day trip short film analysis

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A gang member wakes up one morning and decides he needs a day off. A short voyage between islands changes his outlook on life.

A gang member wakes up one morning and decides he needs a day off. Inspired by a newspaper advertisement he impulsively decides to take a short ferry trip between islands. With his tattooed face, black leather clothing, and prominent gang patch, the gangster is a fish out of water when he arrives in the idyllic small port town of Picton. The experience he has there will change his outlook on life forever.

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A gang member wakes up one morning and decides he needs a day off. Inspired by a newspaper advertisement he impulsively decides to take a short ferry trip between islands. With his tattooed face, black leather clothing, and prominent gang patch, the gangster is a fish out of water when he arrives in the idyllic small port town of Picton. The experience he has there will change his outlook on life forever.

Day Trip screened at the 2010 Tribeca Film Festival, New York Film Festival and Hawaii International Film Festival among others.

Tuhoe Isaac (Willy)

Zoe McIntosh

Costa Botes

Gareth Moon

Director of Photography

Marty Williams

New Zealand

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Short Film (Full Length) – 2010

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A gang member wakes up one morning and decides he needs a day off. Willy (played by ex-Mongrel Mob boss Tuhoe Isaac) checks out of the gang pad and on a whim goes for a cruise on the Interislander ferry. At a pub in Picton he makes an unlikely connection with brothers of a different clan. The near-wordless exploration of culture clashes and a man’s journey outside of his comfort zone marked the first dramatic short by director Zoe McIntosh. It was selected for the New York and Tribeca film fests; Isaac won Best Performance in a Short Film at the 2010 Qantas Film and TV Awards.

I've been overseas eh. – Willy (Tuhoe Isaac) responds to being asked where he's been all day

Key Cast & Crew

Tuhoe Isaac

Zoe McIntosh

Simon Price

Marty Williams

Cinematographer

Costa Botes

Producer, Writer

Gareth Moon

Producer, Production Designer

Produced by

Lone Pine Film & Television Productions

New Zealand Film Commission

Acknowledgements

Made with the assistance of Creative New Zealand 's Screen Innovation Fund

• cook strait

More Information

Press kit for this film (scroll down), NZ Film Commission website

Tuhoe Isaac on his life and biography True Red, NZ Herald, January 2008

Official website for director Zoe McIntosh

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Directed by Costa Botes , Zoe McIntosh

A story of a gang member who wakes up one morning and decides on a whim to take a day off.

A gang member wakes up one morning and decides he needs a day off. Inspired by a newspaper advertisement he impulsively decides to take a short ferry trip between islands. With his tattooed face, black leather clothing, and prominent gang patch, the gangster is a fish out of water when he arrives in the idyllic small port town of Picton. The experience he has there will change his outlook on life forever.

Directors Directors

Costa Botes Zoe McIntosh

New Zealand

Releases by date, 14 jul 2010, releases by country.

11 mins   More at TMDb Report this page

Popular reviews

Review by red ★★★

loved it. could do with less picton though

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Turangawaewae Short Film Analysis

A Place to Stand “Ka pai ki mua, ka pai ki muri” A close viewing Analysis otTurangawaewae-a place to stand a New Zealand short film This is a close-viewing analysis of the short film Turangawaewae A place to stand. Directed by Peter Burger (Ngai Tauiwi). Produced by Catherine Fitzgerald (Ngai Tauiwi). Written by Wiremu Grace (Ngati Toa, Ngati Porou). Wi Kuki Kaa (Ngati Porou, Ngati Kahun:unui) portrays a returned Maori servicemen from Vietnanm Nancy Brunning (Ngati Raukawa, Ngai Tuhoe) portrays his daughter, who is struggling to understand her fathers uuebQing and his choice to live homeless.

This short film deals with a war-scarred veteran who is Maori and seeks solace in the Maori way. “Ka pai ki mua. ka pai ki muri”. This Whakatauki summarizes the themes throughout the short film, to move forward in life we must first resolve the issues of the past, Tiare upon returning did not have the opportunity to mom or to express his pain and the effects the war had. The film highlights Tiaro’s deep spiritual need for a turangawaewae, a key Tikanga concept, and the validity of Tikanga as a healing tool for those with deep emotional scars.

Tiare a Vietnam veteran long forgotten the world struggles o find himself in the modern world, homeless and haunted by war, dislocated from reality, unable to let go of his friends he had lost during the Vietnam campaign, he spends most of his time gathering rubbish and patches of grass, he’s searching tor forgiveness, a place to stand in this world Where he can let go, nor long after being hit by a car Tiare, standing on a tray of grass clods, starts to mihi, even though it was softly presented the mana of his mihi. esonates through the soul. “Tena kautou katoa, Ko Tiare taku ingoa. he hoia I male au Te pakanga o Vietnam mate toku wairangi mate katoa o Oku hoa, No reira he kehua oa iho Tena tatou katoa”. ” Greetings to all, my name is Tiare, I am a soldier, died in Vietnam War, my spirit died, and so did my friends and so am a ghost, greetings to us all”, After hearing his mihi, Tiare’s daughter understood her father’s longing to find his turangawaewae.

Tiare’s daughter, she has a deep love for her father, but she doesn’t understand the effects the war has played in life, which has lead him to live the life he now lives, she supports her father after his mihi in the homeless shelter and she come to an understanding he needs to go home, needs to let go Of the haunting emories of the past and be at peace with himself.

Tiare’s experience is reminisce of my grandfather, Louis Trego who fought in the Korean War _ Both men having suffered great traumatic stress, lived out the rest ottheir lives in dire need of a place where they could address there pains and let the past go, As viewed this film it bought back memories of my grandfather and how he dealt with the pain and suffering of

war. n many occasions he would wet the bed, run and hide in the closet as the Iroquois helicopters scream through the air and he would yell and weep until the sound f the rotors were long gone into the distance, in his final years, even so far from his homeland he found his turangawaewae in the small town of Turangi. Though rhe circumstances otTiare and my Grandfather are different, the parallels are clear, Both men found peace when they were hoth able to find a Turangawaewae.

In Tiare’s case, it was his Marae. and for my grandfather, it was Turangi. Each scene told an emotional story through the camera, sometimes you would see through Tiaro’s eyes, trom his point of view and his perceptions of rhe world in post wartimes, Where in many of the wide shots that raptured his facial xpression the sadness. espair and longing to make peace With himself, the camera views during his war experience were quick, very fast until the moment his friends were killed, while on his return at his Marae you could see his pain, the loss of dear friends and Peter Burger captured those emotions, so as a viewer was consumed by not only Tiaro’s pain but also my own loved ones that had suffered dearly because of the dramatic events that war left them, The Marae is a place where the Living meet the Dead.

This is important because Tiare is searching for a place where he can stand, express his thoughts, and gain eace from the dead. Tiare’s daughter is oblivious to this, until Tiare gets up to mihi at the homeless shelter, standing on a tray of glass clods. She then realises that the solution is to take him home to Their marae, where he can speak to the dead and be heard by them. because he never got the opportunity to do so when he got back home from Vietnam. Sometimes we do not need to outsource our emotional and spiritual health to the care of outsiders sometime all that is needed isa little introspection and a trip back 3) Though the cast and production crew were not 100% Maori, the fact that the ilm tells its story from a Tikanga Maori point of view makes the Nan-Maori input a co-operative effort as opposed to Non-Maori telling a Maori story from their perspective, the acknowledgement that the Marae is a spiritual healing place for Maori to resolve issues of the past, Tiare who is suffering from his time in the has trouble fitting in, he keeps his past to himself, majority ot people would have him put away in a mental institution, but the help he needs rest within the roots of our ancestors on the Marae. here the living and the dead meet and the past is let go and peace is made throughout turangawaewae, the tory resonates a sense of belonging, hope, love and spiritual freedom from the past and to let go of the effects of war which as dislocated him from the world for many years, to let go of

his triends who did return home with him as he seeks to find solace, which Tiare obtained at the end of the film, as he went home to his Marae and found his References (2013b Retrieved from maoriproverbs: http:LWftw. maori_cI/Proverbshtm Burger, P. (Director). (2003). Turangawaewae-a place to stand [Motion Picture). Perich, B. (2013). (C Davies, Interviewer) Whanake, T. (2013). Retrieved from maori dictionary: http:/mwvu. maoridictionaryco_nz

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