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.

In New Zealand in the 1860s the native Māori people fought the British colonials to keep the land guaranteed to them by treaty. The warrior Te Wheke fights for the British until betrayal leads him to seek utu (revenge). The settler Williamson in turn seeks revenge after Te Wheke attacks his homestead. Meanwhile Wiremu, an officer for the British, seems to think that resistance is futile.

Director Geoff Steven's personal perspective on the Kiwi cinema renaissance of the 1970s. It traces the development of the local film industry from the ‘she'll be right' days when filming permits were unknown, and all that was needed to get a picture up were a Bolex camera, enthusiasm and ingenuity.

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.

Before the Blerta bus and Goodbye Pork Pie's yellow mini hit the road, some friends with more energy than cash dressed up as mad doctors and criminals, and began making films. This freeform short about running late is an early product of varied schemers who were key in the Kiwi film renaissance. Geoff Murphy plays the man in a hurry, and Bruno Lawrence is Dr Brunowski. Warning: final credits not to be trusted.

This Kaleidoscope documentary timed in with the release of Nicholas Reid’s book A Decade of New Zealand Cinema. The book cherrypicked Reid's favourites from the renaissance in local movies that began with Sleeping Dogs in 1977. Reid and a who’s who of local filmmakers discuss many of the 50+ features from the previous decade (with Bruno Lawrence ever present). They ponder the uniqueness (or otherwise) of Kiwi film. A fondness for rural and small town settings, and forceful, often conflicted, male leads is explored. Neglected areas — Māori film and more of a voice for women — are traversed.

Making of documentary on the set of New Zealand's first epic Utu (1983), working with little money and dealing respectfully with matters of cultural protocol. Merata Mita discusses complex issues of inter-cultural conflict.

Rewi Rapana returns to the small country town of Te Mata after his family has left the district. His arrival rekindles old tensions as well as renewing family ties. He is seeking an identity and a permanent place to call home yet desperately hiding a secret from his past. Oddly enough there is one person with whom he finds peace of mind. She is an old woman known as Kara. A special relationship develops between Rewi, Kara and Kara’s great granddaughter Awatea.

A series of sketches about Kiwi extraordinaire Fred Dagg's secret mission to find a "bionic sheep" which has been lost by the government.