Exclusive: Richard Flood (Grey’s Anatomy) and Acushla-Tara Kupe (Mr Corman) have been cast as leads in The Gone, a mystery drama series for RTÉ and New Zealand’s Tvnz that brings together Irish and Māori culture. The pair will front the series, which goes into principal photography on location in Auckland and Te Aroha, New Zealand this week, with further shooting taking place in Ireland’s capital Dublin late this year.
New Zealand’s Kingfisher Films and About Joan co-producer Blinder Films are co-producing, in association with another Kiwi firm, Southern Light Films. Te Puna Kairangi, the New Zealand Government’s Premium Productions for International Audiences Fund and New Zealand’s Screen Production Grant; Screen Ireland/Fís Éireann; Nz On Air; and the Bai Sound & Vision Fund have all supported the production. Red Arrow International Studios has the distribution rights.
The Gone stars Flood as Theo Richter, an Irish detective...
New Zealand’s Kingfisher Films and About Joan co-producer Blinder Films are co-producing, in association with another Kiwi firm, Southern Light Films. Te Puna Kairangi, the New Zealand Government’s Premium Productions for International Audiences Fund and New Zealand’s Screen Production Grant; Screen Ireland/Fís Éireann; Nz On Air; and the Bai Sound & Vision Fund have all supported the production. Red Arrow International Studios has the distribution rights.
The Gone stars Flood as Theo Richter, an Irish detective...
- 9/12/2022
- by Jesse Whittock
- Deadline Film + TV
Chicago – The narrow genre of chess movies (“Searching for Bobby Fischer,” “Pawn Sacrifice”) gets a New Zealand entry, the appropriately titled “The Dark Horse.” The film is a showcase for the performance of Cliff Curtis as the title character, abiding with mental instability and his own redemption.
Rating: 4.0/5.0
Cliff Curtis is notable because he takes what could have been a very showy or inert interpretation of mental illness, and brought a particular energy that exposed the trials of the character, based on a true life New Zealand chess champion (nicknamed the “Dark Horse”). He plays the role on the edge of nerve racking, which makes his assignment to bring a rag-tag bunch of ne’er do wells to a state chess tourney less precious, and more goal oriented. The story has both horrifying and charming moments, and oddly they work in tandem, and never clash.
Genesis (Curtis) has just been released from an institution,...
Rating: 4.0/5.0
Cliff Curtis is notable because he takes what could have been a very showy or inert interpretation of mental illness, and brought a particular energy that exposed the trials of the character, based on a true life New Zealand chess champion (nicknamed the “Dark Horse”). He plays the role on the edge of nerve racking, which makes his assignment to bring a rag-tag bunch of ne’er do wells to a state chess tourney less precious, and more goal oriented. The story has both horrifying and charming moments, and oddly they work in tandem, and never clash.
Genesis (Curtis) has just been released from an institution,...
- 4/19/2016
- by adam@hollywoodchicago.com (Adam Fendelman)
- HollywoodChicago.com
Lead by Cliff Curtis’ transformative performance this Kiwi drama is an affecting representation of mental illness in a rather singular context. His portrayal of real life chess virtuoso Genesis Potini struggling with bipolar disorder in a gang-ridden small town is inspiring but not without making a point of the darkness that lurks around.
Drifting away in between hospital stays and sporadic delusional episode, Genesis (Cliff Curtis) is a strong-built Maori man whose inner battles have prevented him from pursing his passion for the intellectual board game. Following one of his usual escapades into the outside world without supervision, Genesis is put in the care of his older brother Ariki (Wayne Hapi). But the latter doesn’t have much time to deal with his sibling’s affliction. He is a tough gang member whose main concern is to get his 14-year-old son Mana (James Rolleston) inducted into the violent organization as soon as he turns 15 – a life of crime is all they’ve ever known.
Unfortunately, their case is not an exception to the rule but the norm. Most children in this marginalized community – prominently populated by people of indigenous descent - have no role models to speak of. In their isolation is hard for them to imagine brighter horizons where they can avoid addiction, abuse, and illegal activity. Partially motivated by his own need to be part of something and by a genuine interest to be of help, Genesis joins a local kids’ chess club. Initially, Noble, (Kirk Torrance) who runs the makeshift group out of his garage, perceives Genesis’ overly cheerful demeanor as dangerous. He wants to shield these children from probable disappointed caused by the fallen champion’s erratic behavior. Eventually, Genesis’ undeniable talent and boyish optimism connect with the young players. He has been given a purpose that allows him to live vicariously through his pupils: The Eastern Knights.
Aiming to take the team to the national championship in Auckland, Noble and Genesis have no time to waste. But the unpredictable nature of bipolar disorder is a constant reminder that full normalcy is almost unattainable for the valiant warrior. As if his fight wasn’t already tumultuous enough, Genesis fears for his nephew's safety given the brutally with which his brother’s gang operates. He wants to give Mana the chance to see beyond the disheartening and hyper-masculine environment around him. On the chessboard, they both find a place where strategy reigns above brute force. The precise numeric rules and calculative quality of the game give them a glimpse of what it means to be in control.
Within this Maori community, a symbolic value is added to cerebral game. Honor plays a pivotal, almost ritualistic, role in the way Genesis thinks of himself while playing. He is not only a warrior, but also a righteous king that doesn’t leave anyone behind and who is willing to endure painful sacrifices for the common welfare. Curtis let’s himself be overwhelmed by such conflicting feelings of failure and greatness in extreme forms inhabiting a single body. Exceptional skills eclipsed by misfortune. But through it all, the imposing actor remains heartbreakingly truthful. There is no euphemisms or sugarcoated false hopes, his character is an ill person stranded in a place with no tolerance for weakness. Still, this perpetual vulnerability is what enhances his warm humanity.
Genesis is a gentle giant that illuminates the lives of those around him regardless of the despairing conditions. His astonishingly welcoming demeanor as Mana's surrogate father and as a heroic figure for the rest of the kids is delightfully capture by the actor. This is certainly a turning point in Curtis eclectic career. He is nearly unrecognizable after gaining over 60 lbs to play the role and embedding his performance with a powerfully quiet inner turmoil. Young Rolleston's work as a boy on the cusp of manhood is equally noteworthy for it's subtle anger and childlike need for affection and acceptance.
Written and directed by James Napier Robertson, “The Dark Horse” definitely hits familiar notes as a biopic and an inspirational film. But these never feel as it forcefully trying to generate an emotional reaction, and that is definitely the product of a screenplay that doesn’t shy away from the unflattering aspects of the story. Besides the personal conflicts, undertones of social and political indifference are visible particularly when Genesis’ team competes against the affluent city kids who looked at them with disdain. “The Dark Horse” offers an underdog premise with highlighted nuances pertinent to this specific part of the world, but with the added bonus of being relevant anywhere there is a group of people living in the outskirts of mainstream society. Moving and incredibly humanistic, “The Dark Horse” utilizes well-known tropes and strategically places them on the winning side of the board.
"The Dark Horse" recently premiered at Tiff. International sales are being handled by Seville International.
Drifting away in between hospital stays and sporadic delusional episode, Genesis (Cliff Curtis) is a strong-built Maori man whose inner battles have prevented him from pursing his passion for the intellectual board game. Following one of his usual escapades into the outside world without supervision, Genesis is put in the care of his older brother Ariki (Wayne Hapi). But the latter doesn’t have much time to deal with his sibling’s affliction. He is a tough gang member whose main concern is to get his 14-year-old son Mana (James Rolleston) inducted into the violent organization as soon as he turns 15 – a life of crime is all they’ve ever known.
Unfortunately, their case is not an exception to the rule but the norm. Most children in this marginalized community – prominently populated by people of indigenous descent - have no role models to speak of. In their isolation is hard for them to imagine brighter horizons where they can avoid addiction, abuse, and illegal activity. Partially motivated by his own need to be part of something and by a genuine interest to be of help, Genesis joins a local kids’ chess club. Initially, Noble, (Kirk Torrance) who runs the makeshift group out of his garage, perceives Genesis’ overly cheerful demeanor as dangerous. He wants to shield these children from probable disappointed caused by the fallen champion’s erratic behavior. Eventually, Genesis’ undeniable talent and boyish optimism connect with the young players. He has been given a purpose that allows him to live vicariously through his pupils: The Eastern Knights.
Aiming to take the team to the national championship in Auckland, Noble and Genesis have no time to waste. But the unpredictable nature of bipolar disorder is a constant reminder that full normalcy is almost unattainable for the valiant warrior. As if his fight wasn’t already tumultuous enough, Genesis fears for his nephew's safety given the brutally with which his brother’s gang operates. He wants to give Mana the chance to see beyond the disheartening and hyper-masculine environment around him. On the chessboard, they both find a place where strategy reigns above brute force. The precise numeric rules and calculative quality of the game give them a glimpse of what it means to be in control.
Within this Maori community, a symbolic value is added to cerebral game. Honor plays a pivotal, almost ritualistic, role in the way Genesis thinks of himself while playing. He is not only a warrior, but also a righteous king that doesn’t leave anyone behind and who is willing to endure painful sacrifices for the common welfare. Curtis let’s himself be overwhelmed by such conflicting feelings of failure and greatness in extreme forms inhabiting a single body. Exceptional skills eclipsed by misfortune. But through it all, the imposing actor remains heartbreakingly truthful. There is no euphemisms or sugarcoated false hopes, his character is an ill person stranded in a place with no tolerance for weakness. Still, this perpetual vulnerability is what enhances his warm humanity.
Genesis is a gentle giant that illuminates the lives of those around him regardless of the despairing conditions. His astonishingly welcoming demeanor as Mana's surrogate father and as a heroic figure for the rest of the kids is delightfully capture by the actor. This is certainly a turning point in Curtis eclectic career. He is nearly unrecognizable after gaining over 60 lbs to play the role and embedding his performance with a powerfully quiet inner turmoil. Young Rolleston's work as a boy on the cusp of manhood is equally noteworthy for it's subtle anger and childlike need for affection and acceptance.
Written and directed by James Napier Robertson, “The Dark Horse” definitely hits familiar notes as a biopic and an inspirational film. But these never feel as it forcefully trying to generate an emotional reaction, and that is definitely the product of a screenplay that doesn’t shy away from the unflattering aspects of the story. Besides the personal conflicts, undertones of social and political indifference are visible particularly when Genesis’ team competes against the affluent city kids who looked at them with disdain. “The Dark Horse” offers an underdog premise with highlighted nuances pertinent to this specific part of the world, but with the added bonus of being relevant anywhere there is a group of people living in the outskirts of mainstream society. Moving and incredibly humanistic, “The Dark Horse” utilizes well-known tropes and strategically places them on the winning side of the board.
"The Dark Horse" recently premiered at Tiff. International sales are being handled by Seville International.
- 9/13/2014
- by Carlos Aguilar
- Sydney's Buzz
Now playing to enthusiastic public and industry audiences at the Toronto International Film Festival after playing to five and even six star reviews in its home country New Zealand, where it grossed $2 million, "The Dark Horse" (Isa: Seville/eOne) is a provocative, emotionally charged drama about a man who searches for the courage to lead, despite his own challenging mental health issues, and who finds purpose and hope in passing his gift for speed chess to the children in his gang-dominated community.
This film is being hailed as one of the greatest New Zealand films of all time. Seeing that (aside from "The Lord of the Rings" trilogy), there have not been many films playing widely outside of New Zealand since the unprecedented, trend setting and career building "Once Were Warriors", this film is well overdue and widely welcomed by the international film world.
The lead actor, Cliff Curtis ("Training Day","Whale Rider", "Once Were Warriors", "Three Kings") was initially not sure he wanted to work on this film and did not trust the producer, and writer-director, nor were they sure of him to play the part of a man so physically unlike Curtis. They spoke many times about the story, the role, so unlike any Curtis had ever played. When Curtis told James that he thought the key to the character of Genesis was Love, James felt that perhaps he could play the role, but then he would have to gain weight (Curtis inhabits a tight, muscled, lean body and Genesis was more of a big bear of a man, weighed 300 pounds, was missing front teeth). And he would have to method act to create the image of Genesis as James wanted to depict him. The concept of love however bound the team in a united effort to make the movie work. It is no surprise that the word Curtis used to describe what kept the film going was Aroha, which in Maori means Love. Cliff put himself at risk, playing such a role which, if it failed to deliver, could ruin his career, and trust was necessary for everyone in undertaking to tell this story. After many conversations and then after seeing "I'm Not Harry Jenson.", Curtis agreed to make the movie.
Over the six week shoot, the family and friends of Genesis visited the set, watched dailies, saw the editing; the spirit of Genesis hovered over the production, and even over its world premiere in Toronto, where Genesis' widow and their three year old son; the child actor, Wayne Hapi, and Xavier Horan who plays Jedi were present.
Also always present during the shoot, and even today, was chess and the love of the game. Genesis himself, once a local chess champion, derailed by mental illness that kept him in institutions until he was released into the care of his gang-member brother who lived in a gang-dominated society, used the game of chess as a spiritual talisman to transcend his earthbound world through love of people and of the game.
Director James Napier Robertson played chess but Curtis did not. However, he learned quickly, coached by chess master, Milton Green, and by Genesis' own chess mates! Jedi and Noble. Everyday hundreds of games were being played on the set. They still are all playing!
"The Dark Horse" was written and directed by James Napier Robertson and produced by Tom Hern, who previously worked together on "I'm Not Harry Jenson.", a micro budgeted whodunit thriller which played to full houses at their home country's New Zealand International Film Festival where it also garnered strong reviews. This team of two went on to make a short, "Lambs", which played at Clermont Ferrand, Berlin, Melbourne and Raindance, and to produce two more feature films films under the banner of their own production company, Four Knights backed by Autralasian entrepreneurs who cane aboard after seeing "I'm Not Harry". Both features have been released theatrically in New Zealand, the fragile meditative drama, "Everything We Loved" and "The Dark Horse", the emotionally charged drama inspired by the colorful true life of bi-polar suffering-Maori-speed-chess-playing genius, Genesis Point.
Tom saw a documentary in 2003, also called "Dark Horse" on TV about Genesis which deeply moved him. With so many families wracked with mental illness, including his own, Tom felt he had to turn Genesis' story into a feature film. He and James worked three years on the script, keeping the authenticity of the story by staying in close touch with Genesis and his friends and chess mates and family. As James wrote, he was conscious of wanting to capture Genesis's spirit and spoke a lot with Genesis and the other people in his community. Unfortunately, Genesis himself died very unexpectedly during the first year of work. He was very articulate about his illness and was a great storyteller, self-taught in religious and spiritual texts and practices; he was a deeply spiritual man.
This film is being hailed as one of the greatest New Zealand films of all time. Seeing that (aside from "The Lord of the Rings" trilogy), there have not been many films playing widely outside of New Zealand since the unprecedented, trend setting and career building "Once Were Warriors", this film is well overdue and widely welcomed by the international film world.
The lead actor, Cliff Curtis ("Training Day","Whale Rider", "Once Were Warriors", "Three Kings") was initially not sure he wanted to work on this film and did not trust the producer, and writer-director, nor were they sure of him to play the part of a man so physically unlike Curtis. They spoke many times about the story, the role, so unlike any Curtis had ever played. When Curtis told James that he thought the key to the character of Genesis was Love, James felt that perhaps he could play the role, but then he would have to gain weight (Curtis inhabits a tight, muscled, lean body and Genesis was more of a big bear of a man, weighed 300 pounds, was missing front teeth). And he would have to method act to create the image of Genesis as James wanted to depict him. The concept of love however bound the team in a united effort to make the movie work. It is no surprise that the word Curtis used to describe what kept the film going was Aroha, which in Maori means Love. Cliff put himself at risk, playing such a role which, if it failed to deliver, could ruin his career, and trust was necessary for everyone in undertaking to tell this story. After many conversations and then after seeing "I'm Not Harry Jenson.", Curtis agreed to make the movie.
Over the six week shoot, the family and friends of Genesis visited the set, watched dailies, saw the editing; the spirit of Genesis hovered over the production, and even over its world premiere in Toronto, where Genesis' widow and their three year old son; the child actor, Wayne Hapi, and Xavier Horan who plays Jedi were present.
Also always present during the shoot, and even today, was chess and the love of the game. Genesis himself, once a local chess champion, derailed by mental illness that kept him in institutions until he was released into the care of his gang-member brother who lived in a gang-dominated society, used the game of chess as a spiritual talisman to transcend his earthbound world through love of people and of the game.
Director James Napier Robertson played chess but Curtis did not. However, he learned quickly, coached by chess master, Milton Green, and by Genesis' own chess mates! Jedi and Noble. Everyday hundreds of games were being played on the set. They still are all playing!
"The Dark Horse" was written and directed by James Napier Robertson and produced by Tom Hern, who previously worked together on "I'm Not Harry Jenson.", a micro budgeted whodunit thriller which played to full houses at their home country's New Zealand International Film Festival where it also garnered strong reviews. This team of two went on to make a short, "Lambs", which played at Clermont Ferrand, Berlin, Melbourne and Raindance, and to produce two more feature films films under the banner of their own production company, Four Knights backed by Autralasian entrepreneurs who cane aboard after seeing "I'm Not Harry". Both features have been released theatrically in New Zealand, the fragile meditative drama, "Everything We Loved" and "The Dark Horse", the emotionally charged drama inspired by the colorful true life of bi-polar suffering-Maori-speed-chess-playing genius, Genesis Point.
Tom saw a documentary in 2003, also called "Dark Horse" on TV about Genesis which deeply moved him. With so many families wracked with mental illness, including his own, Tom felt he had to turn Genesis' story into a feature film. He and James worked three years on the script, keeping the authenticity of the story by staying in close touch with Genesis and his friends and chess mates and family. As James wrote, he was conscious of wanting to capture Genesis's spirit and spoke a lot with Genesis and the other people in his community. Unfortunately, Genesis himself died very unexpectedly during the first year of work. He was very articulate about his illness and was a great storyteller, self-taught in religious and spiritual texts and practices; he was a deeply spiritual man.
- 9/8/2014
- by Sydney Levine
- Sydney's Buzz
eOne’s boutique sales arm Seville International takes New Zealand hit drama.
Entertainment One’s boutique sales arm Séville International has acquired international rights to New Zealand drama The Dark Horse from Four Knights Film.
Writer/director James Napier Robertson’s drama charts the journey of a man facing adversity who passes on lessons to the children in his community.
The deal was negotiated by Tom Hern for Four Knights Film with eOne Films International President Harold van Lier for Séville International. The film was previously with Celluloid Dreams.
Cliff Curtis (Whale Rider, Training Day, Sunshine) stars alongside James Rolleston (Boy), Kirk Torrance and newcomer, Wayne Hapi.
Tom Hern produced the film for Four Knights Film with funding coming from the New Zealand Film Commission, Nz On Air and Arama Pictures, and financing from Fulcrum Finances. Timothy White and Cliff Curtis served as executive producers on the film, while James Napier Robertson and Jim Marbrook co-produced the film...
Entertainment One’s boutique sales arm Séville International has acquired international rights to New Zealand drama The Dark Horse from Four Knights Film.
Writer/director James Napier Robertson’s drama charts the journey of a man facing adversity who passes on lessons to the children in his community.
The deal was negotiated by Tom Hern for Four Knights Film with eOne Films International President Harold van Lier for Séville International. The film was previously with Celluloid Dreams.
Cliff Curtis (Whale Rider, Training Day, Sunshine) stars alongside James Rolleston (Boy), Kirk Torrance and newcomer, Wayne Hapi.
Tom Hern produced the film for Four Knights Film with funding coming from the New Zealand Film Commission, Nz On Air and Arama Pictures, and financing from Fulcrum Finances. Timothy White and Cliff Curtis served as executive producers on the film, while James Napier Robertson and Jim Marbrook co-produced the film...
- 8/18/2014
- by andreas.wiseman@screendaily.com (Andreas Wiseman)
- ScreenDaily
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