district dystopian after a prank on their principal backfires. Neo Sora also directed the documentary, Ryuichi Sakamoto: Opus , which featured at the NZIFF last year. Rialto Thurs Aug 28, 6pm 3. GENRE The cinema is for the cinematic, and these five films are sure to reward on the big screen. Here are five striking genre movies you shouldn't miss. RESURRECTIONBi Gan China/France Artfully composed high-concept science fiction. In a future where no-one can dream, a woman discovers the one creature that can. Its inventive dream logic extends from the narrative to the very composition of the film itself — a vibrant and unknowable trance-like state to lure the viewer in. Formally operatic and narratively Kafkaesque, director Bi Gan cites seminal German expressionist films The Cabinet of Dr Caligari and Nosferatu as key influences on Resurrection . The Regent Sun Aug 17, 8pm THE SHROUDSDavid Cronenberg Canada/France Last year, we celebrated a kind of "Cronenbergian horror" at The Substance ; this year, we have the real deal. Re-animation and body horror are the subjects of legacy horror film-maker David Cronenberg. In The Shrouds , he explores post-death, blurring reality and illusion, human flesh and technology, in a post-modern, grotesque, semi-autobiographical, horror/sci-fi. The Regent Mon Aug 18, 8.15pm SPLITSVILLEMichael Angelo Covino USA Perhaps the most straightforward comedy on this list, Splitsville will have you splitting at the seams with its uncomfortable absurdity. A potential four-way open marriage complicates emotional boundaries in this Dakota Johnson and Adria Arjona-starring indie dramedy. The Regent Fri Aug 22, 6pm BRING THEM DOWNChristopher Andrews Ireland/UK/Belgium Christopher Abbot and Barry Keoghan are rival farmers in this violent revenge thriller about Irish shepherding families. Rialto Wed Aug 27, 8pm HARD BOILEDJohn Woo Hong Kong What if The Departed were a Hong Kong action movie? Hard Boiled is "pedal to the metal" action hysteria — a delirium of guns, guts, and glory. Leung's pained performance carries the emotional weight of the film, doing the Herculean task of showing up Chow Yun-fat in a Hong Kong action film. Hard Boiled is a two-hour-long action scene complete with thrilling standoffs, horrific throat slits and hilarious baby antics. Rialto Sun Aug 31, 7.30pm 4. CINEPHILE After seeing Eddington, here are five more films for the Letterboxd users. BLUE MOONRichard Linklater USA/Ireland On March 31, 1943, acclaimed Broadway duet Richard Rodgers and Oscar Hammerstein II were opening Oklahoma! , their first musical written together. The movie focuses on Rodgers' former creative partner, Lorenz Hart (portrayed by Ethan Hawke), who was struggling with alcohol and depression. The film largely takes place at a bar, with Margaret Qualley, Bobby Cannavale and Andrew Scott in supporting roles. The Regent Tue Aug 19, 6pm The Regent Fri Aug 22, 1.30pm SIRATOliver Laxe Spain/France Hardtek raves in the Southern Moroccan desert don't cater to dads searching for lost daughters. Watch Sergi Lopez navigate psychological purgatory in this Jury Prize-winning sandy neo-hippie thrash. The Regent Wed Aug 20, 8.15pm THE MASTERMINDKelly Reichardt USA/UK I'm hooked on the bouncy, rhythmic score that underlies hazy shots of Josh O'Connor lifting works of art from public museums. The Mastermind follows Reichardt's oeuvre of working-class individuals, this one living a double life as an art thief in 1970s Massachusetts. The Regent Thurs Aug 21, 6pm SORRY, BABYEva Victor USA Tackling dark subject matter with an honest and authentic approach to comedy, Sorry, Baby is written by, directed by and stars Eva Victor. Victor's "traumedy" spans five years in the healing and aftermath of sexual assault by her former professor. Her balance of dry wit and heartfelt emotion compassionately considers the survivor experience. The film also stars Naomi Ackie and Lucas Hedges. The Regent Thurs Aug 21, 8.15pm SENTIMENTAL VALUEJoachim Trier Norway/France/Denmark/Germany Joachim Trier reunites with Renate Reinsve after their modest 2021 sensation, The Worst Person in the World . Trier's authentic and slightly naive sensibility speaks directly to high-strung young creatives. His films navigate an ocean of feelings — joy, melancholy, anger, loneliness — centring characters traversing the messy reality of life. Stellan Skarsgard co-stars as a film director and estranged father to Reinsve. The Regent Sun Aug 24, 6.45pm 5. THE STUDENT TICKET This ticket spans low-budget DIY projects, illicit substances, social media parasocialism and Dunedin on screen. LIFE IN ONE CHORDMargaret Gordon New Zealand/Australia Exploring the life and work of Shayne Carter, Life in One Chord lives in the heart of Dunedin's music scene. Traversing Dunedin's suburbs, this punkish rockumentary premieres globally at the Regent Theatre. The Regent Sat Aug 16, 6.15pm (Q+A) The Regent Tue Aug 19, 3.45pm WORKMATESCurtis Vowell New Zealand Unacknowledged love between Kiwi creatives comes to the fore in contemporary Shortland Street director Curtis Vowell's workplace comedy, Workmates . In a desperate plea to save the antique theatre they both love, best friends Lucy and Tom explore the awkward arena of workplace crushes. With rave reviews out of Auckland, be sure to add this one to your watchlist. The Regent Mon Aug 18, 6pm LURKERAlex Russell USA Part- Nightcrawler , part- The Talented Mr. Ripley , with stars from Saltburn and Bottoms , this modern music industry psychological thriller looks at pop stars, parasocial fans and social media stalkers. The Regent Tue Aug 19, 8.15pm THE WEED EATERSCallum Devlin New Zealand The Weed Eaters is the festival's spiritual heir to a '90s Peter Jackson horror-comedy or a Taika Waititi 48-hour film festival entry. Take the title literally and beware the intensity of your munchies. Think of this in the same ilk as Texas Chain Saw , cannibalism, carnage and all. Rialto Fri Aug 22, 8.15pm LESBIAN SPACE PRINCESSEmma Hough Hobbs, Leela Varghese Australia In the Gay-laxy, in the queer utopian kingdom of Clitopolis, an anxious and introverted Princess Saira misses her ex, and must summon her feminist battle axe to save her situationship from incel aliens. From real-life couple Emma Hough Hobbs and Leela Varghese, this Cartoon Network-inspired intergalactic romp is designedly unrestrained and wickedly funny with delightful musical numbers. The Regent Sat Aug 23, 8.15pm
RNZ News
07-08-2025
- Entertainment
- RNZ News
Screentime: The Life of Chuck, Alien: Earth + more NZIFF picks
Photo: IMDb Film and television reviewer James Croot joins Susie to discuss The Life of Chuck (cinemas), based on the novella by Stephen King and starring Tom Hiddleston. Alien: Earth (Disney+) is an upcoming American science fiction horror TV series based on the Alien franchise. And James runs through three more picks from the New Zealand International Film Festival , including Ebony & Ivory , One to One: John Lennon and Late Shift. James Croot is film and television reviewer for Stuff
Otago Daily Times
06-08-2025
- Entertainment
- Otago Daily Times
Film-makers to speak at festival
The opening night film of the NZ International Film Festival in Dunedin next Friday, August 15, will be the Cannes Palme d'Or winner It Was Just an Accident. Image: supplied The opening film of the New Zealand International Film Festival in Dunedin — the Cannes Palme d'Or winning film It Was Only an Accident, will set the scene for a festival filled with highlights. Directed by Iranian film-maker Jafar Panahi, the film will screen at the Regent Theatre next Friday, August 15, from 7pm, getting the festival under way. Along with screenings of feature films, documentaries and shorts of all descriptions at the Regent Theatre and Rialto cinemas, from August 15-30, the NZIFF will also offer film-goers opportunities to hear from some of the local film-makers. Documentary-maker Margaret Gordon will hold a Q&A session in Dunedin after the screening of her documentary, Life in One Chord, about musician Shayne Carter (pictured). Photo: ODT files The Dunedin audience at the world premiere of Shayne Carter documentary Life in One Chord, screening on Saturday, August 16, from 6.15pm at the Regent Theatre, will have a Q&A session with director Margaret Gordon. In addition, three-time Sundance Film Festival alumnus Alexandre O. Philippe will be in Dunedin for the screening of his documentary Chain Reactions, screening on Sunday, August 17, from 10am at the Regent Theatre. There will be a Q&A after the screening. The documentary explores the genesis of horror film The Texas Chain Saw Massacre, which is also screening in the NZIFF — on Saturday, August 16, from 9pm, at the Regent Theatre.
