When you hear Cannes, you most likely think film - and success.

Having your name up in lights in this particular part of France is a dream that many creatives have, but few realise.

That makes these two Aotearoa prizewinners are worth celebrating - after New Zealanders were recognised at the prestigious 2025 Global Production Awards, held in Cannes.

As the name suggests, it's a truly international field of achievements, celebrating excellence in film production and industry forward thinking around the world.

New Zealand has bagged two awards at the event - Māoriland Charitable Trust claimed the Economic and Social Inclusion category, while the Impact Leadership Award went to Craig Gainsborough of Greenlit.

A thrilled Libby Hakaraia, Head of Content and founder of Māoriland Films, told The Lowdown from Cannes “To be on the world stage in the centre of the film universe is proof that homegrown creative ideas and passion to build what didn’t exist can be respected globally.

"When we began building Māoriland, some said we wouldn’t succeed. However, we were clear in our intentions to create social, cultural and economic benefits and leaned into the power of our Indigenous filmmaker relationships drawing strength from our community of Ōtaki. 

"Winning the Global Production award in front of a prestigious audience is validation of 12 years of committed work."

Māoriland Film Festival Director Madeleine Hakaraia de Young adds “This award is affirmation that the world is not only excited to hear our stories, they’re energised by the way we work and communicate.”

Gainsborough posted on social media that he is "Overwhelmed with happiness" for his category triumph, stating "What made it all the sweeter was being able to celebrate it alongside Libby and Maddy, who won the Economic and Social Sustainability award for Māoriland! Libby has been one of my closest collaborators on Greenlit - so this made the moment really special."

He also thanked NZ Film Commission (NZFC) CEO Annie Murray, who was in attendance. Murray beams “We’re delighted for Craig and the Māoriland Charitable Trust. To be recognised at the Global Production Awards demonstrates the reputation Aotearoa has as a leading film sector that celebrates indigenous storytelling and exceptional leaders.

“These awards celebrate those behind the scenes of what we see on screen. It’s incredibly heartening to see New Zealanders ranked alongside some of the most well-regarded international names in the industry.”

There were a number of other Aotearoa finalists as well, with Canterbury nominated for Location of the year, Emerging location and Economic and Social Inclusion (through Screen Canterbury), Auckland's GFC Films in the Diversity, Equity, & Inclusion category and NZFC itself for Film Commission of the Year.

While there was plenty of celebration - it was straight back to work for the NZ delegation.

Hakaraia declares "This is our first trip to Cannes and we’re here to do the business - we’re making films that travel the world increasing the benefits to Māori and Indigenous creatives, our collaborators, our whānau, our community and our country of Aotearoa.” 

Cannes is just one stop on the NZFC's global trade mission (also featuring London and Mumbai) - and it's been the location for the launch of a new opportunity for local filmmakers.

The organisation has announced an International Placement Initiative - giving mid-career writers, directors and producers from Aotearoa the opportunity to apply for internships at selected global film companies here, as well as in Australia, the UK, and Ireland.  

It's designed to develop overseas industry networks for successful applicants, increase their skills, and gain work experience within renowned film focused companies.   

Murray states “Our global trade mission is designed to connect New Zealand filmmakers with international film companies, enabling them to forge partnerships. The International Placements Initiative is a natural extension of our commitment to supporting, empowering and championing the film sector of Aotearoa.  

“Strategic investment in New Zealand talent is essential for ensuring the future success of our film industry. Future proofing the $3.5 billion screen sector is crucial to its continued performance and this initiative is one of the key ways to achieve this.”

World class x 2

It's been quite the week for international success on the other side of the planet, with Auckland Museum of Transport and Technology (MOTAT) in the worldwide winners' circle for the second consecutive year.

MOTAT’s Te Puawānanga Science and Technology Centre has won International Exhibition of the Year at their industry's version of the Oscars, the Museums + Heritage Global Awards in London.

It comes off the back of winning  the  Best Use of Digital – International category last year.

Head of Exhibitions Simon Gould attended the ceremony at the Hilton Park Lane to receive the award. “We are absolutely thrilled and delighted, it is a great honour to be even shortlisted alongside the likes of Grand Egyptian Museum, Cairo, and The Museum of Pop Culture, Seattle, but to win is incredible."

MOTAT Director of Museum Experience, Sally Manuireva told The Lowdown, “When creative institutions win a significant award or prize, the benefits are felt by the institution and wider sector. 

"These awards and prizes are a confidence boost for the sector, they generate pride amongst the workforce and stakeholders, and they increase external recognition - in this case, beyond the shores of Aotearoa. These awards help highlight the cultural, economic, social and educational role that our institutions play.

“For MOTAT, with the winning of M+H Awards for two consecutive years, these gains are amplified. It is particularly special when the recognition comes from outside Aotearoa – others see what is special and unique about New Zealand's cultural institutions perhaps more clearly than we do. At MOTAT, we are proud to be flying the flag for Tāmaki Makaurau and for Aotearoa.”

The M+H judges remarked of MOTAT's triumphant entry: “This outstanding exhibition seamlessly blends science and Māori culture, creating a vibrant, culturally connected space for young audiences. With impressive visitor impact and strong evaluation outcomes, it sets a new benchmark for inclusive, engaging STEAM (science, technology, engineering, arts and maths) experiences.”

Te Puawānanga is MOTAT's largest investment in exhibition space in a decade, a two-year project in development and build. It opened almost exactly a year ago, with more than 248,000 visitors and 23,000 early childhood, primary and secondary students experiencing it so far - a number sure to rise off the back of this accolade.

Manuireva  notes: “This is excellent recognition of the incredible team at MOTAT, external suppliers and contractors, and advisors who developed Te Puawānanga, from the ground up, to remove barriers for young learners in engaging with STEAM learning and pursued MOTAT’s mission to educate and inspire the innovators of tomorrow.

“Schools and families tell us we have succeeded in creating a thoughtful, rigorous and playful environment that meets their needs. To be acknowledged by the prestigious Museums + Heritage Awards is further affirmation we have achieved our goal and is extremely rewarding."

MOTAT Chief Executive and Museum Director Craig Hickman-Goodall adds “This award backs up the wonderfully positive feedback we get from visitors and all users of this new experience – I am so proud of our talented Team.”

Rock star moment for writers

There's a warm afterglow surrounding the Aotearoa literary sector too, following another successful edition of the Auckland Writers Festival (AWF).

It's always heartening to see lines of book fans snaking around pillars and corridors at Tāmaki Makaurau's Aotea Centre, lining up to get their books signed by authors from our shores and overseas. A number of international attendees told organisers they'd never spoken to such large audiences before. 

One patron described the event as a “rock concert for reading” - and The Lowdown witnessed one local speaker ask who everyone was queuing for...the look on their face when they found it was for their autograph was priceless.

As well as an always-welcome ego boost, it was a profitable week for the sector.

The pop-up Festival bookstalls, run by The Women’s Bookshop, sold an impressive 12,000 books over the six days - the top seller going once again to festival darling and regular award winner Catherine Chidgey's latest, The Book of Guilt. 

Throw in sold-out theatres and a crowd that is reported to have rivalled last year's record-breaking attendance of 85,000 - along with over 6,000 school children from the festival’s schools programme, Hōtaka Kura - there's no escaping how important AWF is to the country's literary industry.

“What a ride,” state Festival co-directors Lyndsey Fineran and Catriona Ferguson. “From writers bringing STREETSIDE: BRITOMART to vibrant life to a jam-packed six days at the Aotea Centre, we couldn't be more thrilled with this year's Festival.

“It's a bittersweet thing to close the doors on such a special Festival but we're going home happy and proud in the knowledge that the excitement for books, writing and creativity that these days have sparked will last way beyond this week.”

The festival was also used to debut the new trailer for The House Within - a documentary on the life and work of internationally acclaimed New Zealand writer Dame Fiona Kidman ahead of its July release.

Director and writer Joshua Prendeville describes the project as very close to his heart. 

“It’s one that I feel was really important to do now, given Fiona’s immense contribution to the arts, and social causes over her lifetime. Fiona has spent her life standing up for the rights of others and carving out a space for herself in industries where she was often the only woman in the room.” 

Joy for Jazmin

From capturing the event to headlining it - it's been a wild ride for freshly minted Kiingi Tuheitia Portraiture Award winner Jazmin Tainui Mihi Paget-Knebel (Te Whānau-ā-Apanui, Whakatōhea, Ngāpuhi, and Ngāti Hine).

A few years ago, she was photographer for the awards - now she's the recipient of the $20,000 cash prize, edging the 40 other finalists on show in the New Zealand Portrait Gallery exhibition (running until 17 August).

“I never seriously considered entering the awards myself until this year. My friends kept encouraging me after seeing the photos I’d taken back home for a university assignment. I’m beyond excited to be the recipient of such an important award. 

"It’s an incredible honour, and I’m especially excited for rangatahi to see the work and learn about the history behind it.”

Paget-Knebel's work Taniwha Chasers - announced as the winner of the biennial award in the presence of the Māori Queen Kuini Nga wai hono i te po at Pipitea Marae in Wellington - refers to the intimate connection shared between tangata, hoiho and their whenua.

“Māori have held a long and historic connection to horses as they were used as a tool to colonise Aotearoa but have since been reclaimed as part of our whakapapa. This image captures the intimate connection rangatahi Māori share with the wild horses of Ōpōtiki and how they are being used to uplift the mana of our community.”

A photographer since she was 12, now 22-year-old Paget-Knebel will this year complete her Honours degree in Photography at Wellington's Massey University.

With entries coming in a wide range of mediums - including video, stop-motion puppetry, ceramics with paua inlay, oil paintings and textiles made from linen, cotton, and glass beads - the judges declared the winner an unanimous choice.

“Taniwha Chasers is an uplifting, joyful, image that captures the heart of our time. It is full of hope and youthful energy, with a fresh perspective on connecting with our tupuna and te taiao. We are all carried along with this young rider into a future that is increasingly uncertain."

Maata-Maria Cartisciano from Waitārere Beach scored the $2,500 runner-up prize for Ekore koe e ngaro i tōku Koro, an acrylic and pencil portrait of the artist's koro.

Sign of the times

Bilingual signage is becoming a welcome norm in creative venues across Aotearoa - but one theatre is believed to be breaking new ground by taking it backstage.

Theatre Royal Nelson has unveiled its new signage - as it looks to make its space more accessible. It's had te reo Māori on its front of house signage for several years, but the ambition to fully embrace and reflect Aotearoa’s bicultural heritage proved trickier.

“Backstage signage includes a lot of industry-specific terminology,” said Theatre Royal Manager Eliane Polack. “When I reached out to other venues for help, I discovered that te reo Māori translations for backstage areas simply didn’t exist."

To find a solution, they sought the help of te reo Māori advocate and theatre icon Jennifer Te Atamira Ward-Lealand, who assisted with translations for the Theatre Royal’s backstage areas. She also consulted with Te Taura Whiri i te Reo Māori — the Māori Language Commission – which has since committed to developing a formal domain for kupu Māori specific to live theatre and venue terminology. 

“I am absolutely thrilled that this kaupapa has come to fruition here at Theatre Royal Nelson”, Ward-Lealand explains. “Theatres are the perfect place for te reo Māori to be seen, as thousands of audience members walk through their doors every year. It is another way for us all to experience and continue to become familiar with this beautiful language unique to Aotearoa.”

Ward-Lealand attended the formal unveiling alongisde official regional translator Te Ahu Rei and performance from Te Pītau Whakarei  Kapa Haka to mark the occasion.

“This is more than just signs on walls,” Trust Chair Judene Edgar declares, “it’s a statement about who we are and who we welcome here.

“We hope that this will encourage other venues to follow suit and explore bilingual signage as a meaningful step toward cultural inclusivity.” 

“This development will benefit theatres and performers nationwide,” adds Polack. “It is a turning point, and we’re proud to have contributed to it.”

Irvine handed the reins

The interim head of one of the country's biggest arts institutions has been named.

After the resignation of Kirsten Lacy last month, Tātaki Auckland Unlimited (TAU) has confirmed that Tom Irvine (Ngāti Whātua Ōrākei) will be Acting Director of Auckland Art Gallery (AAG).

TAU Chief Executive Nick Hill states that Irvine will be "working with the Gallery’s expert, experienced lead team and strong, established governance until a permanent replacement has been recruited." 

Lacy will continue working at AAG until 14 June to "deliver key projects that she has been instrumental in bringing to fruition and support a thorough handover to the acting director." 

It's a familiar appointment, with Irvine - Chief Executive Officer of Ngāti Whātua Ōrākei - known to the gallery and its community after serving as Gallery  Deputy Director in 2021-2022.  

Hill comments  "Tom is a respected Māori leader who brings strong operational and leadership experience to the acting role and will provide stability while we recruit for this significant role." 

Hill details the recruitment process is underway, which will include a nationwide and international search through both local and overseas arts channels. 

50 and fabulous

A half-century is worth celebrating - particularly when it's for an organisation dedicated to community accessible art.

While there was cake (an extraordinary one at that) at Te Tuhi's recent Golden Anniversary event - they were the ones giving out the presents, with the announcement of a new artist residency.

Te Tuhi Director Hiraani Himona was joined by Pakuranga Cultural and Community Centre founders to share the auspicious occasion with some of the gallery's longest standing contributors and supporters.

"With my 10 years at Te Tuhi, I am now its longest serving Director - but I am still the newcomer," Himona opines. "As we reach our 50 year milestone, it is remarkable to see how many of the people who dedicated their time and efforts to this venture have remained staunch supporters of Te Tuhi through its evolution, over five decades, from an arts society to a nationally recognised contemporary arts institution.

"Hosting this event alongside Lois Perry, Bev Smaill and the Iris Fisher family was a privilege. And while Te Tuhi today is not the same institution that they created, it still holds the values and principals that they built into it."

Those values include supporting artists to be all they can - both here and internationally. Te Tuhi has helped many emerging creatives bring their artistic vision to life and achieve their dreams.

That now includes the next phase in a long partnership of support from one its most prominent patrons. 

Iris Fisher was pivotal in founding the Pakuranga Arts Society that paved the way for what Te Tuhi is today, with the art award, then scholarship, in her name expanding to a national level.

That evolves to another level with the Lou and Iris Fisher Charitable Trust providing a $15,000 stipend for the new Iris Fisher Artist Studio Residency - a three-month programme for an emerging visual artist or collective, providing an opportunity to experiment, explore, and develop new work.  

Along with the stipend, the residency comes with access to Te Tuhi's Papatūnga Artist Studio for 12 weeks, mentorship, curatorial support and access to workshop and resources - with applications closing on 9 June.

As well as the launch of a new publication -  A History of the Pakuranga Arts Society 1969-1984 by Moyra Elliott - the visual star of the show was the eye-catching, large-scale cake designed by New Zealand's next Venice Biennale artist, Fiona Pardington.

WOW hits the million mark

From a rain-soaked marquee in Nelson to a globally recognised event - the development of the World of WearableArt (WOW) has become a true national creative treasure.

This week, it's reached a remarkable milestone - selling is millionth ticket. Not bad for an event that was stoked to draw 200 to its inaugural show in 1987.

WOW Chief Executive Meg Williams highlights that New Zealanders’ support of the event has been the key to its success, attended by around 60,000 people each year.

“WOW was born from a clear vision: taking art off the wall and bringing it to life in awe-inspiring ways. Its growth came through tenacity, irrepressible creativity and, importantly, a commitment to never stand still. That’s really resonated with people all over the country and world. 

“To sell one million tickets is an immense milestone for any event globally, so this is pretty special. I applaud our Founder Dame Suzie Moncrieff and thousands of wearable art designers, cast, crew, team members and volunteers for what we have built together over the years.”

WOW Executive Creative Director Brian Burke offers “There is simply nothing like WOW anywhere in the world – and to reach one million ticket buyers is an incredible milestone. To be thriving almost 40 years on is such a testament to Dame Suzie’s vision, tenacity and the many thousands of Kiwis who have worked on WOW over the years, as well as the million who have joined us.”

WOW’s millionth ticket was purchased by Auckland's Glenys Cowley, who along with her sister is being upgraded to a money-can't-buy ‘golden ticket’ WOW experience for her third time at the event, when it returns to Wellington's TSB Arena from 18 September to 5 October. 

Reboot for NZ screen awards

The New Zealand Television Awards are no more.

Well, sort of.

It's been announced that the annual event is expanding to become the New Zealand Screen Awards (NZSA), now celebrating excellence across all screen content, including both television and film.

That means there's a new space to salute New Zealanders work that is released theatrically or made for broadcast, streaming and digital platforms, rather than seperating the talents of the domestic screen industry.

The NZSAs will still see achievement in scripted, factual, documentary, news & current affairs content in production, direction, acting, writing, and technical fields recognised - but across a wider range of mediums.

“We’ve seen an incredible growth in the diversity of content being created in New Zealand, with many exceptional productions blurring the lines between television, digital and feature,” notes NZSA Committee Member Kelly Martin. 

“Rebranding to the New Zealand Screen Awards is a natural progression as we aim to celebrate the full scope of our local screen industry.”

It comes with the backing of major screen entities NZ On Air, NZ Film Commission and Te Māngai Pāho. The agencies’ CE’s - Annie Murray, Cameron Harland and Larry Parr - jointly state “This is absolutely the right thing to do, acknowledging that those who work on the excellent films created in Aotearoa deserve recognition and that many people involved in creating screen content work across film and television." 

Joining the NZSA Committee is actor, writer, director and 2024 Arts Laureate Miriama McDowell has joined the NZSA committee, after producer Bailey Mackey stands down after a long stint, with filmmaker Roseanne Liang also exiting.

The inaugural NZSAs will take place in Auckland later this year, with entries open at the end of June.

Tattoo artists

New Zealand's highland performance community is about to get its moment in the spotlight, with one of the world's most established live events making its way to our shores.

It's been announced that the Royal Edinburgh Military Tattoo is Auckland bound for the first time ever in February 2026, having previously seen a capacity crowd in Wellington a decade ago.

New Zealanders will be among the 1,000 plus performers including bagpipes, massed military bands and Tattoo dancers to feature among the impressive lighting and sound extravaganza at Eden Park.

Having already been part of the famous event in Scotland, New Zealanders Kayla McQuiod and Lance Rairi can't wait to share the Tattoo experience with their home audience and fellow local artists.

McQuoid - who featured in last year's Edinburgh performance - told The Lowdown "Doing the Royal Edinburgh Military Tattoo is the pinnacle of what you can do as as a Highland Dancer and for New Zealander performers to be able to go, it is a lot of effort. You are away for four or five weeks and if you are working, you are taking time off work. 

"To have it in NZ makes it so much more accessible for our performers and it's great for dancers coming up. For them to see what they could end up doing if they keep going is really special.

"When you go to Edinburgh, The city is so alive and performing each night is incredible. To have it come here is going to be even more special."

Lance Rairi has been the Drum Sargent of Royal Edinburgh Military Tattoo for the past two years - he told The Lowdown "It doesn't come here often and it's huge to bring it back. The momentum is strong and there are a lot of very excited people. I am absolutely thrilled.

"It's a massive show in Edinbrugh, in fact the biggest show in the UK. To bring something of its calibre to NZ...it's a privilege, we are doing something that not everyone gets to do. 

"The Tattoo is a world renowned show, famous around the world and to be part of it really is an honour."

April's ascension

Lower Hutt's April Langstraat has announced herself as one to watch - landing second place at the Youth America Grand Prix (YAGP) finals in Florida from among nearly 2,000 entrants.

The week-long showcase is another feather in the 14 year-old's cap, who has received multiple international scholarship offers, including one of only two 12-month scholarships available to the Princess Grace Academy in Monaco – a rare and coveted opportunity in the ballet world.

Langstraat told The Lowdown "I'm incredibly grateful to be awarded the silver medal in the Junior Women’s category against the most outstanding dancers in the world. 

"This wouldn’t have been possible without the expert training and unconditional support from my coach, Medhi Angot. The international opportunities that this experience has given me are truly life changing."

“This is not just about talent,” says Angot - a former professional who performed around the globe including with the Royal New Zealand Ballet before transitioning into coaching - “It’s about discipline, detail, and dedication. April embodies all of that, and her success is a testament to what’s possible when those elements come together.”

Angot's young students are becoming synonymous with success - including one successfully auditioning for the Paris Opera Junior Ballet, while another has taken up a scholarship with the school of the Stuttgart Ballet.