Chris Owen

John Waiko is the first Papua New Guinea man to graduate with a PhD and be appointed a professor. He returns to the Binandere clan and his small village of Tabara in the Northern Province of PNG. Once there, he has to organise a celebration for his achievements with his family’s help. Since he has been away for most of his life, he has no recognised wealth in the village (the pigs used for gift giving), nor a network of supporters or knowledge of the preparation and rituals for having such a celebration. He wants the event to happen quickly but that’s not the way it works in Tabara. Man without pigs focuses on the antagonism aroused by the clash between traditional customs and Western values in this remote PNG community.

Before the 1970s, the Commonwealth Film Unit represented the people of PNG in a paternalistic way, as curiosities. The unit used pompous voice-overs telling viewers what they should believe. Les McLaren and Annie Stiven are two of a group of Australian filmmakers who have lived and worked in PNG during the past 25 years and who see their roles rather differently. Through their films, they have endeavoured to reflect Papua New Guineans' complexity of thought, language and culture, using a wide variety of filmic styles and techniques. The film features interviews with a variety of Australian filmmakers who have worked extensively in PNG, including Bob Connolly and Robin Anderson, Chris Owen, Dennis O'Rourke and Gary Kildea. This documentary is a fascinating tracing of PNG culture and history from the 1930s until today.

The film documents the last performance of the ritual for the fertility goddess Amb Kor, in the Western Highlands Province of Papua New Guinea. Shot over a period of approximately 15 years, the anthropologists and filmmakers have been participant-observers during a time of pivotal change for the clans of the Kavelka tribal group.

For the people of Mandak region, New Ireland,the most dramatic and complex ceremonial events are those surrounding death. The creation and presentation of the Malangan Labadama with its carved figures, masked dancers and feasting is the final tribute by three brothers to a deceased clansman and former leader.

In the Western Highlands of Papua New Guinea, the Enga people have developed the art of body decoration as a visual language. Using earth paints, tree oils, bird plumes, human hair, and a variety of plants, the Enga turn the body into a medium for an expressive and dramatic symbolism. This film shows the diverse forms of body art in both daily life and ritual in Enga village society.

This film examines the implications of the Australian colonial era for the Gogodala people of the Fly River Delta, Western Papua New Guinea. Excessive missionary zeal, tolerated and encouraged by the government, contributed to the almost total destruction of Gogodala art and culture. More recently, an indirect grant from the Australian government has enabled the people to reconstruct a traditional longhouse, along with a new meaning and function: as a cultural center.

In the Highlands of Papua New Guinea, a grassroots family makes a precarious living by trading in betelnut, one of the world's most widely used narcotics. This is the story of resilient people who have few material possessions but who face each day with dignity and quiet determination. As they go about their daily work, the film presents us with a vivid portrait of present-day life in Papua New Guinea.

Every year, a ritual known as ida is performed by the Umeda people, who inhabit the dense primary forest of the Waina-Sawanda district of West Sepik, Papua New Guinea. Ida, the central social and cultural drama of the Umeda, is a fertility ritual, in which a dominant theme is the metamorphosis of the cassowaries. An ethnography by anthropologist Alfred Gell, Metamorphosis of the Cassowaries, complements the film.