Gathering in auditoriums with our fellow humans for entertainment's sake is the stuff of the ages. I love how the NZIFF becomes our humming town square for the season.
I have hazy, formative memories of screaming at the screen at the full-house, midnight screening of Pump Up The Volume at The Civic during the 1990 festival. I reckon this year's best music party will be a tie between The Punk Singer - seen it, adore it - and Pulp: A film about life, death and supermarkets.
Any film showing young women making their way in the world is going to push my feminist buttons, so 52 Tuesdays, Sepideh - Reaching for the Stars and We Are The Best! are naturally on the list. I've added Linklater's highly-anticipated Boyhood for balance.
The Armstrong Lie is a jaw-dropping piece of journalism; Is The Man Who Is Tall Happy? puts two of my favourite humans in a room; Frank has Fassbender, say no more. Orphans and Kingdoms is on the list because it's the debut feature by the guys I made the short film Dead Letters with, and what's the point of nepotism otherwise? (Also, actor Colin Moy is a privilege to watch).
Finally, I've been disgusted, appalled, scared shitless, revolted, visually assaulted and pants-wettingly hysterical at Ant Timpson's festival selections, but I have never, ever been disappointed.
Gemma Gracewood is a producer and writer, and reviews film for Metro magazine.
