Barry Ronald Barclay, MNZM (12 May 1944 – 19 February 2008) was a New Zealand filmmaker and writer of Māori (Ngāti Apa) and Pākehā (European) descent. Background Barclay was born in Masterton and raised on farms in the Wairarapa. He was educated at St Joseph's College, Masterton. He spent six years from the age of 15 in Redemptorist monasteries in Australia and had begun training to be a Catholic priest in that order when he returned to New Zealand and embarked on a lengthy career in film, television and media. Later in life, he was based in Omapere, Hokianga, New Zealand before his death from a stroke at the age of 63. Films His early career in radio, then in film and television led to great recognition as a documentary maker in the 1970s and 1980s. His early experimental short documentaries Ashes, The Town That Lost a Miracle, and All That We Need, led to an invitation to direct Tangata Whenua, a six-part television documentary series that presented the language, culture and politics of New Zealand's Maori people to a mainstream prime-time audience (in 1974) for the first time. The series was made in collaboration with producer John O'Shea of Pacific Films and historian and writer Michael King. Barclay wrote and directed The Neglected Miracle, a feature-length political documentary on the ownership of plant genetic resources. The project was shot over two years in eight countries. After this success, Barclay left New Zealand for a time to live in Europe. He returned to make The Neglected Miracle, a documentary on the legal and societal challenges presented by assertions of ownership of genetic material, especially seed stocks, and an eponymous documentary on Indira Gandhi, then-Prime Minister of India. After these documentary projects, Barclay collaborated with screenwriter Tama Poata on the feature film, Ngati (1987), produced by John O'Shea. Ngati featured veteran Maori actor Wi Kuki Kaa in the lead role of 'Iwi.' The film was well received at several international film-festivals, and attracted critical acclaim. Barry's second feature film Te Rua (Pacific Films 1991), concerns an iwi's attempts to repatriate stolen carvings from a German museum back to their rightful place in Aotearoa. Te Rua was a German/New Zealand coproduction, and is acknowledged as a more complex and less successful film than Ngati. The issues raised in Te Rua - of 'ownership' versus 'guardianship' would form the basis of much of