Explore one of nature’s most magical creatures, the cuttlefish. Unravel their secrets and embark on a mesmerizing journey of nature’s living kaleidoscopes. Follow these elusive creatures as this documentary delves deep into the extraordinary lives of these remarkable cephalopods, and see their unique abilities as they morph into a stunning array of colours and shapes in a blink of an eye. Witness their incredible transformation from vulnerable prey to cunning predators, navigating the vast ocean's ever-changing surroundings and dangers. With the use of animation and world-leading scientific knowledge, go beyond what the eye can see and understand them like never before.

A wandering drifter stumbles upon a mysterious castle deep in the barren countryside. But what begins as simple curiosity soon turns into a nightmare as he is thrust into a world of werewolves, zombies, and other bloodthirsty monsters.

Mechanical Magic.

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Strange Creatures of the Arctic highlights five animal winter specialists who brave the harshest winters with amazing evolutionary adaptations. These inhabitants of the Arctic and Subarctic deal with extreme temperatures, predators, and a changing environment through a variety of unique tools. Explore their environments and the evolutionary pressures that have caused them to develop these adaptations.

Fortnightly magazine program.

Amagi, a young man is charged with the responsibility of finding out the "real name" of the actress Kaede Katsuragi. He soon discovers that she has another personality that only reveals itself at night.

Seven moments, common situations, broken lives, encounters that, like the image in a kaleidoscope, show up and disappear.

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.

In 1967 I was hoping to make a film about sheepherders in Nigeria. Civil War intervened and I had to be content with a few days attending a ritual called “sharo” in a small village near Kano. It qualified as a true ‘ordeal’, a contest of endurance to pain.