Filmmakers to Watch in 2025: Part Three
Read Part Three of our Filmmakers to Watch in 2025 series.
Each of these filmmakers have been shortlisted, nominated and/or are winners of the Day One New Filmmaker Awards special categories. Read more about these amazingly talented filmmakers below.
TYLER REDMOND
Age: 21
City: Auckland
Area of expertise: Directing, Cinematography, Producing, Editing, Colourist, Lighting
How & Why did you get into your area?
Filmmaking has always felt like a natural part of me. From as early as age 2, I remember being fascinated by the handycam my parents used to film home videos, so cameras have always felt like a safe, familiar tool. Another early influence was the Wiggles song Lights, Camera, Action, which featured a studio, a slate, and big cameras and lights. That song sparked my fascination with the world of film and set the foundation for my interest in filmmaking.
A major turning point for me was discovering a local film group called the Top of the South Filmmakers. This group of amateur filmmakers, led by pros Aaron Falvey and Phil Mckinion as well as those to legends there was also Dan Wye—who was the area's go-to DP—taught me a lot about the craft even he didn't think he was. Dan was particularly skilled at understanding all the different roles on a film set, and working on sets that he and James Wvinner were on inspired me to pursue Cinematography.
I made my first short film when I was 8, but by the time I turned 16, I realised there were no opportunities for me to direct in my small town of Blenheim. So, I started my own company, Collaborative Kiwi Studios. This venture pushed me to learn every aspect of filmmaking—from directing, editing, and lighting to color grading, sound, and producing—because I had to do it all myself.
What advice/tips would you give to those who want to work in your area?
I think I would say, just keep going cause when you feel you have hit rock bottom an opportunity will come from it and you will be like how did this happen.
What drew you to focus on the technical side of filmmaking, and what do you love most about your craft?
I think for me it's the detail and precision and storytelling abilities the fact I truly can be the god of my own universe and I also love pushing myself in film to see to much is truly possible with little to no budget and how rewarding the results are when looking at what you've created.
What’s a specific area of your craft you’re passionate about mastering, and why does it excite you?
For me it's cinematography though I do love directing when it's the correct story. You get to paint a image of real people. You get to put whatever colour you and the director see on to screen. Lighting is how you can tell the entire character arc, by where you put a light on a subject. To me, cinematography is one of the most beautiful artforms ever created. The joy and the happiness it brings me when I'm behind camera shooting outside and the world just stops the sun hitting the perfect spot and you only have 5min to get it in the can, it's just incredible!
Can you describe a moment where you contributed to elevating a project or solved a problem on set?
There have been many and I'm sure most of my crew can agree (Hopefully that doesn't sound to cocky lol). But the one that comes to mind first is a little film called Bringing Mere Home which I was a co-producer on and the D.O.P. When Keelan Walker, the director, first came to me about this film, he told me it was about a drunk driver with supernatural elements. Most of it takes place in a car and involves a minor and he was questioning how we were going to shoot it. I personally felt like it wasn't safe to shoot it for real and I was very scared to put my bmpcc4k camera on the bonnet of the car. Oh and did I mention it's a period piece? So it happened to be the night before I was watching a doco about how Tom Cruise couldn't get permission to shoot on the streets of New York for a film, so what they did is they went guerilla and shot plates of the New York street and then in a studio, they got a treadmill and a projector, lined it up and shot Tom in the foreground and that is what was in the final film.
So, I pitched to the director, "How about we find a warehouse, build some white walls, and then shoot four different background plates? Start with finding a street that didn’t have a lot of signage (since it's a period piece), and then go back to the warehouse (now known as Sawmill Studios). We'll rig up a bunch of lights with different gels on them, time them with the street lights from the clean plate footage, and then, inside the car, we’ll place a heap of Aputure MCs. On the outside, we’ll put a mini projector from AliExpress, reverse the same footage on the background, and use it as a key light for the actor looking out the window."
The director was like, "Are you sure this will work?" And I said, "I haven’t done any of it before, but if it worked in the '90s, it’ll work for us." So, he trusted me. That gem of a film took four weeks to make, from concept to completion, and ended up in NZIFF at the time. As a young 19-year-old filmmaker, one of my dreams had been achieved!
Lucy Timmins
Age: 28
City: Auckland
Area of expertise: Art Department and Producer
How & Why did you get into your area?
I have always been in love with practical effects, and the tactile nature of handmade costumes and set pieces. After years of producing drama shorts, I realised I could make my own opportunity to create my dream movie, and produce my first fantasy short film. Our vision for this film needed to be built from the ground up, so I spent months handcrafting props and costumes, alongside other incredible creatives. Now that I have entered this niche of fantasy art department and production, I don't think I will ever leave!
What advice/tips would you give to those who want to work in your area?
Make sure you give your time and skills to projects you feel truly passionate about - your best work will be showcased when you believe in the vision, and are willing to fully invest in what you are executing.
What drew you to focus on the technical side of filmmaking, and what do you love most about your craft?
I love problem solving and figuring out the ins and outs of things, so being a part of the camera department allows me to do exactly that! Besides all the technical stuff that you get learn/do, I think it's truly an art form as well. I love how the choice of camera and/or lens can enhance a certain feeling you're trying to evoke. This is also a bit of a selfish reason, but one of the reasons I like being behind the camera is because it shows my personality and style through the way I see things. And everyone has a unique style. I think that's really special.
What’s a specific area of your craft you’re passionate about mastering, and why does it excite you?
I am excited to do more DP work and develop my shooting style more, and I can only do that by making more things! Every new project is a chance to learn new things and that excites me.
Can you describe a moment where you contributed to elevating a project or solved a problem on set?
I wouldn't say this was a problem that I entirely solved on my own, but it was an opportunity that I was given to do the story and perspective justice. It was a slow motion POV shot of a woman barrelling the camera as if the camera is the other woman she was dancing with in the club (a queer film). The DOP (Daryl Wong) handed the camera to me and said that my POV as a queer woman would serve the shot more than his POV, and he said that his shot inherently has the male gaze baked in, which did not feel right to him. I felt honoured to have been given the chance and it came out very nicely in the end.
Jake Tabata
Age: 25
City: Tāmaki Makaurau/Auckland
Area of expertise: Writer and Director
How & Why did you get into your area?
Growing up, I felt like I didn't see screen stories that reflected the world that I live in. Stories that dissect the nuances of heritage, queerness, masculinity and marginalised identities. Stories that explore the weird and bizarre nature of the world. Combined with my love of film, it felt like the natural step to try and bring some of these stories to life!
What advice/tips would you give to those who want to work in your area?
Create! Create! Create! Get out there and make something, no matter how small it is. Build community, hone your skills and get to know yourself as a creative.
What inspires your storytelling, and how do you approach bringing fresh perspectives to the screen?
I'm constantly inspired by the world around me (natural landscapes, strangers on a commute home) and the key parts that make up my identity (being mixed race, queerness, disability, and so many more things in between). To bring fresh perspectives to the screen, I really love to examine ideas as deeply as possible and try to reach the heart of things because that's where the bizarre but unique stuff lives. Also, I love to think of, "how can we visualise this idea in a different unexpected way?" That's always a fun challenge!
Can you share a project or moment where you felt your creative vision truly came to life?
During post-production of THE CREATURE, a queer horror web series that I wrote and directed, I felt my creative vision truly come to life. There was one surreal transformation sequence that took a lot of work from our team (special shout-out to our editor Gilbert and producer Izzi) that suddenly came to dazzling life! It was a key moment I dreamed up on paper and it was thrilling to see it actually brought to life on screen.
What kind of stories do you hope to tell in the future, and what impact do you hope they’ll have?
At the moment, I'm exploring genre work (horror and thriller pieces) that examines mixed race identity. This is an important topic for me personally and I'm excited to explore it in all it's messy, bizarre and surreal detail. I'm keen to make this work as I hope other people within my community will be able to see it and resonate with it.
JOSH GABOR
Age: 18
City: Auckland
Area of expertise: Lighting assistant/ aspiring DoP
How & why did you get into your area?
I interned in various film departments throughout high school until I eventually started to get paid work as a lighting assistant on commercials. I absolutely fell in love with lighting and cinematography. I have taken what I learnt through this work and applied it to passion projects/short films as a cinematographer.
What advice/tips would you give to those who want to work in your area?
Learn to tell stories and make pretty pictures with the gear/ resources/ people and locations that are available to you. Don't feel like you need to have all the latest gear in order to be a successful cinematographer.
What drew you to focus on the technical side of filmmaking, and what do you love most about your craft?
I have always loved photography and the visual aspect of storytelling. However, I have also always had an affinity with technology/physics/electronics. When I saw other DoPs at work it seemed like a no brainer that I would love doing that job. I love the combination of the artistic skills and technical skills needed to do the job. But what I love most is collaborating with directors and with other creatives on set, when you work with a great team problem solving comes naturally and someone will always have a solution or an idea to enhance the story/visuals.
What’s a specific area of your craft you’re passionate about mastering, and why does it excite you?
I'm currently working as a lighting assistant and I am absolutely loving it, I learn so much everyday. Because I'm always learning new ways to do things and technology is rapidly changing I don't think I will ever "master" lighting (I think even the most seasoned gaffers are still learning new things!). But I am passionate about getting better at it and I look forward to taking on bigger and bigger responsibilities as I expand my knowledge and experience.
Can you describe a moment where you contributed to elevating a project or solved a problem on set?
For a short film that I was directing/ DPing we needed a long/slow push in. A slider wouldn't work as it wouldnt be long enough. So I suggested that we build a last minute dolly out of a piano mover trolley and bits of timber. We built track with a dip for the wheels out of planks of timber and rachet strapped the tripod to the platform. After a few test runs we were able to get a smooth slow push in that looked exactly how I imagined.
RACHEL SUNG
Age: 23
City: Auckland
Area of Expertise: Camera
How & why did you get into your area?
I started off with a photography background with an interest in film photography. I've always liked the saying "a picture is worth a thousand words", and that naturally grew into a love for motion picture and visual storytelling.
What advice/tips would you give to those who want to work in your area?
Make your own stuff! Keep trying new ways to tell stories. Meeting likeminded people to work and build a strong connection with is also very important I think. Find your tribe! You never know where that'll take you :-)
What drew you to focus on the technical side of filmmaking, and what do you love most about your craft?
I love problem solving and figuring out the ins and outs of things, so being a part of the camera department allows me to do exactly that! Besides all the technical stuff that you get learn/do, I think it's truly an art form as well. I love how the choice of camera and/or lens can enhance a certain feeling you're trying to evoke. This is also a bit of a selfish reason, but one of the reasons I like being behind the camera is because it shows my personality and style through the way I see things. And everyone has a unique style. I think that's really special.
What’s a specific area of your craft you’re passionate about mastering, and why does it excite you?
I am excited to do more DP work and develop my shooting style more, and I can only do that by making more things! Every new project is a chance to learn new things and that excites me.
Can you describe a moment where you contributed to elevating a project or solved a problem on set?
I wouldn't say this was a problem that I entirely solved on my own, but it was an opportunity that I was given to do the story and perspective justice. It was a slow motion POV shot of a woman barrelling the camera as if the camera is the other woman she was dancing with in the club (a queer film). The DOP (Daryl Wong) handed the camera to me and said that my POV as a queer woman would serve the shot more than his POV, and he said that his shot inherently has the male gaze baked in, which did not feel right to him. I felt honoured to have been given the chance and it came out very nicely in the end.
Enjoyed reading this list? Read Part One and Part Two of our Filmmakers to Watch in 2025 list.