The New Zealand Film Commission (NZFC) released its annual report for 2024/25 on December 3rd, 2025. This year, they titled it 'Nurturing local and growing global.'

It's something the film commission does every year, around the end of June, as a reflection on the previous year. And this year, the commission has made bold statements, putting New Zealand as the 'hub of global film production.' 

They also stated, 'The past year has been marked by remarkable achievements across New Zealand’s screen sector, with local stories captivating audiences at home and abroad, and our creative talent continuing to shine on the global stage. These successes reflect the strength, innovation, and resilience of our industry (New Zealand Film Commission).

New Zealand's film industry is growing, but is it a global hub for film production? Read on to find out.

New Zealand Film Production

One of the first things the NZFC 2024/25 report states is how massive and varied screen production in Aotearoa has become. There's no denying that it was once focused on local films with the occasional international project, but it is now a full-blown ecosystem hosting major global productions whilst still respecting small but ambitious local stories.

Some 14 international productions also started principal photography in New Zealand. With mostly strong funding frameworks, like the New Zealand Screen Production Rebate, the country remains competitive for inbound projects, offering cost advantages, experienced crews, and quality infrastructure.

But, as we said, the NZFC continues to back local filmmaking. Their “Te ara / Way” strategy emphasizes quality, sustainability, and creative investment.

The Biggest Films and TV Series Filmed by New Zealand Production Companies

A Minecraft Movie
One of the most visible successes of 2024/25 was A Minecraft Movie. The production generated over USD $954 million (NZFC) worldwide, and most of its crew and some of the cast are native New Zealanders. It injected an estimated NZ$647 million in qualifying New Zealand expenditure and employed hundreds locally.

Tinā (2025)
Tinā became the biggest New Zealand film success in years. According to the report, it posted the third-largest opening weekend in local cinema history and went on to become the fifth-highest-grossing New Zealand film of all time. The 24-week uninterrupted theatrical run builds tension and speaks volumes about local appetite and the film’s resonance across domestic and Pacific audiences.

It's a true New Zealand film production relatable to New Zealand life.

Other International and Local Productions

Beyond the blockbusters, the NZFC report notes numerous projects:

• Animation shorts
• Co-productions
• Documentaries
• Features

This reflects a screen industry not dependent solely on big hits.

Is New Zealand a Hub for Film Production?

Infrastructure and Incentives Work
The NZSPR still makes New Zealand financially viable and competitive for international productions, even compared to countries traditionally strong in film production.

Balanced Output
Whether it’s a global hit like A Minecraft Movie or a locally rooted story like Tinā, New Zealand is showing it can handle both ends of the spectrum.

Global Outreach and Ambition
The NZFC report doesn’t limit itself to domestic metrics. They note their global positioning efforts, from attendance at major international markets to building partnerships abroad, showing they're having more of an international presence.

Yet—yes—there are caveats. Global competition is fierce. Production volume is still limited compared to mega-hubs like Vancouver or London.

Yes, calling New Zealand a “global hub” might still carry some aspiration. But the 2024/25 report does show how the industry is improving and spreading more into the global market. It's definitely nowhere near as big as the US or UK, but it at least has its foot in the door more than it did 10 years ago.

Jane Meares and Glen Kyne have been reappointed and appointed to the New Zealand Film Commission Board by Arts, Culture and Heritage Minister Paul Goldsmith.

"I wish to congratulate Jane on her reappointment to the New Zealand Film Commission Board, and welcome Glen into his new appointment." said Secretary for Culture and Heritage, Leauanae Laulu Mac Leauanae.

"Jane's reappointment ensures the Board retains her valuable legal skills, while Glen's operational knowledge, strategic insights in the screen and media sector, and commercial acumen will be great assets to the Board."

"Thank you to outgoing member David Wright for his contribution during his two terms on the New Zealand Film Commission Board."

Jane Meares has been reappointed for a further term ending 30 November 2026. Glen Kyne has been appointed to the Board for a three-year term ending 31 October 2028.

Jane Meares is a Commercial barrister based at Clifton Chambers in Wellington, specialising in public and commercial law. She acts for a range of government departments, Crown entities, non-governmental organisations and corporate clients. She is also the Chair of Land Information NZ's External Advisory Board, Deputy Chair of the NZ Electoral Commission, Chair of the Financial Services Complaints Limited, a financial Ombudsman service, and the Chair of the Royal New Zealand Ballet Foundation.

Glen Kyne is a respected executive in the media and film sector with expertise in business transformation, managing extensive financial portfolios and commercial strategy. He was Senior Vice President and Head of Network at Warner Bros Discovery for Australia, New Zealand and Japan, Senior Vice President at Discovery ANZ, Chief Commercial Officer at MediaWorks NZ and Director at Bravo TV NZ and Discovery New Zealand.

New Zealand’s visual effects (VFX) sector continues to expand, fuelled by global demand for high-quality content across film, television, streaming, gaming, and advertising. As the industry evolves, studios are looking for artists who can blend strong artistic fundamentals with modern, tech-driven capabilities.

Here are the key skills VFX newcomers need in 2025 to stay competitive in New Zealand’s fast-growing digital production landscape.

1. Strong Artistic Foundations

Despite rapid advances in software, traditional art skills remain essential. Understanding lighting, colour, composition, and perspective continues to underpin effective VFX work.

2. Proficiency With Industry-Standard Tools

Studios may expect familiarity with tools like Nuke, Houdini, Maya/Blender, After Effects, and Photoshop. While specialisation is common, having a broad understanding of the VFX pipeline improves employability.

3. Real-Time Engine Knowledge

Virtual production and real-time workflows are now embedded in modern pipelines. Skills in Unreal Engine or Unity can help artists contribute to previs, LED volume shoots, and real-time environment creation, areas growing rapidly across New Zealand studios.

4. AI-Assisted Workflow Skills

AI tools now support everything from rotoscoping to texture generation. Artists who understand how to integrate AI into their workflow without relying on it creatively are at a clear advantage.

5. Ability to Achieve Photorealism

Whether for feature films or brand campaigns, audiences expect seamless visuals. This requires strong skills in:

• lighting accuracy
• material realism
• matchmoving
• subtle compositing
• correct grain/noise integration

Even minor inconsistencies can break the illusion.

6. Technical Curiosity

VFX production is full of technical challenges. The best artists are natural problem-solvers who explore new methods, troubleshoot independently, and adapt quickly to shifting technology.

7. Communication and Teamwork

VFX is highly collaborative. In New Zealand’s close-knit industry, it’s common for artists to move between studios or freelance across multiple projects. Recent examples, such as senior talent joining Auckland-based boutique VFX studios like Cause and FX, reflect how shared knowledge and mobility strengthen the sector overall.

8. Adaptability

Tools, workflows, and expectations change quickly. Artists entering the field in 2025 need a growth mindset and the ability to learn new techniques as the industry evolves.

9. A Professional Portfolio

A strong reel remains the most important asset for new artists. Studios are increasingly looking for original work, breakdowns, and projects that demonstrate both creativity and technical ability.

The Outlook for 2025

New Zealand’s VFX capabilities continue to attract global attention, creating new opportunities for emerging artists. With the right combination of artistic skill, technical knowledge, and adaptability, aspiring VFX professionals can step confidently into one of the country’s most dynamic creative industries.

The Taxpayers' Union criticises the New Zealand Film Commission's decision to invest $800,000 in a film about Prime Minister Jacinda Ardern, according to a statement released by the Union's film critic, Jordan Williams.

Williams questioned the need for taxpayer funding for a film that the Commission claims has market confidence and is likely to be a commercial success. He also raised concerns about the appropriateness of funding films about politicians, describing it as propaganda in most countries.

The Union's statement accused the Film Commission of being a "leftie love-in" and lacking political neutrality. Williams cited the Commission's previous funding of a documentary about Green Party MP Chlöe Swarbrick as evidence of a pattern of left-wing bias.

Williams called for the Commission to be reformed to focus on funding the arts or balanced current affairs content, rather than political films. He argued that there are more pressing priorities for taxpayer funding, such as supporting struggling families and the declining media industry.

According to the Union, no conservative politician has ever been promoted with content funded by the New Zealand Film Commission.

The New Zealand Film Commission (NZFC) has issued a statement regarding its financial outlook for the next few years, outlining four factors that will shape its financial planning: tight fiscal environment, end of COVID-related funding, changes to New Zealand Lottery Grants Board funding, and a reduction in baseline funding from the Ministry for Culture and Heritage.

With less revenue to invest in the sector, the NZFC is looking to reduce costs and modernise its operations to better meet the needs of the film sector.

This includes a proposal to reduce both cost and size of the organisation, and the cancellation of certain initiatives such as the gender scholarship, interactive development grants, and television co-production development.

The NZFC is currently working on its strategy for the next three years and will consult with the industry in January/February 2024 on the future direction of the organisation. 

The New Zealand Film Commission (NZFC) is pleased to announce the appointment of Taima Anne (Annie) Murray (Te Arawa) to the position of Chief Executive Officer for a five-year term. 

NZFC Board Chair Alastair Carruthers, in making the announcement today, said “I am delighted that we have found someone of Annie’s calibre to lead the Commission. She has exceptional experience and a deep commitment to stories from the diverse voices of Aotearoa.  I have no doubt she will have a positive impact on filmmakers and the organisation in years to come”.

Since 2020, Annie has been Head of Sky Originals after starting at Sky TV in 2014 as a Senior Commissioner. Prior to this she was Head of External Programming at Māori Television. Annie also serves as Interim Co-Chair of the Toi Mai Workforce Development Council Board, a member of Te Kāhui Ahumahi, and is a member of the Bay of Plenty Regional Skills Leadership Group.  She is also a Trustee of Ngā Taonga.  

Annie will take up the CEO role on 19 June 2023, and will relinquish all professional roles by this date to focus full time in the position and ensure no conflict of interest.  

Annie’s 23 years’ experience in New Zealand’s screen industry across both content commissioning and production will give her a running start at the NZFC. She has also worked in the public sector with the Broadcasting Commission (NZ On Air), Māori Television and had two stints at TVNZ.  Academically she holds a Master of Education (First Class Hons) from Waikato University and a Diploma in Bicultural Journalism from Waiariki Institute of Technology.

 "I am honoured and humbled by the Board’s decision to entrust me with this opportunity to lead Te Tumu Whakaata Taonga.  The Film Commission’s role is to champion exceptional storytellers to create enduring taonga for Aotearoa.  I have dedicated my career to empowering the stories and storytellers of New Zealand and I am privileged that in this role I can continue to do that," says Annie.

She adds "We have a New Zealand and global audience that wants high impact, authentic and culturally significant screen stories.  New Zealand’s population is becoming more diverse, which creates rich opportunities for screen stories that reflect our many and varied communities.  I look forward to working with the team, the wider screen sector and international partners to explore exciting and new opportunities for the Film Commission now and in the future."

Two New Zealand Film Commission officials spent $58,188 on a 10-day excursion to Los Angeles for the Oscars, reveals the New Zealand Taxpayers' Union.

After two years cooped up by COVID travel restrictions, the Film Commission's Chief Executive David Strong and Head of International Attractions Philippa Mossman made up for lost time, jetting to Los Angeles for the Oscars and a Netflix afterparty, and hosting fully-catered, alcohol-included dinners and drinking functions.  

The two officials burned through $21,000 in flights (business class for the Chief Executive) and accommodation, $10,350 for gifts of carved Māori cloak pins, and $1,743 in Uber trips.

The big-ticket event was a cocktail function at the New Zealand Consulate-General residence, where the officials served around 100 Hollywood figures and bureaucrats $5,152 of wine and $8,648 in food and catering. Premiere Valet Services were engaged for the evening at a cost of $3,400, and the Sauv-soaked guests were sent home with custom-printed goodie bags containing Whittaker's chocolate.

At a separate drinks event for film industry figures, $1,223 was spent on spirits, beer, wine, and bar snacks, again charged to the New Zealand taxpayer.

On top of the near-daily wining and dining events, Mr Strong and Ms Mossman were given an additional $115 each per day for food and other incidental expenses.

The full information response given to the Taxpayers' Union can be read here.

"Working at the Film Commission must be one of the cushiest jobs in New Zealand's public sector," says Union spokesman Louis Houlbrooke. "You're paid big bucks to wine and dine Hollywood bigwigs before giving them billions of dollars in taxpayer-funded subsidies!"

ENDS

New Zealand International Film Festival (NZIFF) will proudly present film project The Cage at Cannes Marché du Film’s prestigious Fantastic 7 finance market this May.

Fantastic 7, now in its fourth year, showcases seven upcoming projects from the global genre industry, presented by seven different film festivals, to an international film industry network during the Cannes Film Festival, enabling its participating filmmakers to pitch to distributors, investors, and production representatives.

In addition to NZIFF, other festivals represented in Fantastic 7 include SXSW (USA), Sitges International Fantastic Film Festival (Catalonia), Toronto International Film Festival (Canada), Cairo International Film Festival (Egypt), Guadalajara International Film Festival (Mexico) and BIFAN – Bucheon International Fantastic Film Festival (South Korea).

The Cage is based on Brian Keene’s seminal horror novel and centres on hostages being held captive in a home electronics store who must escape from a fanatic who intends to use them as human sacrifices to summon an evil interstellar deity. The film will be directed by Paul Campion (The Devil’s Rock).

NZIFF General Manager Sally Woodfield says, “NZIFF is delighted to be putting forward The Cage at this year’s Fantastic 7 and are exceptionally proud to endorse its producer, Jared Connon. Aotearoa has a long tradition of producing excellent horror, thriller and fantasy genre films and we’re so pleased to put our support behind Kiwi talent at a global level.”

The Cage producer Jared Connon says, "Collaborating with director and writer Paul Campion on The Cage has been an absolute privilege as we've delved deep into the horror genre together. Now stepping forward to begin financing the picture, we’re excited to be sharing our vision within an environment dedicated to the creation of amazing genre films."

Jared began his filmmaking career as a location manager, working on titles including The Lord of the Rings trilogy, River Queen, King Kong, 10,000 BC, The Hobbit trilogy, Ghost in the Shell and The Light Between Oceans. He then went on to be a Production Manager on films including Mortal Engines, Mulan, Da 5 Bloods, as well as The Lord of the Rings television series. Recently Jared was the Line Producer on A24 horror films X and Pearl. Jared has formed his production company Five Films to focus on creating engaging local content for international audiences.

The Cannes Marché du Film will run as both an in-person and online event in 2022, with Fantastic 7 taking place on Sunday, 22 May.

“It’s one of the most inventively soul-shattering films of the year, TV and otherwise”- Culture Whisper

On 29 July 2005 in Huyton, Merseyside, Anthony Walker was murdered in a vicious racist attack. He was just 18 years old.

A basketball lover, a brother, a devout Christian, a son and a friend, Anthony was just a regular Liverpool teenager with dreams of working in civil rights and a lifetime of potential ahead of him.

Produced for BBC One by LA Productions and exclusively premiering in New Zealand this October 26, 2020 on Acorn TV, Anthony (1x90’) is the story of the life he should have lived.

Skilfully plotted by one of UK’s most powerful screenwriters Jimmy McGovern (Hillsborough, The Street, Cracker), this heartbreaking and moving drama chronicles an imagined life in reverse, giving hope and optimism to a future that was so brutally taken away.

Using unconventional storytelling and reverse chronology, the film begins with a 25-year-old Anthony married to his high school sweetheart and follows seven years of imagined experiences, disappointments and triumphs leading viewers to the night of this horrific crime. 

“BBC Anthony writer Jimmy McGovern reduces nation to tears after 'perfect and powerful' drama” - Liverpool Echo

Arriving on screens across Aotearoa at a prescient time, the film was created at the request of and in partnership with Gee Walker, Anthony’s mother, a close friend of McGovern’s who has acted as the writer’s grief consultant for several years following her loss.

Masterfully crafted it infuses intense joy into the milestones of Anthony’s life while avoiding the temptation to make him a martyr, instead using all of the precious 90 minutes to paint a picture of a life that could have blossomed – trials, tribulations and all.

Embracing the rawness of the human experience, it shows a young man with strong work ethic and wholesome family values whilst also portraying Anthony’s ability to cause hurt to the people in his life with his naivety and strong will.

Anthony strikes an affecting balance of heartbreak and hope so much so that it becomes hard not to feel a part of the Walker family’s grief, creating an urgency in the viewer to hold those dearest to them close.

“A visceral scene of what it means to be a parent…both illuminating and devastating” – The High Low

Staged in the realm of imagination and grounded in the harshness of reality Anthony has been praised for its outstanding ability to move viewers with each moment more touching than the last.

Anthony arrives in New Zealand on October 26, 2020, only on Acorn TV.

“Every scene of happiness hollows out your heart a little more – it is an incredibly evocative replication of the grief bereavement brings.” – The Guardian

Starring: Toheeb Jimoh (The Feed, Ted Lasso) Rakie Ayola (Shetland) Julia Brown (World on Fire) Bobby Schofield (Knightfall)
Writer: Jimmy McGovern (Cracker, The Street)
Director: Terry McDonough (Better Call Saul)
Producers: Colin McKeown (Broken, Care, Reg) and Donna Molloy (Broken, Care, Reg)

Further praise for Anthony:

"Vital viewing" – Stylist

“Anthony on BBC One merged fact and fiction to create a powerful story about loss” - Digital Spy

“Generated an outpouring of emotion on social media” - Radio Times

“It is a must-see. You can't look away”- Bleeding Cool

“Anthony is unique TV, more a dream than a drama”- GQ

“He manages to balance bleak tragedy and pockets of humour with beautiful delicacy”- Culture Whisper

A little-known war story has inspired Toi Ohomai student, Mita Tahata, to make a short film which has been selected to screen at the Pollywood Pasifika Film Festival in Auckland this month.

His documentary, Vaka 500, takes its name from the art exhibit curated by Pasifika artist NiaVal Ngaro Tali to honour the 500 Cook Island soldiers that fought for New Zealand during the First World War.  

When Mita heard about the soldiers, he was immediately captivated.

“I didn’t know there was Polynesian soldiers in WW1; that really grabbed my attention. I found out that ninety-two percent of them didn’t know English when they signed up to fight for New Zealand. They would’ve gone from bare feet to army boots.”

Mita, who is studying the Bachelor of Creative Industries degree majoring in graphic design, needed a project for his final year. He offered his creative services to NiaVal who, running the project on a shoestring, gladly accepted. 

Mita joined the Vaka 500 exhibition as it left New Zealand for Europe. He filmed as it debuted in London, then travelled onto France where a group of Cook Islanders paid homage to the soldiers at the Wall of Remembrance in Arras, France. 

“We were the first group of Cook Islanders to visit two of the headstones and lay shells on them.” 

“These soldiers helped dig the underground tunnels,” Mita explains. “They were underground day and night for over a year, digging and laying explosives, fighting the Germans.”

Mita appreciates the support from his tutors at Toi Ohomai who suggested he contact BOP Film as he committed to take on the documentary project as part of his studies. 

“I had so much help from Anton Steel and Tessa Blackett from BOP Film, and from [historian] Sue Baker-Wilson who helped to get us down into the tunnels.”

While admitting that war research is tragic, Mita says it’s crucial to keep the stories alive.

“We can bring these stories into a better light through art. We can tell the story again and introduce it to people. I’ve educated my whole class and all my tutors. It’s given me a passion to continue to make short stories, films and documentaries.”

Vaka 500 is one of eight short films being shown at the Pollywood Pasifika Film Festival in Auckland this month.

The films will be screened at the Mangere Art Centre on November 4 and at the Auckland Art Gallery on November 18.

For more information about Toi Ohomai Institute of Technology, please visit our website: toiohomai.ac.nz 

Ollie Dale, photographer and film-maker of Virtually Famous, the new brand for PhotoNZ focuses on video and filmmaking services, concentrating primarily on TVCs, Short Films and Corporate Videos. Whether a Director of Photography is needed, a Camera Operator, 1st or 2nd Assistant Camera, or advice on a client’s next project, Ollie and Virtually Famous can help.

Ollie has been involved in professional photography since 2003 and as he puts it, the crux of great imagery is an understanding of photography. Ollie has been at the forefront of award-winning photography and extensive experience in almost every genre since 2003. As for ‘slowed down’ videos at 200 frames per second, 2K raw, this is no problem to Ollie as he says it can add drama to a story and he can do 200 frames per second in beautiful S-Log RAW files, slowing those amazing moments down 8x, to really let your audience see your story.

Ollie can also tell his client’s story from the air. Not only is he an industry leader in Aerial Safety Procedures, he knows how to get the shot. Some of the latest tech, combined with a cinematography eye can make a story soar. Similarly, for those wanting a steady shot, Ollie has all the gear. The DJI Ronin is one of the best, most versatile and easiest to control steadicams around and with the extended setup Ollie can offer full cinema rigs, matte box and all.

Virtually Famous also offer full editing services, utilising the Adobe Suite. They also know the best specialists in town for those extra special jobs, as is exhibited by the calibre of his clients, including Saatchi & Saatchi, Auckland International Airport, Microsoft, ASB, Spark, DB, etc.

Last month PhotoNZ Ltd., owner of Virtually Famous, announced a joint venture with Geoff Dale Photography Ltd., and the acquisition of John Thomson Photography. John Thomson has built up a reputable TradeMe business over several years, selling a plethora of photography and video related products. His TradeMe account has over 17,000 positive comments and features over fifteen hundred products.

The joint venture brings together Geoff Dale, a photographer of 45 years, and his son Ollie, owner of PhotoNZ Ltd., to add experience and industry knowledge to the retail business, and together they hope to provide their clients with support and experience that will back up the products they will be selling.

For further information on Ollie Dale and Virtually Famous, please visit the website at http://www.virtuallyfamous.co.nz .

PhotoNZ Ltd., owner of Virtually Famous, is happy to announce a joint venture with Geoff Dale Photography Ltd., and the acquisition of John Thomson Photography.

John Thomson has built up a reputable TradeMe business over several years, selling a plethora of photography and video related products. His TradeMe account has over 17,000 positive comments and features over fifteen hundred products.

The joint venture brings together Geoff Dale, a photographer of 45 years, and his son Ollie, owner of PhotoNZ Ltd., to add experience and industry knowledge to the retail business, and together they hope to provide their clients with support and experience that will back up the products they will be selling.

The acquisition includes almost $200,000 of products, ranging from studio flashes, tripods, and LED lights to clamps, remote triggers and stabilisers.

The new business name will be announced next month so watch this space! For further information on Virtually Famous please visit the website at http://www.virtuallyfamous.co.nz .