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Celia at The Screening Room
Celia
Former 20/20 and 60 Minutes journalist Amanda Millar directs this portrait of Celia Lashlie, a compelling and committed advocate for equality of opportunity.
In this emotionally-charged, lovingly-made documentary, social advocate Celia Lashlie talks openly about her life, her work and her dreams of a better New Zealand.
After receiving a terminal cancer diagnosis in late 2014, Lashlie asked her friend, award-winning journalist Amanda Millar, to film the final year of her life. But in February 2015, Millar was summoned to bring a camera to Lashlie’s home for what turned out to be the only interview for this film. Lashlie died on February 16, 2015, just two days after that interview.
Lashlie recognised that this film would be her last chance to share her vital messages about how to change the lives of those involved in New Zealand’s appalling violence, prison and suicide statistics.
Celia presents the transformational effect of this one charismatic woman in the lives of some of the most damaged people in the country. It is an intimate portrait in which family, close friends, people she worked with and those she helped provide fond recollections while archival footage adds context.
Celia
In this emotionally-charged, lovingly-made documentary, social advocate Celia Lashlie talks openly about her life, her work and her dreams of a better New Zealand.
After receiving a terminal cancer diagnosis in late 2014, Lashlie asked her friend, award-winning journalist Amanda Millar, to film the final year of her life. But in February 2015, Millar was summoned to bring a camera to Lashlie’s home for what turned out to be the only interview for this film. Lashlie died on February 16, 2015, just two days after that interview.
Lashlie recognised that this film would be her last chance to share her vital messages about how to change the lives of those involved in New Zealand’s appalling violence, prison and suicide statistics.
Celia presents the transformational effect of this one charismatic woman in the lives of some of the most damaged people in the country. It is an intimate portrait in which family, close friends, people she worked with and those she helped provide fond recollections while archival footage adds context.