Welby Ings on Punch

This abstract summarizes a recording titled "Welby Ings on Punch," an interview between Welby Ings and Gareth Watkins that took place at the Embassy Theatre, Wellington, on August 6, 2022. Throughout the 31-minute conversation, Ings—a multifaceted professional in the realms of film, design, authorship, and activism—delves into the thematic structure and personal underpinnings of their feature film, "Punch."

"Punch" is a cinematic exploration of masculine relationships within a New Zealand context. The film's narrative unfolds across three interlocking strands of affection and identity. It depicts a complicated bond between an alcoholic father and a son, who has assumed paternal responsibilities over their own parent. Additionally, it explores the dynamics between the son and a Takatāpui—a term denoting a Māori with a non-heteronormative identity—in a way that diverges from Western conceptions of gay relationships. A tangential connection is also present between the Takatāpui and the protagonist's father.

Ings draws parallels between "Punch" and their previous short film, "Sparrow." While initially conceptualized as a backstory for a feature, "Sparrow" evolved into its independent entity. Yet, Ings perpetuates a tradition of intertextuality by allowing elements of one film to physically manifest in subsequent works. This theme persists through shared props and character names as an homage to ongoing cinematic legacies.

Ings shares the poignant inspiration behind "Punch," rooted in the relational dynamics between their late partner, Kevin Todd—who had departed from a boxing career for athletics—and Todd's father. The film channels themes from this personal history, particularly concerning Kevin’s relationship with their father, in the shadow of the AIDS epidemic of the 90s. The film also tackles the father-son dynamic, flavoured with love, flaws, and hope.

Moreover, "Punch" stars newcomers to the feature film landscape, with Ings describing the nuanced casting process and adaptability to the actors' attributes. The film delves into complex displays of masculinity, rural small-town dynamics, and the reality of homophobic violence—a subject not classically portrayed in cinema.

Ings notes "Punch" as possibly the first New Zealand feature film in-depthly concentrating on relationships between men who identify as gay—a distinction from films featuring queer characters in secondary roles or centered on bisexual narratives. The film also stands out for navigating production hurdles during the COVID-19 pandemic, adopting innovative filming techniques to adhere to social distancing protocols and lockdown challenges.

Collaboration is underscored as Ings reflects on working with Robin Murphy, the film's producer, highlighting a relationship built upon mutual respect and the ability to uphold individual expertise in their respective roles.

This account concludes by touching on Ings' thoughts on audience reactions, the selective global reach of "Punch," and the ongoing struggles to represent the full spectrum of queer experiences authentically in film.

This summary is created using Generative AI. Although it is based on the recording's transcription, it may contain errors or omissions. Click here to learn more about how this summary was created.

Welby Ings

1990s, 2020s, activism, alcoholism, aotearoa new zealand, asthma, atheism, athletics, auckland, audience, banned, blessing, boxing, china, civic theatre, conan hayes, covid-19 (coronavirus), covid-19 lockdown, embassy theatre, feature film, film, film festival, film making, first love, gay, gender fluid, hiv / aids, homophobic violence, homosexual law reform act (1986), hope, hospice, hospital, human rights act (1993), jordan oosterhof, kevin todd, love, loyalty, masculinity, māori, new zealand film commission, new zealand international film festival, police, ponsonby, punch (film), queer bashing, rape, robin murphy, rural, russia, sexual abuse, skies, smartphones, sparrow (film), takatāpui, te reo māori, tim roth, welby ings, wellington

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