New Movies: Head South (2024) by Jonathan Ogilvie: A Post-Punk Coming-of-Age Ode to 1970s New Zealand
- dailyentertainment95
- Jul 16
- 10 min read
Core Summary: Teen Angst, Music, and Deceit in Christchurch
Head South (2024), written and directed by Jonathan Ogilvie, is a semi-autobiographical New Zealand coming-of-age comedy-drama set in late 1970s Christchurch. The film follows Angus (Ed Oxenbould), a socially awkward teenager desperate to find his place within the burgeoning underground post-punk music scene. To impress the magnetic Kirsten (Benee) and fit in with the subculture, Angus fabricates his musical abilities and forms a non-existent band called "The Daleks." As his web of deceit grows, he alienates his true friends and finds himself cornered into a performance he's ill-equipped for. The film is a nostalgic, yet often comically dark, tribute to a specific time and place, exploring themes of reinvention, authenticity, and the anxieties of adolescence against a vibrant musical backdrop.
Summary Short: A Lie-Filled Journey into Post-Punk Identity
Jonathan Ogilvie's Head South is a 1979-set New Zealand coming-of-age story about Angus, a self-conscious teen who fakes his way into the cool post-punk scene. His desperate attempts to impress and belong lead to a hilarious and heartfelt web of lies, forcing him to become the musician he pretended to be, all while navigating family tragedy and the vibrant underground music world.
Link IMDB: https://www.imdb.com/title/tt23711262/
Link to watch: https://www.justwatch.com/es/pelicula/fingiendo-ser-punk (Spain)
Detailed Summary: Faking It to Make It in 1979 Christchurch
The film is set in Christchurch, New Zealand, in 1979, amidst the burgeoning underground post-punk music scene. This specific time and place are crucial to the film's atmosphere and the cultural milieu that influences the protagonist.
Angus (Ed Oxenbould) is a private schoolboy, self-conscious about his class privilege, long hair, and especially his lack of musical knowledge. He's a typical teenager desperate to fit in and find his identity.
He becomes enamored with the enigmatic Kirsten (New Zealand musician Benee in her acting debut), a cool chemist-shop clerk and guitarist. His desire to impress her becomes a driving force for his actions.
Desperate to impress Kirsten and penetrate the magnetic but fickle post-punk subculture, Angus fabricates his musical abilities. He claims he can play bass and forms a band, "The Daleks," which doesn't actually exist.
His well-intentioned but increasingly elaborate bullshitting begins to alienate his true friends. The lies create a rift between Angus and those who genuinely care about him.
The web of deceit grows until Angus is cornered into performing with his non-existent band. This forces him into a precarious situation where his fabrication is about to be exposed.
With the reluctant support of his friends, particularly the talented Kirsten, Angus must rapidly navigate self-doubt, derision, and ultimately, become the musician he pretended to be. This journey is about forced growth and finding genuine talent through pressure.
The film also weaves in elements of family tragedy, particularly involving Angus's relationship with his world-weary father, Gordon (Márton Csókás), and the periodic absence of his mother. These personal struggles add depth to Angus's coming-of-age journey, suggesting his pursuit of music is also a distraction from home life.
Director Jonathan Ogilvie drew heavily from his own semi-autobiographical experiences growing up in Christchurch in the 1970s and 80s. This personal connection gives the film an authentic and nostalgic feel, celebrating the specific cultural history of the city before the 2011 earthquake.
The soundtrack features original songs by Ogilvie, reflecting his own early songwriting attempts, and an original score by Shayne Carter of the legendary New Zealand post-punk band Straitjacket Fits. The music is integral to establishing the film's atmosphere and celebrating the DIY creative energy of the era.
The film explores themes of teen reinvention, cultural cringe (the fear of not being "up to snuff" compared to northern hemisphere trends), and the power of music as a gateway into a world of ideas. It's a tribute to the raw, analogue world before digital technology.
Plot Summary: Post-Punk Aspirations and Familial Undercurrents
Angus, a self-conscious Christchurch teenager in 1979, is drawn to the local underground post-punk scene. He feels out of place and longs to be part of something cool and edgy.
To impress the cool musician Kirsten, he invents a band called "The Daleks" and claims he plays bass. This lie is his entry point into a world he desperately wants to join.
His fabricated musical skills and band lead him into increasingly awkward and comedic situations. He struggles to maintain the illusion, leading to tension with his genuine friends.
Angus is eventually forced to perform with his "band," requiring him to quickly learn the bass and actualize his pretense. This climactic moment forces him to confront his deceit and actualize his musical aspirations.
The film portrays the vibrant, analogue post-punk subculture of 1970s Christchurch. It features authentic details of the era, from music to fashion, inspired by the director's own youth.
Beneath the musical aspirations, Angus navigates a complex relationship with his father, Gordon. This father-son dynamic provides an emotional anchor, touching on themes of loneliness and paternal love amidst family challenges.
The narrative subtly incorporates real-life historical events, such as the 1979 Mount Erebus plane disaster, as a backdrop. This adds a layer of somber reality to the otherwise lighthearted coming-of-age story.
Angus's journey is one of self-discovery, from faking authenticity to finding genuine passion. The film celebrates DIY creative energy and the transformative power of music for young people.
Director's Vision: A Personal Love Letter to Post-Punk Christchurch
Semi-Autobiographical and Personal: Jonathan Ogilvie's primary vision was to create a semi-autobiographical "love letter" to his youth in Ōtautahi Christchurch in the late 1970s and early 1980s. He aimed to authentically recreate the atmosphere, architecture, and particularly the vibrant post-punk music scene that shaped him.
Capturing a Specific Time and Place: Ogilvie sought to immerse the audience in a precise historical and cultural moment in New Zealand, celebrating a unique local story with international appeal. He meticulously recreated the analogue world before digital technology, where music was discovered through mail-order records and local bands.
Exploring the Universal Coming-of-Age: While deeply personal, the director intended to explore universal themes of adolescence: the desire to fit in, self-consciousness, the anxieties of finding one's identity, and the transformative power of art and friendship during formative years.
Humor with a Dark Undercurrent: Ogilvie aimed for a "comically dark tone" that would resonate with a New Zealand audience but also appeal internationally. The film balances its humor and charm with underlying themes of deceit, family struggles, and an overarching sense of impending adulthood.
Celebrating DIY Creative Energy: A core part of his vision was to celebrate the raw, independent, "DIY" creative energy of the post-punk era. He included his own early compositions, deliberately made to sound "raw and rough-round-the-edges," reflecting Angus's novice musical journey.
Authentic Musical Integration: The director ensured music was not just a backdrop but an integral part of the narrative and character development. The original score by Shayne Carter (Straitjacket Fits) and the inclusion of contemporary sounds rooted the film firmly in its musical genre.
Themes: Identity, Authenticity, and Belonging
Coming-of-Age and Self-Discovery: The central theme revolves around Angus's journey from a self-conscious teenager desperate to belong to someone who finds his own voice and identity, even if initially through a lie.
Authenticity vs. Pretense: The film deeply explores the tension between presenting a fabricated persona to gain acceptance and the struggle to find true authenticity. Angus's journey forces him to confront his own deceit.
The Power of Music and Subculture: Music acts as a powerful catalyst for personal change and a defining element of identity for Angus. The post-punk subculture provides a sense of belonging and rebellion.
Father-Son Relationships: The complex, affectionate, and sometimes exasperated dynamic between Angus and his father, Gordon, is a significant emotional thread, exploring paternal love and understanding during adolescence.
Nostalgia and Memory: Being semi-autobiographical, the film is imbued with a sense of nostalgia for a specific era and place, reflecting on the director's own formative years and the transformative power of youthful experiences.
Cultural Cringe and Local Identity: The film subtly touches on the idea of "cultural cringe," the fear that local culture might not measure up to international standards, ultimately celebrating the unique creative energy of New Zealand.
Key Success Factors: Personal Story, Strong Cast, and Niche Appeal
Semi-Autobiographical Authenticity: Jonathan Ogilvie's personal connection to the story lends Head South a genuine and heartfelt quality that resonates with audiences.
Strong Lead Performances: The casting of Ed Oxenbould as Angus and Márton Csókás as Gordon provides a compelling central dynamic, supported by a notable debut from musician Benee.
Niche but Engaging Setting: The specific backdrop of the 1979 Christchurch post-punk scene offers a unique and engaging historical and cultural context that appeals to fans of music history and coming-of-age stories.
Humor and Heart: The film balances its comedic elements with genuine emotional depth, creating a relatable and moving portrayal of adolescent struggles and family dynamics.
Positive Festival Reception: Premiering as the opening film at the International Film Festival Rotterdam and subsequent festival screenings generated significant positive buzz and critical attention.
Distinctive Soundtrack: The original score by Shayne Carter and Ogilvie's own compositions are integral to the film's identity, appealing to music lovers and those familiar with the genre.
Awards and Nominations: Early Festival Recognition
Head South gained significant early recognition by being selected as the opening night film of the 53rd International Film Festival Rotterdam (IFFR) on January 25, 2024, a prestigious international premiere. It was also part of the 2024 New Zealand International Film Festival. While specific awards beyond these high-profile festival selections may still be emerging, its prominent festival placements indicate strong critical and industry approval. British film critic Peter Bradshaw of The Guardian gave it 3 out of 5 stars, praising the performances, and it currently holds a 100% score on Rotten Tomatoes.
Critics Reception: Charming, Engaging, and Authentic
Head South has received a largely positive critical reception. Reviewers have praised its charming and engaging portrayal of a coming-of-age story set against a vibrant and authentically recreated 1970s post-punk backdrop. Critics often highlight the film's semi-autobiographical nature and Jonathan Ogilvie's personal touch, which gives the narrative genuine warmth and insight. Ed Oxenbould's performance as Angus has been noted as sympathetic and relatable, while the film's unique blend of comically dark tone with heartfelt moments has been well-received. Its ability to capture a specific time and place, particularly the Christchurch music scene, has also been a strong point of praise. While some critics noted that the film "can't quite absorb the intense seriousness of its final moments," it is generally considered a "sweet-natured entertainment" and a "rich, messy nostalgia trip." It holds a 100% approval rating on Rotten Tomatoes.
Reviews: A Relatable Nostalgia Trip with Punk Spirit
Reviews for Head South from both critics and early audiences suggest it's a relatable and enjoyable nostalgia trip, particularly for those familiar with the late 1970s and early 80s music scene or the specific cultural context of New Zealand. Viewers appreciate the film's authentic portrayal of teenage anxieties and the universal desire to fit in. The performances, especially Ed Oxenbould as Angus, are often highlighted for their honesty. The soundtrack and visual recreation of the era are frequently commended, immersing audiences in the post-punk world. While some find the ending slightly uneven, the overall sentiment is that it's a charming, engaging, and often funny film that effectively captures the spirit of a specific time and the transformative power of music during adolescence. Its "distinctive and engaging take on the coming-of-age film" is a common theme in positive feedback.
Box Office: Limited Release, New Zealand/Australia Focused
Specific global box office figures for Head South (2024) are not widely reported, which is common for independent New Zealand films. However, it had a theatrical release in New Zealand from October 31, 2024, and in Australian cinemas from April 3, 2025. It did not aim for a wide multiplex release, instead opting for independent cinemas and special Q&A events to connect with its audience, staying true to its independent spirit.
Production Companies (name, country): New Zealand Independent
Head South Cohort (New Zealand)
Black Frame (New Zealand)
I&G (New Zealand)
Also in association with the New Zealand Film Commission.
Sales Companies (name, country, sentence): International Sales
Moviehouse Entertainment (United Kingdom) is listed as the international sales agent for Head South, responsible for selling distribution rights to other territories.
Distribution Companies (name, country, sentence): Local and Independent Focus
Label Distribution (New Zealand/Australia) is the theatrical distributor for Head South in New Zealand and Australia.
The film's international festival circuit and potential future digital releases will involve various distributors depending on the region.
Release Date on Streaming: To Be Announced (after theatrical window)
The streaming release date for Head South is not yet announced. Given its theatrical releases in late 2024 (NZ) and early 2025 (AU), a streaming release would typically follow after its exclusive cinema window, likely in mid-to-late 2025 or early 2026.
Theatrical Release: Festival Premieres and National Runs
World Premiere: January 25, 2024, at the 53rd International Film Festival Rotterdam (IFFR).
New Zealand Theatrical Release: October 31, 2024.
Australian Theatrical Release: April 3, 2025.
Also part of the 2024 New Zealand International Film Festival and other festivals like the Melbourne International Film Festival and Sydney Film Festival.
Why to Watch This Movie: A Quirky, Heartfelt Trip Down Memory Lane
For a fresh take on the coming-of-age genre: Head South offers a unique, semi-autobiographical perspective, blending humor, drama, and a distinctive post-punk aesthetic.
If you love music-centric films: The movie is a vibrant celebration of 1970s post-punk, with an integral original soundtrack that captures the raw energy of DIY bands.
To experience authentic New Zealand storytelling: It's a love letter to Christchurch and its unique cultural history, offering a glimpse into a specific time and place rarely seen on screen.
For strong performances: Ed Oxenbould delivers a relatable portrayal of teenage angst, complemented by Márton Csókás's nuanced father figure and Benee's engaging debut.
If you appreciate films with a subtle, comically dark tone: The movie navigates the awkwardness and anxieties of adolescence with a wry humor that keeps it engaging.
Movie Trend: The Nostalgic Coming-of-Age Story
Head South fits squarely within the Nostalgic Coming-of-Age Story trend. This trend sees filmmakers revisiting specific past decades to explore universal themes of adolescence, identity, and first experiences through a lens of fond remembrance. These films often feature period-accurate music, fashion, and social dynamics, appealing to both those who lived through the era and younger audiences curious about the past, while offering a specific cultural context that feels authentic and lived-in.
Social Trend: Reclaiming Local Identity & Counter-Culture Histories
The film aligns with the social trend of Reclaiming Local Identity & Counter-Culture Histories. In many parts of the world, there's a growing movement to celebrate unique regional narratives and previously marginalized or underground cultural movements. Head South exemplifies this by focusing on the specific post-punk scene of Christchurch, New Zealand, a local phenomenon that had its own distinct character. It highlights the importance of "celebrating our own stories" and the value of "weird subcultural histories" in the face of globalized entertainment, resonating with a desire to preserve and share unique community narratives.
Final Verdict: A Charming and Authentic Post-Punk Journey
Head South is a charming, authentic, and often very funny coming-of-age film that stands out due to its specific setting and genuine personal touch. Jonathan Ogilvie's semi-autobiographical ode to 1970s Christchurch and its post-punk scene is a heartfelt exploration of a teenager's desperate quest for identity and belonging. With strong performances, an engaging soundtrack, and a unique blend of humor and underlying pathos, it's a refreshing take on a familiar genre. It's an excellent watch for anyone who appreciates character-driven stories, music history, or simply a well-told tale of finding oneself in unlikely circumstances.
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