The best Martyn Sanderson’s movies

Investigative journalist Alf Winters (Morrison), meets his American girlfriend, Melissa Jones (Eilbacher), at Auckland airport. As they park outside Alf's house, it explodes. It is soon apparent that persons unknown want them dead, but the police are either skeptical or in the pay of those responsible. They play hide and seek around New Zealand with the stalkers, all the while coping with car chases, plane crashes, bullets and explosions.

On the premise that his albums will sell better if he is dead, an aging pop-singer fakes his own death. True enough, the money rolls in, but no one can get their hands on it because of the seven year waiting period before a missing person can be declared legally dead. However, a crazed animal rights terrorist, who knows he isn't dead, is trying to kill him, because of the singer's advertisements for fried chicken restaurants. Eventually, it turns out that the singer's manager is paying the terrorist to kill him.

During a rugby tour of Britain and Ireland in 1888, a young New Zealander searches for his father who he has never met. While there he falls in love with the daughter of an aristocrat.

In 1943, U.S. marines are stationed near Wellington. One of them is murdered by the boss of the Hotel Workers Union, who is sitting pretty, exempt from military service and living it up on black market profits. Girls under the control of the union - of whom the victim's fiancee, Rose, is one - give sexual favours to the Americans, in return for information. The marine assigned to investigate the murder, tries to find Rose through a public health nurse who traces VD infections. However they discover there it more going on than they realized, involving a conspiracy amongst the Union, the government and the U.S. military.

Keskidee, a small Jamaican bird resilient in the face of hardship, is also the name of a self-help black arts centre in London, and the theatre group who work there. Keskidee's actors and musicians were brought to New Zealand to work with communities who face similar day-to-day dilemmas and who might be encouraged to express their frustrations and anger in drama, poetry and music. Keskidee were to act as a catalyst. the film shows some of their work and their response to the people they met. Tribal elders try to show keskidee the depth of Maori roots in the land, and the complexity and pain of their present struggles: against the loss of Aroha; against the laws of pen and paper; the alienation of their land; the suppression of their language; the devaluation of their people and culture.

Like its predecessor The Harp In The South, Poor Man's Orange was also adapted for Australian television by the Ten Network in 1987. It continues the story of the Darcy family, living in the Surry Hills area of Sydney. Originally a novel by New Zealand-born Australian author Ruth Park, the book was published in 1949. The Darcys a poor, working class family of tough Irish stock - Mumma (Anne Phelan), dad Hughie (Martyn Sanderson), Roie (Anna Hruby) and the younger daughter Dolour (Kaarin Fairfax), through whose eyes we hear their story.

The story of two itinerant con men, the Wild Man and the Colonel, who operate on the West Coast gold mining towns of the New Zealand South Island during the latter part of the last century.

Actor Martyn Sanderson returns in 1977 to the Hokianga of his youth and visits his elderly and romantic aunt, Olive Bracey. Her reminiscences of pioneer life mesh with nostalgic songs and readings from her fiction.

Anthropologist Max Scarry mysteriously disappears while doing excavation/research of a lost New Zealand tribe on a remote island. His wife and his twin brother Edward are clueless as to what could have happened, a situation complicated by their city's police suspecting that one of the brothers murdered a local prostitute who was found with a strange tribal charm on her body matching one found in Max's abandoned hut. What most certainly isn't helping matters is the strange behavior of Max's daughter as she seems to have visions beyond possibility, warnings of a supernatural threat and her uncle's fate - and she's the film's narrator, to boot. Edward decides to go to the island to find out exactly what happened, but the deeper he goes into the mystery the more perilous and unknowable his world becomes, leading towards a shocking fate that raises more questions than it answers. (cont. http://view-from-the-paperhouse.blogspot.de/2014/10/the-threat-of-ancient-echoes-lost-tribe.html)

Former Welsh rugby hero Bleddyn Morgan has his life in New Zealand interrupted by a deathbed confession that leads to a replay of a controversial 1966 All Blacks/Wales rugby match - with the original teams. The now old men pull on their jerseys one more time while Morgan deals with his past on his return home. (from IMDB)

Richard Turner made Squeeze to break the "conspiracy of silence" about homosexuality. A pioneering early portrait of Auckland's LGBT scene, Squeeze centres on the relationship between a young man (Paul Eady) and the confident executive (Robert Shannon) who romances him, then mentions he has a fiancée. The film was discussed in Parliament after Patricia Bartlett campaigned against the possibility it might get NZ Film Commission funding (it didn't). Kevin Thomas in The LA Times praised Squeeze's integrity and the "steadfast compassion with which it views its hero".

The year is 1933. Ruby Rose (Melita Jurisic) is an Australian woman living with her Welsh immigrant husband Henry (Chris Haywood) in the Tasmanian highlands. Cut off from her superjudgmental family, for whom Henry had once worked as a humble farm hand, Ruby remains isolated in her tiny house. Superstitiously terrified of the dark, she begins developing her own folklore about the inky blackness that surrounds her each night; this folklore eventually develops into Ruby's own personal religion, created to ward off the evils that she imagines lurk in every corner. Only by venturing out of her house and rekindling her relationship with her embittered father is Ruby able to exorcise her fears. Almost hypnotic in its stark beauty, Tale of Ruby Rose is proof enough that writer/director Roger Scholes deserves to be far better known.

We first meet The Darcys, a poor, working class family of tough Irish stock through whose eyes we hear their story. A story that centres on the bittersweet first and last loves of Roie, who becomes a woman too quickly living among the tenement houses, razor gangs, brothels and sly-grog shops of inner city Sydney.