The following interview with Miley sees her talking through her process of working in comedy and then shifting to horror, the grounded nature of the film, and more. 

Proclivitas recently opened the 2026 WA Made Film Festival where Miley and producer Kate Separovich were in attendance. The film opens in Australian cinemas on 19 March 2026. I'll be hosting a Q&A session at Luna Leederville on 24 March 2026 with Kate Separovich and actor Hayley McElhinney in attendance. For Perth locals, we have five double passes to giveaway for the Q&A screening. Simply email us at thecurbau@gmail.com to be in the running to get your name on the list.

If you want to find out more about the work we do on The Curb, then head over to TheCurb.com.au, or follow us on Instagram, Facebook, and Bluesky @thecurbau. the Curb is a completely independent and ad free website that lives on the support of listeners and readers just like you. Visit thecurb.com.au/subscribe, where you can support our work from $2 a month. Paid subscribers get access to our monthly competitions, exclusive interviews and articles, and more. 

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Shot with an immediacy and the level of compassion and understanding that elevates the crisis at hand, Floodland is a powerful document for the region, the people who call it home, and their future.

The following interview sees Nadine Whitney, someone who lived in the region, interview Jordan and producer Rachel Forbes about making the film. This interview was recorded ahead of the films screenings at the Sydney Film Festival, and is being published now ahead of Floodland's release around Australia this week.

For screening dates and information, visit Floodland.com.au.

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In Jimpa, Sophie's finest and most mature film yet, we follow Aud Mason-Hyde's Frances, child to Olivia Colman's Hannah and Daniel Henshall's Harry. Frances is finding their place in the world as a nonbinary queer kid, eager to push out of the restrictive boundaries of Adelaide and engage with queer culture that they feel part of and as if they can grow within. A trip to Amsterdam to meet Hannah's father, Jim (John Lithgow), has Frances feeling that his proudly gay lifestyle and advocacy for gay rights would make for a suitable place for them to spend a gap year, growing, learning, and studying.In the following interview with Sophie and Aud, we talk about that kaleidoscopic nature of the film, what it's like to grow up with a parent like Sophie Hyde, and finally, what it's like to have a story captured on screen by the stunning cinematography of Matthew Chuang.

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Collaborations include Sampa the Great rescoring Céline Sciamma's Girlhood, The Murlocs putting their spin on Gregor Jordan's Two Hands, while Springtime and Mick Harvey explored a new sonic landscape for Andrew Dominik's Chopper.

For its tenth anniversary, Haydn Green has tapped Belgian electronic musician Peter Van Hoesen, powered by the Melbourne Electronic Sound Studio, to reimagine the music of James Cameron's iconic sci-fi classic, Terminator 2: Judgment Day (the original theatrical cut).

Visit HearMyEyes.com.au for all tickets to the screenings taking place on the below dates:

Melbourne: Feb 25-28, Hamer Hall

Sydney: March 7, City Recital Hall

Canberra: March 18-19, Canberra Theatre

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Lucy Coleman is the creative vision behind films like Hot Mess and Lean In, both featured in the best films list of their respective years, with Hot Mess getting a mention in the Best Aussie Films of the 2010s list. These are biting, searing comedies that tear apart what we think Australian comedy can or should be.

Then, there's Lucy's Stan. series Exposure, a change of pace, a drama which she wrote. This powerful series follows Alice Englert's Jacs Gould as a photographer returning home to find out why her best friend took her life. It's powerful, but also flips the script of the routine and tired 'cop returns to his country town home to solve a murder that he discovers is linked to him'. It's always a man solving these crimes. Always small town. Exposure changes that: it's not a murder, but a suicide. It's not a woman trying to figure out what's happening, but a friend, a very close one at that. It's a devastating series that left me hollowed out by its end.

Exposure, like Hot Mess and Lean In, is an experience which lingers in my mind, changing how I see the next film or TV show that I watch.

This interview, like those works, hasn't left me. And now, I'm releasing it into the world. Enjoy.

Thank you Lucy for your patience with me getting this into the world.

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If I'm painting the film to be a deep experience, the rest assured, it definitely is. What Damien has crafted here is something that will stick with me for quite a while, with the resulting film creating a fascinating and memorable nexus points of the quiet space of ocker comedy, reserved masculinity, loud cars, laughter at stand up comedy gigs, and frustration about fathers. There's a lot going on under the hood of this flick, with the film simmering along at a neat 18-minutes and creating a lasting impact.

Amplifying the vibe of the film is cinematography by Julian Panetta which is both immersive and observational in tone, pulling viewers into the Power's brothers world. Equally amplifying the tone is the score by Adrian Diery which adds a rather chill and contemplative backdrop to the whole experience.

Return of the Champ is the first film by Damien Power, and if this is the style of film we might get from him, then I'm looking forward to seeing where his filmography takes us.

This interview was recorded ahead of the films world premiere at Flickerfest 2026. Keep an eye out for it as it rolls out through the festival circuit. You'll not want to miss this one.

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Making its world premiere at FlickerFest 2026, Tuesday Tuesday follows a young support worker, played by Jillian Nguyen, who spends a final day with her long-time client, played by Peter Phelps, who lives with younger-onset dementia and will be shifting into a care facility the following day.

Co-written with Emily Sheehan, Tuesday Tuesday is a tender and considered film about what it means to be a support worker, helping someone live a life where they may not even recognise you the very next day. 

In the following interview, Lianne talks about her own experience as a support worker, the process of building the characters with Peter Phelps and Jillian Nguyen, while she also talks about her work at Bus Stop Films.

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In the following interviews, recorded ahead of Addition's release in Australian cinemas, Nadine Whitney talks to both director Marcelle Lunam and Teresa Palmer about making the film and respectfully presenting neurodivergence on screen.

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The once storied director turns up at the funeral for his ex-wife and one of the first things he does is to reclaim a set of speakers from the home (a longstanding character in itself) that has housed members of his family for generations. Gustav is opinionated, arrogant, funny, and awkward. He’s written a screenplay for Nora, who is now a respected theatre actress, to star in but she doesn’t want anything to do with it or him.

The quiet truth is that Nora and Gustav are two similar souls who both struggle with connection and loneliness. Art is their form of expression but it can also be a burden they don’t know how to negotiate.

Nadine Whitney speaks with Stellan about how Gustav sees Nora and longs for her to return the recognition.

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For some, that sensory experience of tension driven filmmaking isn't exactly fitting with the idea of a 'good time at the movies', but Sirāt isn't a film that intends to make you feel good. Instead, Laxe is looking to expand upon the current state of the world, leaving just enough space for the viewer to draw their own meaning from the metaphor that Laxe and Kandang Ray are spinning.

In the following interviews, Nadine Whitney talks to director Óliver Laxe about the landscape and use of music in the film, while in the second interview, Andrew F Peirce talks to composer Kandang Ray about building that sonic profile for the film. Both interviews were recorded ahead of the film receiving two nominations at the 83rd Golden Globe Awards, picking up noms for Best Foreign Language Film and Best Original Score.

Sirāt arrives at Perth Festival's Lotterywest Films from 19 January to 25 January 2026. It will receive a wider release thanks to Madman Entertainment from 26 February 2026.

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After one paid beating, he meets Maddy (Orly Beringer), and sparks a bond, of sorts. Yet, it's a relationship that doesn't last long. I'm reminded of the song Rosemary Mushrooms by Jack Davies & the Bush Chooks, which in the dissolution of the bond in that song he wails: 'How can I love somebody if I'm frightened of myself?'

Jellyfish left a mark on me, a similar mark in the way that Giles' short film Interview did when that screened at Perth's Revelation Film Festival. That short film explores how the capitalistic society we live in restricts any sense of self, with people being pushed into a box of servitude.

In this conversation, recorded ahead of the Revelation Film Festival in July, and being released today to honour Jellyfish's inclusion in my annual Best Australian Films of 2025 list, Giles talks about his journey into filmmaking, the literalisation of emotions in his films, and the presentation of pain on screen.

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We follow Klara and Pim and their mum Lucy, voiced with beautiful attentiveness and care by Geraldine Hakewill. The focus is on the kids, but each time they return home, Lucy is there to tend to them and to set up their new life in outer suburbia.

In the following interview, recorded ahead of the shows launch on ABC, Geraldine talks about the creative process of voicing Lucy, about how her varied roles throughout her career have influenced what choices she makes as a storyteller, and much more.

Shaun Tan's Tales from Outer Suburbia is currently on ABC iView. Head along and give it a watch, it's a great show for kids and adults alike.

If you like this chat with Geraldine, then make sure to check out my earlier conversation with Shaun Tan, or consider becoming a paid subscriber to listen to the conversation with director Noel Cleary. To join up and help keep the Curb independent, visit thecurb.com.au/subscribe where you can support us from as little as $2 a month. Even if you're unable to financially support us, join up to our free newsletter where you'll be able to read my annual Best Australian Films of 2025 list when it goes up on 6 January.

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That approach to narrative storytelling continues with his latest, and in my view best, film, The Blue Trail.

On paper, The Blue Trail sounds oppressive, dystopian, and bleak, as it tells the story of a Brazil which seeks to embrace economic recovery by creating a system where senior citizens over 80 are deported to a 'colony'. We're never shown the colony, nor what occurs to the citizens when they reach there, but we don't need to see it either, given the way that elderly citizens are transported in prison like vehicles - a small van with a cage like apparatus on the back - called wrinkle wagons, forcing the elderly into this colony existence.

Yet, what Gabriel Mascaro presents is instead a film that is quite beautiful and tender, reminding audiences that while the elderly may be old, it does not mean that they don't have any more life left to live. Our hero of the story is Tereza, conjured into superb existence with one of the best performances of the year by Denise Weinberg, a 77 year old woman who finds herself scooped up in the unexpected age reduction of the colony residents which now includes her age group. Instead of embracing her fate, Tereza defiantly says that she has a life left to live, and embarks on ticking off some of the things she has never achieved, one such activity being that of flying.

So, thwarting authorities and making friends with the underworld, Tereza sets off on the Amazon, heading down river to find a place that will help her achieve her goal of flying, and maybe a little bit more along the way.

The Blue Trail is a lovely ode to living a full life in your older years. Gabriel Mascaro's direction is a supportive and nurturing one, easing the viewer out of any form of tension and inviting an embrace of comfort and tenderness instead. That direction is wonderfully supported by the stunning cinematography from Guillermo Garza whose lens captures the nature of the Amazon with care, and brings a life to the almost desolate riverside shacks that Tereza makes her way in and out of. Paired with this is the soaring score from Memo Guerra, a composition that pulses with techno like sensibility paired with an almost orchestral vibe at times. It's unique, yet wholly appropriate to the film itself.

The Blue Trail stands apart from similar films which might have embraced the tone of a thriller or increased the tension by putting Tereza into precarious situations that she can't get herself out of. It's then a relief to experience The Blue Trail and see that Tereza is a fully rounded person, she might be older than her counterparts on screen, but she's competent and knows how to handle herself. Gabriel clearly cares for her, and in the process of that, he knows that by showing her support and tenderness, he's also inviting audiences to reconsider our relationships with elderly folks.

That's one of the discussion points, amongst many, that Gabriel talks on in the following interview, recorded ahead of The Blue Trail's screenings at Perth Festival.

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The Mastermind is a bit of a heist film, but it's a heist film in the way that First Cow was a heist film, meaning, the nature of the heist is almost perfunctory in that while it's the instigating action for the film, it's the outcomes of the heist that throws Josh O'Connor's James Blaine Mooney life into disarray. Not that his life wasn't in some level of disarray with the feckless out of work father mooching off his parents, all the while his loving wife Terri (another great turn from Alana Haim) has to look after their kids while also working a full time job.

James comes up with the idea to steal four abstract paintings from the local art gallery. What he intends to do with the paintings once he has them, we never find out. But it's also quite likely he has no idea too. Josh O'Connor is easy to watch here, so captivating as someone who thinks he's smarter than he is, but really just needs to be nudged along to make something of his life.

Yet, for me, he's not the interesting part of The Mastermind. Instead, I found Kelly Reichardt's interest in the bystanders of the 1972 Worcester Art Museum robbery to be more fascinating. Kelly has talked in the past about her fascination with people stealing art, but what drew her to this robbery in particular was the schoolgirls who were bystanders and observed it happen. She plants similar girls as observers of James Blaine Mooney's heist, and it's through their brief perspective that we're also invited to see the film from the viewpoint of the women of the story.

It's an idea which I asked Kelly about in the following interview, which talks about the viewpoints of The Mastermind, while also discussing how Kelly's films view the changing state of America. We close by talking about the importance of accessible art, and what it means to be able to see art in rural or remote areas.

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My Brother's Band invites us to consider just who has access to art, and whether restricting art to those who can afford to engage with it is the right thing at all. It's also about the power of sibling relationships, both from adopted families and from blood relatives. If there's another film from this year that feels aligned to the tone and message that Emmanuel Courcoul is putting forward, it would be Miki Magasiva's Tinā, which also speaks of the power of music and the joy it can bring in the shadow of personal upheaval.

I spoke to director Emmanuel Courcoul, with the assistance of interpreter Sally Blackwood, about the making of My Brother's Band, the emotionality of the film, and what he hopes that Australian audiences will get from the film.

For those who don't speak French, the first half of this episode includes the interpreted responses from Sally Blackwood, while the second half of the interview includes both Emmanuel's French responses and Sally's interpreted responses.

My Brother's Band is in full release across Australia from Boxing Day, with advanced screenings taking place from 12 - 14 December 2025. Check your local cinema for screening details. This is a film that is best seen with a full audience.

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Shaun Tan is many things. He's an Academy Award winning animator, he's an artist who has taken the fantastical to suburbia and made both feel real and otherworldly, and he's someone who has poured years into shaping personal stories into profound imagery.  To me, he's more than just those things. He's someone who has translated what it means to live in Perth, what it means to grow up in a version of suburbia that spreads far beyond our horizon, and more importantly, what it means to grow up in a multicultural landscape like Perth, where the history of pearl divers in Broome can linger in the ochre brick homes of Wanneroo, or vacant lots become the home to giant oxen.  This conversation with Shaun sees the artist open up about his work, the relationship with the suburbs, and how these aspects played into facilitating the translation of his acclaimed book Tales from Outer Suburbia into the new ABC animated series, Shaun Tan's Tales from Outer Suburbia. It hits ABC iView on 1 January 2026 and it's quite simply one of the most beautiful, humane, and family oriented animated series I've seen in a while. This is not just a show for kids, it's for people of all ages.

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Watching Old Habits reminded me of my conversation with Julie Peters about her documentary The Accidental Archivist. In that film, Julie talks about the self-documentation of queer history in Australia and discovering her place in the LGBTIQA+ community. Old Habits acts as an extension of the opening of queer history archives, ensuring that Australian queer history is accessible to future generations.

To find out more about the Order of Perpetual Indulgence and its Sydney members, visit UniversalJoy.com.au.

After discussing Old Habits, Alfie also talks about his podcast series Sound Perspective, an in depth series featuring interviews with creatives about the role of sound in films. I highly recommend listening to it. Make sure to also check out Final_Final_Locked from the Australian Screen Editors.

Watch Old Habits on ABC iView here. Note: This series is only available to Australian residents.

Follow Alfie Faber on Instagram here and The Sydney Order of Perpetual Indulgence here.

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This interview was recorded during the national release of Edge of Life, currently in a limited run in Australian cinemas. Check out your local cinema guide for details, or visit Kismet Movies for additional information on where and how to view the film.

the Curb is a reader and listener supported independent publication. To help keep us independent, visit our Subscription page for membership options.

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Con Colleano, ‘the wizard on the wire’ defied gravity, while he and his family defied all odds to become a global phenomenon. Through the Colleano family's remarkable home movies, never-before-seen footage, family interviews and archive, their extraordinary story is revealed. Rooted in humble beginnings from the Australian bush, the family outmanoeuvred punitive Australian laws and prejudice to travel the world, concealing their Indigenous heritage and reaching the highest echelons of circus stardom.

Con Colleano dazzled fans while also mingling with icons including Charlie Chaplin, at the most exclusive social sets of America and Europe, beguiling even the likes of Hitler and Mussolini.

As the filmmaker, Pauline Clague, reveals her connection to the story, she finds Australian Deb Hescott, who uncovers her own secret link to this family. Connecting with Molly, one of the oral history holders of the family, they go on a profound journey of discovery. The Colleano Heart unravels the hidden secrets of their family of circus royalty, revealing them as survivors of Australia’s Hidden Generation of Aboriginal people.

The Colleano Heart presents a rich portrait of the family, and the global socio-cultural shifts shaping First Nations lives. The Colleano Heart recently screened at the Adelaide Film Festival, and Nadine Whitney spoke with director Pauline Clague ahead of the films screening about her film.

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Shot with a respectful admiration for the beauty of the land by Tom Bannigan whose camerawork is supported by the immersive and powerful score from Helena Czajka, Yurlu | Country arrives at a time where the history of mining in Western Australia and its relationship to Aboriginal folks from this land is under more scrutiny than ever before with the announcement of caustic mining operations intending to take place on the Burrup Peninsula, home of rock art that is up to 50,000 years old.

For many Western Australians, myself included, we carry an anger and frustration with our governments, with each consecutive one failing people like Maitland by not allowing them to be able to be on Country and connect to their land. Within the film, Yaara and Maitland show us the fight being undertaken to allow remediation to take place so the traditional custodians of the land can return home. Legal action is on the horizon, and to go alongside that, an impact campaign will be launched. To find out more about that campaign, the film, and more, visit YurluCountry.com where you can find out how to host screenings of the film, share it with audiences, and to buy tickets to the many Q&A sessions across Australia. You can also find a link to CleanUpWittenoom.com where you can donate towards the Banjima Native Title Aboriginal Corporation to help with their campaign to clean up Wittenoom.

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As Cody Allen wrote in their review, Fwends is 'a tender portrait of friendship, loss and rediscovery' and it's out in Australian cinemas from 7 November 2025.

Nadine Whitney interviews Sophie ahead of the films release.

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Journey Home, David Gulpilil is a sacred film which brings us into the funerary customs and that informed David's life. Maggie and Trisha follow David's remains from South Australia all the way to east Arnhem Land and along the way we see the impact that David had on not only the cinematic landscape of Australia but as a storyteller for Indigenous people in Australia.

This is an extraordinary film that makes a wonderful companion piece to My Name is David Gulpilil.

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Journey Home, David Gulpilil is in Australian cinemas from 30 October 2025. Visit Madman.com.au for further details.

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This is a film written from a lived-in perspective, with Adrian pulling from his own life to craft a tale that acts as an ode to mothers and the children they raised.

In the following interview, recorded ahead of Westgate's appearance at SXSW Sydney on 17 October 2025, Adrian, Sarah, and Max talk about the collaborative approach to making this Melbourne based drama. Sarah and Max talk about learning from Adrian and his mother, as well as the bonding techniques they used to help strengthen that mother-son relationship that comes across so strongly on screen.

Read Nadine Whitney's review of Westgate here and follow the film on Instagram here to be kept up to date regarding future screening dates.

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In the above interview, Kiah talks about the journey to getting Beast of War on screen, how the impact of Spielberg meant that he had to shoot the film in Australia, and what creating the giant water tank to shoot in was like, plus much more.

Beast of War is in Australian cinemas from 9 October 2025.

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Music plays a major role in Bina's filmmaking, and it's another prominent aspect of her feature length debut film From All Sides, with Georgia Anderson's Nina using music to support her passion for dance. This is just one slice of the narrative tapestry that Bina is working with in From All Sides, a drama which presents narratives we rarely see on Australian screens, let alone in global cinema. From the audacious opening which sees wife and husband, Anoushka (Monique Kalmar) and Pascal (Max Brown), engaging in a steamy bisexual foursome, to their domestic lives as parents to Nina and Clyde (Gavril Kumar), and then into the workplace where Anoushka navigates the politics of a support business owned by Toula (Rebekah Elmaloglou). While, on paper, it might seem like there's a lot going on within From All Sides, Bina writes the film like a slice of life. 

As you'll hear in the following interview, the lived-in perspective of From All Sides comes from Bina herself and her desire to see bisexual stories on screen alongside Australian stories told from a South Asian perspective. This interview was recorded ahead of From All Sides world premiere at the Indian Film Festival of Melbourne, and its subsequent screening at the Queer Screen Film Fest. Queer Screen had previously taken From All Sides to the Marche Du Film in Cannes earlier in 2025 for their Queer Screen Goes to Cannes selection. 

This is a wide ranging interview with Bina, where we talk about what it means to present stories from Western Sydney on screen, what her creative journey was like to get to this feature film stage, the importance of seeing bisexual lives on screen, and much, much more. 

To find out more about Bina's work, make sure to follow her on Instagram @binafilmmaker. 

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Featuring unforgettable supporting cast including Madeleine Brewer, Matt Rife, and the iconic Sheryl Lee: I Live Here Now is a battle for individuation and selfhood in an internal and external reality that is hostile to Rose and her ambition to take control of her life.

Playing at the Sydney Underground Film Festival on 13 September 2025 I Live Here Now will ignite the screen with Pacino’s bold vision. Tickets are available via SUFF.com.au.

Nadine Whitney spoke to Julie about what makes I Live Here Now frightening and empowering.

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With his follow up feature, Went Up the Hill, Samuel, alongside regular co-writer Jory Anast, explores facets of grief through a gothic possession drama. Here we follow Jack (Dacre Montgomery) who returns home to New Zealand for the funeral of his mother. There, he forms a fractious bond with Jill (Vicky Krieps), the widow of his mother. Where Sequin in a Blue Room explored different shades of blue, from bright neons to dark navy's, Went Up the Hill immerses viewers in shades of grey, placing Jack and Jill in a brutalist style home overlooking a cold lake.

This is a film that's hard to shake. I first saw Went Up the Hill over a year ago now and there are moments in the film which have lingered in my mind in a way that that haunts my dreams. The pairing of Dacre Montgomery and Vicky Krieps is a masterful one, with the two exploring emotionality in a way that we rarely get to see on screen in an Australian film. It is, ostensibly, a film about grief and the loss of someone in your life. For Jack, as an estranged son, he has grappled with processing that grief while his mother was alive, making her true passing feel like a new advent of grief and loss. For Jill, that grief is amplified by the arrival of Jack at her partners house, and what that means for her ability to mourn the loss of her partner. These aspects, and many more, are tenderly explored in the film.

In the following conversation, recorded ahead of the films screening at the Melbourne International Film Festival, Samuel talks about that colour palette for the film, while also exploring the creative path to exploring grief on screen.

At the end of this interview, I misquote the title of Max Porter's essential book about grief, his 2015 novella titled Grief is the Thing with Feathers. I want to read a quote from that book which I feel touches on what this film is about 'Ghosts do not haunt, they regress. Just as when you need to go to sleep you think of trees or lawns, you are taking instant symbolic refuge in a ready-made iconography of early safety and satisfaction. That exact place is where ghosts go.'

Went Up the Hill arrives in Australian cinemas on 11 September. It is a film that demands a big screen viewing.

Read Nadine Whitney's review of Went Up the Hill here and listen to the interview with Dacre Montgomery here.

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In the following chat with festival director Nathan Senn, I chat to him about pulling this years line-up together, what titles he's excited by, and the glorious poster art that was made for this years festival. 

To buy tickets and find out more about the festival, visit SUFF.com.au. 

If you want to find out more about the work we do on The Curb, then head over to TheCurb.com.au, or follow us on Instagram, Facebook, and Bluesky @thecurbau. We are a completely independent and ad free website that lives on the support of listeners and readers just like you. Visit Patreon.com/thecurbau, where you can support our work from as little as $1 a month. 

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In the following interview with Jessica and Ethan, the two talk about their collaborative process, how they balance the creative mindset versus the corporate mindset which they both utilise with The Vision Production House, a company which creates branded content with a creative perspective.

To find out more about Zombie, Jessica Husband or Ethan Finch, or the work created by The Vision Production house, visit the above links to their Instagram profiles.

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The title, Smoke, alludes to the lingering presence of something burnt, the smell of the past hanging into the future. Sometimes this is a comforting smell, like incense, or sometimes it's a smell that heralds a lie or the smothering of truth, like the lingering haze of cigarettes.

Kaite is an emerging Australian filmmaker who presents women who live familiar lives, rolling forward on a continuing existence that persists in the face of stagnation. We rarely see these characters on screen because we're so rarely invited to hear from and engage with women storytellers who present real people on screen. It's no surprise then that Kaite looks to filmmakers like Kelly Reichardt or Alena Lodkina as inspirations for the work that she's doing.

In the following interview, Kaite talks about her creative process, about having learned from filmmaker Michael Rowe, working with producer Miki Clarke, the notion of truth on screen, as well as exploring what her creative voice looks like on screen with films like Smoke, and in her as yet unproduced feature screenplay Peachy.

This interview is part of the ongoing series of emerging filmmakers who are part of the rising swell of Australian filmmakers. These are storytellers who are collectively, yet singularly, shaping what the Australian film oeuvre looks like, feels like, and sounds like. In turn, they are forming a new language for Australian cinema, shaping what stories are being told, how they're being presented, and much more.

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Frank is usually a supporting or character actor, but when given the chance to lead a film such as Cameron Bruce Nelson’s award-winning 2015 film Some Beasts there is a particular grace to his performance which proves he can (and should) carry a film.

Originally from Texas and now living in Los Angeles, Frank has been in three films with Lily Gladstone, Chained for Life directed by Aaron Schimberg, and is an accomplished director in his own right.

Frank has the incredible ability to create and sustain community within his artistic practice. He’s open to the absurd, the heartfelt, the just plain weird, and the full dramatic spectrum.

Nadine spoke to Frank about working with Albert Birney and Peter Ohs (he also featured in Ohs’ excellent Love and Work) about their 8-Bit fantasy OBEX in which he plays a television named Victor. Take a listen to Frank and his generous and warm presence (even before he’d finished his first coffee) and then go find his work.

Check out Nadine's reviews of OBEX and Quantum Cowboys.

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When we talk about this 'new wave of Australian filmmakers', a term which I'm starting to lean towards calling 'the rising swell of modern Australian cinema' - it doesn't role off the tongue, it's at least distinct from the last Australian new wave that we had, - we then think of people like David Robinson-Smith, cinematography Jaclyn Paterson, actor-writer Laneikka Denne, actor-director Frazer Bull-Clark, or actor Josh Mehmet.

Over the coming months, this notion of the rising swell of Australian cinema is one that I'll explore at length via conversations like this one with David Robinson-Smith, or essays about the creatives I'm spotlighting. Look out for upcoming chats with filmmakers like Lucy Coleman and Kate Fitzgerald.

To find out more about David's work, visit DavidRobinsonSmith.com.

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Romería by Carla Simón translates to Pilgramage in English. An autobiographical fiction about Simón’s parents and the quest for an orphaned 18 year old woman to find remnants and memories about her father and his family in Vigo, Galicia. Simón’s avatar Marina (Llúcia Garcia) needs documentation for a university scholarship to study film in 2004, but whether she can convince her father’s patrician and evasive parents to accept her as Fon’s daughter is complicated by the way he died and their shame.

With her mother’s diary from 1984 through to 1986 guiding her she imagines their lives as young lovers, but it is a bittersweet imagining as Fon’s family obfuscate truths and misremember because his life has been erased. Again, a film that is spectacularly lensed by Hélène Louvart capturing Vigo and its islands. Will Marina be claimed or rejected? Will she find vestiges of her parents? Will she be able to prove she is more than a reminder of the hidden ghosts of the past?

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For Jung Jae-il, artists like Roxette, Metallica and Björk are notable influences on his work, with Pina Bausch's dancing leaving a lingering mark on his mind. It's these kinds of artists who influenced Jung Jae-il on his solo album, Listen, released in 2023.

For Jung Jae-il, there is a clear delineation between art for the self and art for a job, and it's with his work on Parasite that the distinction is felt, while his passion for his album Listen shows an artist in harmony with his craft.

These are just some of the things discussed in the above interview with Jung Jae-il, recorded ahead of his performance of the live score for Parasite at the 2025 Melbourne International Film Festival.

Jung Jae-il participates in a conversation with Caitlin Yeo on 23 August at MIFF, with the composer performing a live score for Parasite on 23 August over two sessions at MIFF. Tickets are available here.

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Now, in 2025, she is back with her essential documentary Songs Inside. Here Shalom captures the lives of women in the Adelaide Women's Prison, becoming part of their lives for six-months as she documents their participation in a music program which sees prisoners learn how to play the ukulele, write songs, and sing, all in preparation for a performance with the Adelaide Symphony Orchestra in front of 200 inmates. The climactic performance became the largest concert staged within an Australian correctional facility.

Along the journey, Shalom sits in the cells of the prisoners listening to their stories, accompanies them to hearings, and captures their rehearsal processes. Art becomes a salvation for those inside, a release that is given to the prisoners who show good behaviour. But Shalom is not alone in this process, with Barkindji singer-songwriter Nancy Bates guiding their process to becomes singers and songwriters in their own right.

There's a beautiful charm to Songs Inside that never detracts the reality that these are women who have found themselves on the wrong side of the law. But Shalom also never focuses on what crimes they may have done to find themselves in this situation. Instead, she taps into the notion of redemption, showing in the process that their futures are in their hands and this musical process is a part of the healing journey they find themselves on.

Ahead of Songs Inside's screenings at the Melbourne International Film Festival, I had a chat with Shalom about her work on the film, what it means to be a supportive filmmaker for her subjects, and more. With a career that spans over two decades, Shalom is someone I know I could talk for much longer about her work, and hopefully one day I will.

Songs Inside also screens in competition at CinefestOz, with a full release to come down the line.

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I'm of course talking about Matthew Chaung.

Across his filmography, Matthew has lensed films with a level of empathy, compassion, and understanding that imbues the work with a warmth and tenderness that ensures that the stories linger in your mind long after the credits. When I think of Matthew's work, I think of the golden hour shots in Katie Found's My First Summer, or the discovery of queer identities in Goran Stolevski's intimate Of an Age, or the child level perspective of the world in Annelise Hickey's stunning Hafekasi. With Jimpa, he becomes part of Sophie Hyde's family, shooting the film with inspiration from Nan Goldin's work.

In the following interview, recorded at the Sundance Film Festival in 2025, Matthew talks through his work and creative process, while also exploring the notion of what makes his cinematography unique. For Australian audiences, you can see Matthew's work in Domini Marshall's stunning new short film Howl, which is making the festival rounds. Matthew also talks about Dario Russo's new film, The Fox, which is on the horizon and stars Jai Courtney, Damon Herriman, and Emily Browning.

If you're keen on finding out more about Matthew's work, visit MatthewChuang.com.

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Faceless is a piece of co-authored cinema, with co-directors William Jaka and Fraser Pemberton working alongside co-writer, producer and editor Chris C.F., cinematographer Alexandra Walton, composer Josh Peters, production designer Anna Ross, and many more all working together to critique, question, and examine the class system that lives on the Birrarung-Ga (the Yarra River).

In the film, William plays an Indigenous man through three parallel realities; in one world he's on the banks of the Birrarung-Ga, encountering a rough sleeper who reveals himself to be a war veteran. Heading up the steps into an art gallery, William takes on the role of an aspiring actor encountering a world of fellow artists utilising pain, distortion, and the recurring motif of fish, to turn anguish into art - or is it entertainment? Finally, as they head up the lift to the heights of Naarm, overlooking the city in a luxurious restaurant, William embodies the role of alpha-male stockbrokers and mining companies, lavishly devouring seafood and guzzling wine, all the while mocking his engagement with Andrew Forrest's Mindaroo mining corporation.

There's an acidity to Faceless that, once splashed on the surface of this land, exposes it for what it is: a fractured home of unresolved issues. In turn, those issues have become an unhealthy source of income or salvation.

Faceless screens as part of the Accelerator Shorts sessions at MIFF on 13 and 23 August. William received a nomination for the Uncle Jack Charles Award, in collaboration with the Kearney Group, which recognises an outstanding Australian First Nations creative whose film is screening at MIFF 2025. Visit MIFF.com.au for tickets. To find out more about Dogmilk Films, visit DogmilkFilms.com.

In the above interview, Fraser and William talk about what their co-authorship process looks like, how exploring pain on screen plays out, and what they're hoping to see from the upcoming screenings at MIFF.

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In the following interview, Suri talks about where her interest in poetry came from, what being a migrant, queer artist means in todays world, and a lot more.

To find out more about Suri's work, visit Suri-Chan.com or find her on Instagram at PoemsBySuri.

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For over 40 years, John Clarke brought an unparalleled level of wit, politically astute comedic understanding, and pitch perfect timing to Australian and New Zealand audiences. John Clarke's work as a comedian wasn't just to entertain, but to also make audiences sit and think. Whether it be utilising the landmark comedy series The Games as a way of presenting an apology to the Stolen Generation of Australia, or by calling out the hypocrisy of the colonial state we live in, John Clarke utilised his comedic genius to masterful effect.

In 2017, the world lost John Clarke, and Lorin Clarke lost her father.

Now, after having explored over 200 boxes of John Clarke's work and letters, having written about book about her relationship with her dad, and having interviewed countless fellow comedic masters like Sam Neill, Rhys Darby, and Ben Elton, Lorin has crafted a documentary about her dad called But Also John Clarke.

It's just about one of the most enriching and delightful experiences you'll have this year, even if you're not familiar with John Clarke's work - and I kind of almost envy you if you aren't, as you've got decades of work to be entertained by. For a film that could quite easily have become a hagiography or a maudlin experience, Lorin manages to balance the film with a delightful level of charm and compassion. Compassion not only for the loss of her father, but also for the audience who loved him, her mother, and most importantly, herself.

In the following interview, recorded ahead of But Also John Clarke's world premiere at the Melbourne International Film Festival, Lorin talks about getting the balance right for a film like this, while also touching on the process she undertook to be vulnerable this way.

I had an absolute blast and shed more than a few tears watching But Also John Clarke, as I'm sure you will too.

It screens at MIFF from 15 August to 24 August, with select Q&A sessions with Lorin in attendance. To buy tickets, visit MIFF.com.au.

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In this deep conversation, Bethany talks about her journey into the arts, what her interest in producing has been, how her work with Staple Fiction is changing storytelling on Australian screens, and what it was like to work with Kate on this powerful documentary.

If this is the first time you're hearing of Make it Look Real, then welcome. This is a documentary that lifts the veil on intimacy coordinators, following their journey in film from the initial phases to the day of the shoot. In between scenes of working through the intimacy coordinator process, the film explores how films like Last Tango in Paris could have benefited from having an intimacy coordinator on set. Additionally, while this film is about film and TV production, it does open up discussion for others about consent when it comes to personal relationships.

Check out Make it Look Real on Netflix right now, and to find out more about Bethany's work, visit StapleFiction.com.au.

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Guiding Domini's creative output is producer Josie Baynes, a equally impressive talent on the rise. Alongside Domini, Josie has worked with emerging talents like Annelise Hickey on her films Stranger, Brother. and Hafekasi, while also allowing cinematographer Matthew Chuang to build a body of work that is also reshaping how Australian stories are seen on screen.

I highly recommend you seek out Domini's work on her website, DominiMarshall.com, where you can also seek out her web series her words, released during 2017-2019. It's a deeply informative series, one that pairs well with books like Taboo by Hannah Ferguson.

In the following conversation, Domini and Josie talk through their creative process, how they manage to bring us into the internal mindset of their characters, and a lot more.

Howl is screening at the Melbourne International Film Festival as part of the Aussie shorts package, alongside Stranger, Brother., I'm the Most Racist Person I Know, Mango Seed, and more. Screenings are held on 11 and 22 August, with online screenings taking place from 24 August. Visit MIFF.com.au for more details.

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Now, in 2025, Monster Pictures, in partnership with Head Gear Films and White Hot Productions, have morphed into their next stage of evolution, launching Monster Pictures Studios, a full-service genre film studio which aims to work with Aussie creatives to bring genre films to life with the intention of becoming a defining force of Australian genre cinema.

There's a giddy level of delight when you read a press release like this one, as if we're honouring the scrappy genre-roots of Aussie cinema, splashing back to the era of Ozploitation where anything was possible. While the Age of Ozploitation is over, that doesn't mean Aussie filmmakers can't birth a new movement, and hopefully Monster Pictures Studios is going to do just that.

First films off the ranks includes the action-thriller Seven Snipers, directed by Sandra Sciberras, featuring Radha Mitchell, Tim Roth, Ioan Gruffudd, and Ryan Kwanten. The next wave includes films from horror legends Greg McLean & Sean Byrne, while Matt Day will be making his feature directorial debut.

I caught up with Grant Hardie to talk about Monsters Pictures ability to engage with audiences, filmmakers, and to shape how horror and genre films are embraced in Australia.

To find out more, visit MonsterPicturesStudios.com.

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When Younès becomes “collateral damage” in a shooting incident, everything Eya thought was her life becomes turned upside down. Maja Ajmia Yde Zellama’s debut feature is a beautiful and powerful representation of the Tunisian community in Brussels as Eya’s family and extended family mourn and honour Younès and Eya finds strength in the gentle young men around her: and the spirit of Younès and what he meant to his community opening up a profound understanding of the importance of one life.

Nadine Whitney spoke to Maja Ajmia Yde Zellama about creating examples of healthy masculinity and how her own upbringing influenced Têtes Brulées.

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Follow us on Instagram, Facebook, and Bluesky @thecurbau. We are a completely independent and ad free website that lives on the support of listeners and readers just like you. Visit Patreon.com/thecurbau, where you can support our work from as little as $1 a month. If you are unable to financially support us, then please consider sharing this interview with your podcast loving friends.

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The island of Fogo, Cape Verde is singular in its beauty. Drylands give way to black-sand beaches, while villagers gather in intimately cluttered homes. Director Denise Fernandes’ attention to lyrical detail highlights the profound love that young Nana (Dailma Mendes as a child, Sanaya Andrade as a teen) has for her home. But for all its visual poetry, many residents seek to escape the island’s hard living. When her mother returns after decades away, Nana is faced with an impossible decision. Seamlessly moving between realism and the surreal – including a journey to a reality-warping volcano – Fernandes entwines myth and hard truths to tell a unique coming-of-age tale about what it means to belong to a place.

Nadine Whitney interview director Denise Fernandes about her film Hanami. This interview was recorded ahead of the films screening at the Sydney Film Festival. Keep an eye out for future screening details.

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The film then takes audiences through a journey of discovering Papua New Guinea culture and how Australia's past is intertwined with Papua New Guinea's future. This includes explorations of the engagements during WW2, the devastating volcano eruption in 1994, and the music the emerges from these histories. Abebe Butterfly Song arrives as Papua New Guinea prepares to celebrate its 50th anniversary of independence.

Andrew interviewed director Rosie Jones about bringing this story to life. It screens at Perth's Revelation Film Festival on July 5 and 10. Visit RevelationFilmFestival.org for tickets.

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Those things, and many more, sit behind this conversation with Richard Moore, recorded ahead of the documentaries screenings at Perth's Revelation Film Festival on 9th and 11th of July, and the Castlemaine Documentary Festival on 4 July 2025. Links are in the show notes for both festivals.

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Physical media copies were provided by Umbrella Entertainment for honest reviews.

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Follow us on Instagram, Facebook, and Bluesky @thecurbau. We are a completely independent and ad free website that lives on the support of listeners and readers just like you. Visit Patreon.com/thecurbau, where you can support our work from as little as $1 a month. If you are unable to financially support us, then please consider sharing this interview with your podcast loving friends.

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There's a tenderness to Half Past Midnight, one that underpins the films understanding of two adults growing to realise that the person they thought was 'the one' is not exactly that anymore. It's written by Daniel Bibby and Kelly Holden, and comes from Daniel's own experiences with a partner he had when he was living in the UK.

This episode features two conversations; the first is an extensive dive into Daniel's work, his influences, what it was like working with producer Luisa Martiri, and how he navigated the deeply personal narrative and worked his way alongside Kelly to bring it to life on screen. The second conversation is with Miah and Mitchell, two friends who have known each other for a long time, but work together for the first time on this film. 

Half Past Midnight is beautifully shot by Julian Panetta, with their camera lingering and observing with tracking shots and close ups that feel, at times, almost too personal. Their camerawork is complemented by Adrian Diery's score, a score that gives a grand sense to the relationship between Marcus and Harper.

Half Past Midnight will be screening at the Vision Splendid Film Festival, which kicks off in Winton, Queensland from 27 June to 5 July. Visit VisionSplendidFilmFest.com for more details.

If you want to find out more about the work we do on The Curb, then head over to TheCurb.com.au, or follow us on Instagram, Facebook, and Bluesky @thecurbau. We are a completely independent and ad free website that lives on the support of listeners and readers just like you. Visit Patreon.com/thecurbau, where you can support our work from as little as $1 a month. If you are unable to financially support us, then please consider sharing this interview with your film loving friends. 

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In the following chat, Harley and Luke talk about the foundation of Trainscendence, which kicks off with a two day grand opening experience on Friday 20 June and Saturday 21 June 2025, featuring a Monopoly style event full of live art, music, food, and drinks spread out the venue. 

If you're keen to find out more about Trainscendence or are an artist who is keen to book in, then visit Trainscendence.com.au for more info, or reach out to the crew via info@trainscendence.com.au 

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These notions are underpinned by Gabrielle's choice to study at the prestigious La Escuela Internacional de Cine in Cuba, a place which fosters the notion to 'defend the rights to ones own image' and to 'liberate the viewer's gaze'. These are ideas that I ask Gabrielle about in the following interview, which gives way to an open conversation about her creative process, and what it means to be able to work alongside people like Poh Lin, Davaa and Zaya, and Michael Latham, on her films.

This interview was recorded ahead of Wolves' screenings at the Sydney Film Festival on 10 and 12 June. This is a film I urge audiences to see in a cinema, let it overwhelm your senses. Let it change you. If you're interested in reading about how the film changed me, then you can read my review here.

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Cory's parents live in a swanky abode in a leafy green suburb somewhere in Perth. Their house has more rooms than they need, with costly, barely used furniture swaddled in sheets and blankets to protect them from dust. Their home feels, well, a little soulless, like the misused result of decades of wealth accumulation; by any other name they might be called 'hoarders'.

I couldn't help but unleash my praise on Zoe in the following interview, one which explores the foundations of the film, its relevance to now, the casting process, and the joys of bringing dark comedy to life on screen. I also apply a misreading to the film about a rock that Richard holds during one scene, summoning the name of one Scott Morrison, and alluding to his infamous embrace of coal in Parliament House.

Birthright is the kind of film that'll shine with an audience, and for Aussies in Sydney, they'll get the chance to do so on Thursday 12 June, with two more sessions on 13 and 14 June at the Sydney Film Festival. Check out SFF.org.au for tickets and more details.

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Judith felt other aspects of difference in her family that caused her to wonder whether she was adopted - her siblings were much older than she was, and her mother was not particularly caring or loving. This lingering lack of closure for Judith was amplified after her mother passed away with the question of Judith's parental connection never being truly resolved.

Judith is now 87, and with the support of her grandson, Archie Hancock, and his creative filmmaking partner Jack Zimmerman, she is given the opportunity to have that discussion in the documentary short film The 'Conversation'. This dramatic short film plays out like a cinematic sibling to the work of Kitty Green, notably her impressive 2017 film, Casting JonBenet, which saw actors play the roles of JonBenet Ramsay's family, trying to get to the core of the truth of that enduring mystery.

With The 'Conversation', the mystery of whether Judith was adopted or not is almost secondary to the experience of talking through her concerns with someone 'acting' as her mother, with Judith given the chance to expend the emotional weight she has been carrying over these years. Call it manufacturing muscle memory or role playing if you will. What results is a film about catharsis and the mental toll that was left behind from the era of forced adoptions that occurred in Australia in the decades between the 1940s to 1970s. These are lingering emotional and traumatic events that have been left unresolved in the nations history, and it's with younger generations, like the ones that Archie and Jack are part of, who are seeking to resolve and rectify the trauma at hand.

The following interview with Archie and Jack sees them both talking about the foundation of The 'Conversation' and how they worked with Archie's grandmother to give her the space to explore this aspect of her life on screen. They also discuss the emotional resolution that the film might offer to other people who are equally experiencing confusion about their heritage. Along the way, Archie and Jack also discuss the foundation of their production company, Tally Productions, and a lot more.

The 'Conversation' screens at the St Kilda Film Festival, with an online release in the future on the horizon.

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Kat plays Marina, a Croatian born young woman living with her family in 1979. She's in a secret relationship with a white Aussie man, with the two keeping the relationship hidden from her parents. Marina's brothers also live under the same house, with the two brothers falling into the political unrest that unfurls on the streets of Sydney in the form of protests and demonstrations. Acting as a thematic layer to Unspoken is the true story of the Croatian Six; six Croatian-Australian men who were sentenced to 15 years jail in 1981 for a conspiracy to bomb several sites in Sydney.

Much of the evidence that was used in the trial of the Croatian Six was fabricated, with the men being set up as part of a sting operation by the Yugoslav foreign intelligence service. The weight of this event sits in the background of Unspoken, with tensions emerging throughout the film between family members, between Croatian-Australians and white Australians, and between girlfriend and boyfriend.

Underpinning this tension is that stunning central performance from Kat Dominis who commands the screen with a guiding, lived-in understanding of the weight of her characters lives and the societal and political upheaval they're undergoing. As Marina, Kat presents the conflicted nature of wanting to fit in to a new culture while also trying to navigate the familial heritage of her homelands culture. In this regard, Unspoken becomes a universal story that many migrant families can relate to, especially from the frequently xenophobic landscape of Australian culture and society.

These notions, and a lot more, are explored in this expansive interview with Kat Dominis, recorded ahead of Unspoken's screening at the St Kilda Film Festival on 7 June. Unspoken has screened nationally around Australia, and took home the Grand Prix at the Clermont-Ferrand Short Film Festival earlier this year, a rare achievement for an Australian film. Less prestigious, but notable still, is that Unspoken featured in my personal Best Australian Films of 2024 list. It marks the grand arrival of actor-turned-director Damian Walshe-Howling, of producer and co-writer Mariana Rudan, and of course, Kat Dominis as actor, co-writer, and producer. It's a stunning filmic achievement.

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The charm of the film not only comes from Agatha's connection to her farming skills, but also from the various stories about her life that she tells. Whether it's the different suitors who have proposed to her over the years, or an accident that she had while tending to a window, or in one poignant moment, her memories of her siblings who have passed, Agatha's stories show a life fully lived with love, sadness, and joy.

Agatha's Almanac is shot on 16-mm film, creating a warm, tangible feeling that lingers through every frame. The kiss of the sun on a cold day is felt so keenly, with the varied shades of green lifting spirits as the joyous score of 'Green garden music' plays over the soundtrack. The film was shot with an all-female crew over six years, culminating in an experience that is unexpected and delightful, like a warm hug you had no idea you needed.

The following interview with Amalie was recorded ahead of the films screenings at the Sydney Film Festival on 6, 7 and 9 June, where she will be in attendance for Q&A sessions. In this chat, Amalie talks about the tangible nature of the film, one that is interspersed with shots of much-loved gloves, of Amalie's fabric-based artwork, and of course, of the gardens. She also talks about getting to bring her families history to life on screen. We also talk about intergenerational love, and why passing along work practices is important. I had a delight watching Agatha's Almanac, and that delight was matched by this charming discussion with Amalie. To find out more about her work, visit AmalieAtkins.ca, and to pick up tickets to the film, visit SFF.org.au.

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Sean Byrne’s Dangerous Animals harkens back to Ozsploiation in the best way. It’s brutal, quick paced, and one hell of a survival horror. Sharks plus serial killer – the perfect bait for Aussie entertainment.

Nadine Whitney spoke with Jai Courtney, Sean Byrne, and Hassie Harrison about dipping their toes into shark infested waters.

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Dangerous Animals screens at the Sydney Film Festival on 6 June 2025. Tickets are available via SFF.org.au.

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There’s catharsis in Ellis Park, partially because of Warren Ellis and his healing violin, but – as the man says himself – his presence is minimal compared to the presence of Femke and the conservationists. Yet, when paired with Kurzel and editor Nick Fenton, they collectively bring light to a horrifying trade that scars the environment. I’m shaken by Ellis Park because of its presentation of trauma, but equally so for its depiction of empathy, consideration, and support.

This is, oddly, my first time talking to Justin Kurzel. Having listened to and read countless interviews by him, I was aware that I would be engaging with someone who is a deeply empathetic soul, yet I was still left disarmed by his connection to his openness about his connection to his work, his family, and to the art of cinema.

To support the film, Warren Ellis and Justin Kurzel will be running Q&A sessions around the nation. All of the details are in the show notes, but make sure to pick up tickets in advance when the film kicks off with a virtual Q&A with Warren Ellis at Perth’s Luna Leederville cinemas on 5 June, concluding with a Sydney Film Festival and Vivid Sydney exclusive event on 8 June at the State Theatre. Ellis Park then releases wide across Australia on 12 June 2025.

The Ellis Park sanctuary is part of the Jakarta Animal Aid Network, a non-government, non-profit organisation that was established in 2004 to protect Indonesian wildlife, with a focusing on animal cruelty and rescuing animals from the noxious illegal animal trade network. To support the organisation, visit EllisPark.org.

For the month of June 2025, every dollar from Patreon will be sent as a donation to Ellis Park sanctuary, so please consider joining and supporting the Curb and the sanctuary.

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I caught up with Tony and Lachlan ahead of DIYs screenings at both the St Kilda Film Festival on 8 June and the Sydney Film Festival on 14 June, where the film is a finalist in the Dendy Awards for Australian Short Films. In the following interview, Tony and Lachlan talk about their collaborative approach to horror-comedy filmmaking, while Tony talks about shifting from working on industry testing grounds like Neighbours and Home & Away onto projects like DIY. The two also talk about the political nature of filmmaking and how reflective and responsive the creative process can be.

DIY is an absolute treat of a short film - the kind that blitzes by in a moment, leaving you with a giddy sensation at its close after having left you gasping for breath with its ability to draw laughs out of dark situations. This is the kind of film that thrives with an audience, and no doubt those who are in attendance at either St Kilda or Sydney will love the film.

To find out more about the film, follow both Tony and Lachlan on Instagram.

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Part of why Coming & Going feels like a quiet revolution of a film is the manner that Andy presents vulnerability, loneliness, and tenderness on screen. 'Baby, you are gonna miss that plane' is what Julie Delpy said to Ethan Hawke as she danced in the climax of Before Sunset, creating one of cinemas finest romantic moments. Andy pulls from the echo of that scene, creating the pivotal moment within Coming & Going with a scene that has Harry taking a guitar off the wall and playing a song for Julian, gifting his momentary boyfriend lyrics and a tune that will exist only in that moment and only for him. Moments. They're what memories are made out of. They're anchor points in time which we stare endlessly at as we walk backwards into the future, its impact having forever changed how we form new memories in our present.

This is a beautiful conversation, one that's fuelled with tenderness, love for the craft, and love for love. I'm grateful for Andy's time with this discussion, and I look forward to seeing his creative positivity flourish throughout his filmmaking career.

Coming & Going screens in the 'I Know Who You Did Last Summer' shorts package on 29 May 2025 at the Inside Out Festival in Canada. A link is in the show notes for those eager to attend. Keep an eye on Andy's Instagram and his production company, Dandy Films, Instagram page, for future screening details.

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Each of these stories have paved the way for his latest film, The Cinema Within, an exploration into the way editing works. Chad explores the language of cinema with Walter Murch, whose book In the Blink of an Eye equally explores the role blinking plays in editing, and also scholar David Bordwell who explores the impact of an edit on our psyche to understand the way it transforms our understanding of cinema. Murch and Bordwell play scene setters for the deeper narrative in The Cinema Within, which sees researcher Sermin Ildirar head to rural Turkey to find a group of people who have never seen a film before, creating the foundation to her research into the role of editing, perspective, and more, on our minds.

The Cinema Within is a fascinating look into the impact of editing, and the notion of taking the language of cinema for granted. Like every language, it's one that needs to be learned and built on over time, and Chad's work invites that perspective of cinema. His films are invitations to see the world from a different perspective, and it's that notion that we explore in the following interview, which sees Chad talk about the notion of ideas, while I bring up my personal connection to Jandek on Corwood, a film that I saw back in 2004 at Perth's Revelation Film Festival, and that has stuck in my mind.

The Cinema Within is now available to view on DVD, Amazon, Apple TV & Kanopy in America.

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This is our world knocked off its axis ever so slightly. It's a place which is familiar, yet distinctly different. It's a place where cemeteries sit in the desolate concrete islands that exist within a sea of swarming highways. It's a place that, for Matthew Rankin, is a version of home. The choice to present a Canadian story in Persian is not accidental, but instead it's one that's driven by Rankin's affection for the work of the Iranian masters and for their distinctly considered perspective of the world. That kindness that sits at the core of Universal Language is a reflection of the innocence and kindness within the world of filmmakers like Abbas Kiarostami, particularly in a noted work like 1987's Where Is the Friend's House?, which sees a young boy trying to return the book of his classmate who lives on the other side of the village.

The foundation of kindness is one of the notions that is explored in the following conversation with Matthew, recorded ahead of Universal Language's national release in Australia on 22 May 2025. Throughout the interview, Matthew also talks about his journey into appreciating and valuing Iranian cinema, an affection which lead him to learn Farsi. Matthew also talks about the way his parents factor into Universal Language as a mirrored presence, before closing on the emotionality of bringing a version of their story to life on screen.

Universal Language is a work of pure kindness and comedy. There's a sweetness to it that makes the film feel like an antidote to the times we are currently living through.

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Wilding, alongside the work of fellow conservationist Derek Gow, author of such books as Birds, Beasts, and Bedlam and Bringing Back the Beaver, have become foundational texts for me, having guided my perspective as a wannabe conservationist, albeit with a minimalist perspective as someone trapped in the midst of suburbia and rental life.

Wilding is a lovely film, green and grand with its ideas and vision. I was lucky to be able to speak with Isabella ahead of the films run in Australian cinemas from 22 May. The following interview kicks off with a nod to our respective stacked bookshelves which stood behind us in our Zoom windows to our lives and the importance of not just rewilding our environment, but also rewilding our minds too. Isabella then talks about reflecting on the years since her rewilding project kicked off, and how she has engaged with global rewilding, including nods to local conservationists and ecologists.

Wilding is out in Australian cinemas for a limited run from 22 May 2025. Check your local cinema for screening details. To find out more about Isabella's work, visit IsabellaTree.com.

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In the following interview, Archie, Alex, and Mark talk about shooting in Freo, the importance of having stylistic and stunning food - as created by key food stylist Iara Arruda, and where they each see their creatives journeys going over the coming years. They also talk about the dedication and visual talent that exists within James Dudfield.

Blunt is heading out on the festival circuit, so keep an eye out for it.

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Like Gen's previous film Happy Sad Man, Always Listening is a beautiful and moving experience, opening audiences up to the power of understanding emotion and empathy, while also guiding people who live with their own mental health struggles to understand that there is help available and that people are there to support you through your most difficult moments. It's these two mindsets - the support and the supported - that has changed how I navigate my interviews and film coverage, leading me to ask questions that are focused around the emotion of a film, rather than the creative process of 'how it was made'.

That mindset shift comes from getting to see who the people are on the other end of the line: everyday folks who have sometimes been through their own mental health crisis, or live with their own struggles, or simply know what it's like to be in a place of need and are able to support those who need it most. These are gentle, genuine folks who are caring, engaged, and understand the complexity of the weight of the mental health crisis Australia, and by extension, the world faces.

Again, that's a notion that underpins how Genevieve Bailey embraces her work as a documentarian, telling stories that matter about people that care. I'm grateful to have been able to talk with Gen about Always Listening, but to also be able to share with you her stories, including the impact her films have had on audiences around the world.

Always Listening is screening on SBS On Demand right now. It's only thirty minutes long, but will leave a mark. If you or someone you love is going through a mental health crisis, Lifeline Australia is available 24/7 on 13 11 14. For more information, visit Lifeline.org.au.

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Kandhari’s film is a marvel of inventiveness. The work itself breaks the rules of what is considered genre cinema by never settling on one. Sister Midnight is much like the artist who performed the song after which it is named. Igwald Popstar – known to people who haven’t chosen a ridiculous nickname for him as Iggy Pop or James Newell Osterberg Jr., – a man for whom conformity is as anathema as wearing a shirt. It’s punk, it’s unpredictable, and it has no time to explain itself to people who aren’t feeling its strange and wonderful rhythms.

Uma and Gopal barely speak to each other but when Uma does open her mouth the crude (but funny) invectives pour out. Her spikiness doesn’t bother her neighbour Sheetal (Chhaya Kadam) greatly who takes her under her own resigned wing. However, even when Uma tries (and fails) to be wifely Gopal isn’t particularly receptive preferring instead to drink alone than to accommodate Uma. When they do try to be a young couple, they end up taking a pointless thirteen-hour excursion to a beach, only to have to turn around and go home again. Life seems to demand that when they are with each other it is in extremely close quarters which makes Uma more aggressive and Gopal more avoidant. The green wedding bangles she wears (and shakes in anger) become shackles she can’t wait to have cut off.

Uma begins to make her own way through the city encountering other people whose lives are on the fringes. A trans sex worker who feels a kind of kinship with Uma’s oddness. An elevator attendant in a building she begins working at as a cleaner (“Can you clean?” Uma is asked. “I’m a domestic goddess.” She replies), and then there are the goats who seem to follow her wherever she goes. Something is rising in her – something feral and undeniable – neither welcomed nor wholly unwelcomed.

Trying to describe what goes on in Sister Midnight is much like humming a blisteringly brilliant song and hoping your paltry version matches up. Karan Kandhari’s marvellous vision simply needs to be seen and heard (the soundtrack is incredible) for the fantastic jolts to pull you into its idiosyncratic and singular orbit.

Sister Midnight is vivid and infectious. Radhika Apte is towering as Uma who inability to just “be a person” makes her an outlaw setting her own rules. Expect the unexpected in Sister Midnight and trust wherever it takes you is going to be rebellious and irresistible. 

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The Surfer is, admittedly, a divisive flick, with reactions ranging from comparisons to Wake in Fright, to our own critic Cody Allen voicing displeasure with it. I personally found the film akin to that of a dehydrated fever dream, as if you're continually out of reach of hydrolytes and salvation, so instead you have to resort to drinking dog shit filled water and maybe chowing down on local rodents to get by. It's sweaty, filthy, and at times, oddly representative of what it feels like to visit Margaret River and Yallingup after downing too many bevvies at Beerfarm. And yeah, those comparisons to Ted Kotcheff's flick feel apt given its presentation of masculinity, but to me it's more like a West Aussie version of the seventies thriller The Swimmer.

There's something really sweaty about The Surfer, a mystery embedded in a world of mean and mad folks who each have a sly streak of cruelty, wrapped up in that familiar Aussie friendliness. I was never sure where Lorcan Finnegan and writer Thomas Martin was taking me, but I was bloody happy to be dragged along in the process. There's a risk taking mindset to The Surfer, one that pushes at the boundaries of what Aussie films or stories can be. If this is where Aussie stories told from non-Aussie perspectives might be going, then strap me in, I'm on for the whole ride.

As Western Australia ramps up to becoming a full throttled filmmaking state with the 2026 arrival of our first 'film studios', it then became a good time to touch base with surrogate sandgroper Robert Connolly, this time wearing a producer hat, to talk about his role in bringing The Surfer to WA shores, what his experience of having made films like Paper Planes and Blueback brings to a major production like this one, and additionally, what his producing presence means for filmmakers, actors, and Aussie creatives.

It's always a delight to be able to talk to Robert, just as it's been a delight to be able to see the global reaction to a film like The Surfer. If you're in Australia, you'll have your chance to catch the film on the big screen - just how it's meant to be seen - from 15 May, before it heads onto Stan. later in the year.

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In the above interview, Jacob talks about the personal connection to the narrative of The Aegean, how he worked with Costas Mandylor and Light to create their characters, and what it was like working with cinematographer Oliver Hay and composer Allister Harrison on the film. Jacob also talks about his journey from being a film critic to a filmmaker, and how each creative endeavour impacts on the other.

The Aegean is released by Radioactive Pictures in Australian cinemas on 16 May 2025. Check your local cinema for screening dates.

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In the following interview, Allison talks about her creative process of documenting the biographies of women from around the world and throughout history while also talking about the cataloguing and database work that she undertakes to track the growing stories of the women she has documented. Allison then also talks about some of the entries that can be found within Uncredited, and what her future book plans are.

With Infinite Women and Uncredited, Allison has built a deep database that has become a useful resource, one that's backed by an extensive catalogue of podcasts that feature in depth discussions about many of the women featured on the website.

Uncredited: Women’s Overlooked, Misattributed, and Stolen Work is available to order now. Visit Infite-Women.com for more details.

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With or Without You had its world premiere at the 2024 Adelaide Film Festival, the end result of a decades long journey for Kelly Schilling, who has written the script and directed the film from a lived-in perspective. It's that script, which has changed over the years into the text that it is today, that gives Marta, Melina, Albert, and the chorus of characters, the chance to bring light to a truth that exists within Australia, namely, the impact of alcohol addiction and the trauma left from partner abuse.

Yet, lest I paint this film as being a dark, dramatic affair, Kelly knows to imbue these moments of difficulty and darkness with aspects of lightness and laughter. The bond that Sharon and Chloe have with one another feels lived in and real, with Marta and Melina bringing the mother-daughter relationship to life with a charm and level of cheekiness that means the film, at times, feels like a mirror. Schilling's script and direction understands the shades of life and the way that moments of joy can break through hours of pain and darkness, giving way to hope and the possibility of a better life along the way.

In the following interview, Kelly talks about that balance of storytelling on a script level, what it was like working with Marta to build the character of Sharon, and what it means to tell a story from a lower socio-economic perspective, one that is so often written by people who live comfortably outside the societal place of being from a lower socio-economic background.

With or Without You is out in Australian cinemas from 8 May, just in time for Mother's Day. It is a powerful, impressive film about mother-daughter bonds, one that's left a mark on me and that I have thought about long after that initial screening in Adelaide in 2024.

Cinematographer Michael Tessari recently won an Award of Distinction from the Australian Cinematographer's Society.

For those who are interested in the film, I also recommend checking out my interview with Albert Mwangi, which was released earlier in 2025, where he talks about working on With or Without You, as well as his work on another film which screened at Adelaide, Make it Look Real.

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Andrew caught up with Cian and Sarah ahead of the launch of Damulgurra Stories at Screen Forever on the Gold Coast this week to talk about the foundation of Damulgurra Stories, the change in First Nations storytelling in Australia, and how young and emerging First Nations talent can engage in storytelling.

For more information, read the press release here.

If you want to find out more about the work we do on The Curb, then head over to TheCurb.com.au, or follow us on Instagram, Facebook, and Bluesky @thecurbau. We are a completely independent and ad free website that lives on the support of listeners and readers just like you. Visit Patreon.com/thecurbau, where you can support our work from as little as $1 a month. If you are unable to financially support us, then please consider sharing this interview with your film loving friends. 

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Thanks for listening to this chat with Cian and Sarah. For other interviews and reviews, visit theCurb.com.au. Please rate, review, and share this interview with your film loving friends. We hope they like it as much as you have. I'll see you on the next one.

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Umbrella Entertainment have released an impressive collectors edition of the film which features custom artwork, a poster, artcards, essays, an audio commentary by Thomas Caldwell, and more.

Nadine Whitney reviews the film, the disc, and the extras in this podcast discussion.

Follow us on Instagram, Facebook, and Bluesky @thecurbau. We are a completely independent and ad free website that lives on the support of listeners and readers just like you. For an exclusive, extended interview with Jane Larkin, visit Patreon.com/thecurbau, where you can support our work from as little as $1 a month. If you are unable to financially support us, then please consider sharing this interview with your film loving friends.

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After shifting over to acting in 2018, Jane embraced roles in films like Ron Howard's Thirteen Lives and the Netflix series Boy Swallows Universe, before commencing on her biggest creative project yet: The Edge. Jane wears multiple hats on her feature film debut, embracing the role of director, writer, producer, and co-lead actor, as she plays the role of Annie Murphy.

Like Jane, Annie is a sprinter, and it's her performance, alongside fellow athletes-turned-actors, Lily Riley a powerlifter who plays Sylvia, and paralympic swimmer Mei Ichinose who plays Yui, that gives The Edge a docu-drama feeling. This is ultimately a film about the world of sport, and to get that holistic perspective, Jane consciously brings us into the lives of Annie, Sylvia, and Yui, with each given their chance to explore their lived perspectives of women in the world of athletics.

Jane's script comfortably gives space for each actor to explore the realities of sports: the visceral nature of vomiting during training, the prevalence of sexual abuse, the continued harassment and criticism which leads to complex relationships with body images. But, while these are heavy subjects to present on screen, Jane consciously gives them space to breath by imbuing each character with another aspect that is rarely seen on screen from a woman's perspective: friendship in competitive spaces.

As Annie, Sylvia, and Yui don't directly compete with one another on a sports level, a lesser film might find space to have them compete with each other outside of the sporting arena. It's then comforting to see The Edge delve into supportive relationships, with each character given the other the space to be nurtured, heard, and guided through whatever challenges they're facing. The Edge's levity and warmth comes from these core relationships, allowing the film to resonate long after its finished.

These aspects are also elevated by scenes that carry immense visual weight, whether it be a closing shot of the women on a beach, or the overwhelming in tone underwater shots of Yui. In the following interview, Jane refers to one of cinemas great sporting films - Chariots of Fire - as an inspiration for her creative work as a filmmaker, and it's in these moments of invigoration, captured brilliantly by cinematographer Ben Knibb, that The Edge makes its mark as an impressive entry in the Australian sports genre.

This is an expansive interview which ranges from Jane discussing her decision to shift from athletics to acting, how she managed that docu-drama vibe, and finally, talking about the films upcoming world premiere at the Gold Coast Film Festival on Friday 2 May 2025. The Edge will also have an encore screening on Tuesday 6 May 2025. For all ticketing details, visit GCFF.com.au.

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Riefenstahl is a powerful and impactful film that shows just how deep the director was within Hitler's regime, and how much she tried to micro-manage her own public facing image, down to the point of giving precise direction to those who were interviewing her. This is captivating work from Andres Veiel.

In the above interview with Andres Veiel, recorded ahead of Riefenstahl's Australian screenings at the German Film Festival, which Andres will be in attendance for, the documentarian talks about the importance of creating the final statement on Leni Riefenstahl's filmography at this point in time.

Riefenstahl screens nationally from 30 April 2025 at the German Film Festival. Visit GermanFilmFestival.com.au for screening details.

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Genre-fans might know Saskia from the 2022 flick The Reef: Stalked, where she played Annie, while others might know her as her turn as Hanabeth in Bali 2022. For these roles, and more to come, including a turn in Shane Black's upcoming film Play Dirty, Saskia leans on her foundations as an empathy-first actor, utilising her skills to change audiences moods and emotions.

In the following interview, Saskia talks through her path into acting, what kinds of roles and actors she looks up to, how her initial training as a paramedic informs her acting work, and a lot more. Follow Saskia on Instagram to keep up with her future projects.

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Clown in a Cornfield is based on the first entry in Adam Cesare's Frendo series which chucks a group of teens into the mayhem of a Midwestern American town where they find themselves picked off by a growing group of killer clowns. Eli Craig then takes that terror from the page and supplants it brilliantly with a satirical and savvy stance, making one of the most enjoyably subversive horror flicks of the year so far.

It's also one of the most timely too, as it's a horror film about the flyover states of America, yet it's shot in Canada. That added layer of political devilishness is one of the things that I ask Eli about in the following interview.

This chat is an open one from Eli, with the horror director talking about the journey of Tucker & Dale VS Evil from being an unseen flick to a cult classic which has fans demanding a sequel. Eli also talks about the journey of adapting Adam's books for the screen, before making a statement for horror film fans around the world, myself included: If you want more Clown in the Cornfield films, then go and see the first one in cinemas.

And for Aussie audiences, you'll be able to do that very soon.

Clown in a Cornfield makes its Australian premiere at Fantastic Film Festival Australia on 26 April at the Lido in Hawthorn and the Ritz Randwick. It then is unleashed nation wide on 8 May. This is a film you'll want to see with a screaming audience.

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That's what I experienced when I watched Jesse Leaman's delightful short film, Mother of Chooks, a pure hearted documentary about Elaine James, a Geelong local who becomes connected with her local community thanks to her strong relationship with her flock of chickens. She's got frizzles, wyandottes, bantams, and a glorious Isa Brown named Flapper, and each morning she bundles up her feathered friends and heads out into the world. Elaine and her chooks chat together at a local cafe, or take to the beach for a spot of swimming. For the chooks that aren't partial to the waves, they go for a spin on the local playground.

It's all very sweet and delightful in a manner that skews away from twee and saccharine. See, Mother of Chooks leans into Elaine's relationship with her chooks, touching on the loss of family and canine friends in her life, and showing a woman on the brink of isolation. Instead of lingering in that solitude, Elaine turns to chickens for companionship. It's an early story about her path into poultry that shows what kind of light journey that Jesse Leaman and co-director Maite Martin Samos will take us down.

Oh, did I mention that Maite is Jesse's mother? That relationship, while off screen, informs their creative journey, with the two working together for the first time to craft a cinematic rarity: a genuinely uplifting experience which is not skewed or tinged with drama, sadness, or the almost expected tragedy that these kinds of stories feature.

In the following interview, Jesse talks about how making Mother of Chooks came about, and the difference of this film in comparison to his other, more dramatic work. Jesse also talks about the creative journey of filmmaking with his mum, and how he had to shift and change his directing style in the process.

Mother of Chooks is a pure delight of a film, and it makes its Canadian premiere at Hot Docs on Friday 25 April, with a follow up screening on 29 April. Mother of Chooks will also screen at the Doc Edge Festival in New Zealand-Aotearoa. Future festivals dates around the world are yet to be announced, but make sure to follow Jesse Leaman on Instagram for upcoming dates and details, or visit Jesse's website here.

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We also discuss other current releases from Umbrella, including Metal Skin, and the upcoming release Storm Warning.

Our cinematic recommendations include Bob Trevino Likes It and Every Little Thing.

Umbrella Entertainment are currently having a sale on their physical media, which includes a buy one get one free selection, and 30% off merch and select collector's editions, including Hounds of Love and Eyes Without a Face. To buy these editions, visit umbrellaent.com.au. After the discussion took place, Umbrella announced that the Michael Haneke set is back online with an additional film and extra bonus features.

Follow Nadine Whitney on Bluesky and the Curb on Bluesky.

If you want to find out more about the work we do on the Curb, then head over to theCurb.com.au. We are a completely independent and ad free website that lives on the support of listeners and readers just like you. Visit Patreon.com/thecurbau, where you can support our work from as little as $1 a month.

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https://www.youtube.com/watch?v=CIZDIpQoomY

Flash forward a decade and Darwin's creative streak continues with his latest short film Bluebird, a brilliantly realised short that pays homage to the classic swashbuckling films from the early 1900s. That sense of exploring and amplifying our relationship with the environment continues with Darwin's work as a cinematographer on the short film The Overthrow, and underpins the visual style of Bluebird. Bluebird features musical sequences, fighting, and romance, all with a backdrop of a glorious green environment that elevates the adventure of the story of a Princess seeking revenge in delightfully entertaining ways.

There's a level of vision and scope at work within Bluebird that is a rarity for Australian films, and it's that vision that underpins the following conversation with Darwin, recorded ahead of Bluebird's Australian Premiere at the upcoming Fantastic Film Festival Australia. Bluebird will be screening in the Sydney Shorts package alongside a smorgasbord of great local talent, including Chris Elena's latest film Passion Pop.

Bluebird is a film that's designed for an audience to appreciate and enjoy on the big screen. There's an understanding and appreciation of cinematic language and the possibilities of creative storytelling that makes the work of Darwin Schulze a delight to watch. In the following conversation, Darwin talks about how his journey into filmmaking began, what it means to have supportive parents who encouraged his creative journey, and how he managed to create the distinct and expansive look of Bluebird on a microbudget.

Bluebird screens as part of the Sydney Shorts package at Fantastic Film Festival Australia on 27 April 2025.

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Kriv Stenders is a prolific Australian filmmaker, with his work spanning features, documentaries, and TV series. His latest film, The Correspondent, translates this period of Greste's life, as documented in his 2017 memoir The First Casualty, to screen, with Richard Roxburgh portraying the award winning journalist. 

The Correspondent is a salient reminder of the need for a global free press, and it arrives at a time where journalists around the world, even Australia, are being vilified, condemned, or at worse, being imprisoned or murdered for their work. While The Correspondent considers the legal battles that Greste and his journalistic colleagues endured between 2013 through to 2015, when Greste was released, the film then reflects on another attack on journalists, with Stenders and writer Peter Duncan taking us to another part of Greste's life, when he worked alongside Kate Peyton (portrayed by Yael Stone) in Mogadishu, Somalia in 2011. These scenes act as an insight to the complex ways that reporting from war zones leads to the aggressors violently controlling the passage of information, with The Correspondent then amplifying the message of advocating for free press.

A central aspect to that advocacy is Richard Roxburgh's turn as Peter Greste. Arguably, this is the finest performance of Richard Roxburgh's career, with the weight of expectation, trauma, uncertainty, and grief lingering on his mind, often only appearing through glances or brief looks at his fellow inmates. Roxburgh echoes the work of Tom Hanks in Captain Phillips, another film which sees the acclaimed actor give a career best turn, and in doing so, brings to life Greste in an empathetic and supportive manner. It is as if this is the only performance that matters in his career. It's powerful stuff. 

I carry that in mind when I sit down to discuss the film with Kriv Stenders, oddly for the first time in my career. I've long admired Stenders work, from having caught The Illustrated Family Doctor in a small screen at Luna Cinemas Leederville, to being knocked off my feet with Boxing Day and Lucky Country. He then took his filmmaking to a new level with Red Dog and Red Dog: True Blue, and with the back of this run of films, he has examined the role that Australian stories and voices have on our cultural identity. Few filmmakers in Australian cinema get more than one or two films, and yet Stenders has crafted an enduring filmography that comments on and furthers our understanding of what Australian culture, identity, and cinema, can be. 

While this is my first time talking with Kriv, I know it won't be my last. 

The Correspondent arrives in Australian cinemas on 17 April 2025, with Q&A screenings continuing to take place at select cinemas. Make sure to check your local cinema guide for session details. 

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Knowing what a historical moment this would be for the band, Kingswood tapped emerging director Darcy Newton on the shoulder to shoot social media footage and share their journey on the road. That notion quickly fell by the wayside when Darcy realised there was something more at play here, with his trusty camera able to capture the highs and the lows of the bands journey, ultimately bringing forth the feature documentary CLAPTRAP.

In the following interview, recorded ahead of the films roll out in Australian cinemas which kicks off with a premiere event at The Astor Theatre Melbourne on Friday 4 April, and culminates with a Q&A screening at The Ritz Sydney on Friday 11 April, Darcy and producer Luca Catalano talk about how they came on board to shoot the film, what life was like on the bus with the band, and how Darcy captured some of CLAPTRAP's more impactful moments, like a late night boozy chat with a regional music icon or a deep and meaningful chat between bandmates about the meaning of one of their songs.

CLAPTRAP AUSTRALIAN SCREENINGS

** KINGSWOOD attending 

Friday 4 April Astor Theatre Melbourne **

PREMIERE EVENT

Tickets

Saturday 5 April Thornbury Picture House Melbourne **

SCREENING, Q&A EVENT

Tickets

Sunday 6 April Pivotonian Cinema Geelong

SCREENING, Q&A EVENT 

Wednesday 9 April Regal Theatre Adelaide SA 

SCREENING

Wednesday 9 April Byron Bay Palace Byron Bay NSW **

SCREENING, Q&A EVENT 

Thursday 10 April New Farm Cinema Brisbane ** 

SCREENING, Q&A EVENT 

Tickets

Friday 11 April The Ritz Sydney **

SCREENING, Q&A EVENT

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This immaculately layered comedy film arrived in a time where Australian audiences are calling for more Aussie comedies, yet they're simply not paying attention to their existence, or if they do go and see them, they push off against them saying that they should be more like The Castle. As a writer and critic who predominantly covers Australian films, the notion of funnelling a creative voice into one style of genre storytelling is a frustrating and reductive one, and in turn, means that audiences are denying themselves the chance of engaging with some of the most inventive, exciting, and entertaining feature films that we've had in recent years.

That notion of reframing and recontextualising Audrey soon after its release is part of the scope of the upcoming screening of Audrey at the Melbourne Women in Film Festival, where the film has received the ReFrame Stamp for Gender-Balanced Production. This is an international mark of distinction that recognises film and television projects that have undertaken gender balanced hiring practices inclusive of women, non-binary and trans people across key production roles. Gender balance is something that's often discussed in relation to Screen Australia's Gender Matters initiative, but is rarely executed.

In the following interview, writer Lou Sanz unpacks the reactions to Audrey, followed by a discussion on how the script was built, including the creation of characters, the queer positivity on screen, and finding the empathy within dark comedy. Lou also talks about her work on the seminal early 2000s comedy series Life Support, which saw actors like Abbie Cornish and Brendan Cowell satirise lifestyle programming with some of the finest dark comedy we've been privileged to see on screen.

Audrey is screening with a discussion around the ReFrame Stamp at the Melbourne Women in Film Festival on Friday 21 March 2025 in Naarm-Melbourne. Tickets are available via MWFF.org.au.

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Alice follows in the footsteps of fellow Aussie trans filmmaker Dee McLachlan, who made a name for herself with the 2007 film The Jammed and the acclaimed series Wentworth, paving a way for fellow trans filmmakers in Australia and across the world. With her own distinct style of filmmaking, Alice has inspired and worked with fellow trans filmmakers like Vera Drew (The People's Joker) and Louise Weard (Castration Movie). Trans critic Willow Catelyn Maclay called this trio of filmmakers the 'Three Headed Hydra of Edgy Doll Cinema' and it's their collective filmography that is shaping what modern trans storytelling looks like in cinema.

If you haven't already picked up Corpses, Fools and Monsters: The History and Future of Transness in Cinema by Willow and fellow critic Caden Mark Gardner, then make sure to do so. It is one of the vital books about queer cinema.

In the following interview, Alice talks about kicking off her career as a filmmaker in Kaurna-Adelaide, growing up on a diet of Buffy and Keeping Up Appearances, while also talking about the fun of making an Australian Christmas film and working alongside non-binary actor Zarif, who has also made a name for themselves as they help shape what Australian queer cinema looks like on screen.

There's a notion of communal friendship that exists within Buffy that can be felt as a connective thread of Alice's work. It's a foundational aspect of T-Blockers, which sees a small town overrun by parasites that turn everyday men into horrifying, possessed hosts that spew literal bile, hatred, and violence, threating the local queer community. T-Blockers is a wickedly subversive film that engages in politics and queer identity, while also showing the possibilities of independent genre filmmaking.

Alice's work can be found on Shudder or Vinegar Syndrome (T-Blockers, Carnage for Christmas), and all good places where you can rent films.

If you want to find out more about the work we do on The Curb, then head over to TheCurb.com.au. We are a completely independent and ad free website that lives on the support of listeners and readers just like you. If you can and have the means to support us, please visit Patreon.com/thecurbau to support our work from as little as $1 a month.

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Both David and Margaret are staunch supporters of cinema, becoming advocates for all kinds of cinema and decrying the impacts of censorship. While both have played roles in the way that film censorship in Australia has impacted what we see, it’s Margaret’s role with the notorious Larry Clarke film, Ken Park, which saw her make headlines after she put on an ‘illegal’ screening of the film after it received a ‘Refused Classification’ status, aka, the film being banned from Australia.

That pivotal moment in Australian film criticism history is what sits at the heart of Zachary Ruane and Alexei Toliopoulos’ comedy show Refused Classification, which is currently making its way around Australian comedy festivals, having recently played at the Adelaide Fringe, with shows to be held in Brisbane, Sydney, Melbourne, and Perth on the horizon.

The show sees Zachary don a salt and pepper wig as David, while Alexei somehow manages to imbue himself with the spirit of Margaret Pomeranz with her trademark golden locks. Together, they retell this point in Aussie cinema history through the form of comedy show, documentary and verbatim theatre.

In the following interview, Zachary and Alexei talk about how the show came about, their experiences watching Ken Park, how Simon Miraudo’s brilliant Book of the Banned (buy it here) helped inform the show, and Alexei goes deep on his personal connection with the At the Movies board game.

I should add too, if you’re interested in reading the transcripts of David and Margaret’s work on both The Movie Show and At the Movies, then check out this Letterboxd account which has logged all of them over the years. And keep in mind that the shows are all available on SBS On Demand too, if you want that real nostalgia trip.

To keep up to date on where the show is playing, make sure to follow both Zachary and Alexei on Instagram.

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In the following reviews, Nadine discusses Anne Fontaine's Bolero and Éric Besnard's Miss Violet.

For all the festival details and to purchase tickets, visit AFFrenchFilmFestival.org.

If you want to find out more about the work we do on The Curb, then head over to TheCurb.com.au. We are a completely independent and ad free website that lives on the support of listeners and readers just like you. If you can and have the means to support us, please visit Patreon.com/thecurbau to support our work from as little as $1 a month.

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We meet Carmen on the subways of New York where a man uses the close proximity of a packed train to touch her. Carmen loudly and proudly advocates for herself, standing up against the patriarchal dominance of the spaces we live.

When we meet Bolude, she is also working abroad in new York, a home away from home where she needs to navigate the surprise marriage proposal from her white Aussie boyfriend Tommy (Liam Grienke). That navigation means a careful consideration of how she approaches her cultural roots, and the path that she wants to follow in her life. After all, it's quite likely that her father Akin (Wale Ojo) would disapprove of the marriage.

And disapprove he does, giving Bolude the ultimatum that she needs to collect 100 welcomes from Australian locals to prove to her father that she has a home away from home. What follows is a bright and delightful celebration of sisterhood, friendship, and remembering the cultural roots that tie us to our parents and our past.

What makes Carmen & Bolude something of a first for Australian films is in its proudly women-led foundations, driven by voices that want to hear themselves on screen in an industry that regularly asks for more diversity on screen. We so rarely get to hear from the Nigerian diaspora on screen in Australia, so to not only see and hear their stories, but to also witness the joy of dance, is an impactful step forward for Australian cinema.

Carmen & Bolude is a joyous, life affirming comedy that'll have you grinning from start to finish. Full of rich and beautiful characters that make you feel like you're spending time with family and friends. It's a genuine delight, and I'm grateful for the time and openness that both Michela and Bolude shared with me in the following interview.

Carmen & Bolude is produced by Yolandi Franken and Michela Carattini, with Michela co-directing alongside Maria Isabel Delaossa. Michela and Bolude co-wrote the script together, and take co-lead duties in the film, with a supporting cast that includes David Collins, Olivia Vasquez, Wale Ojo, and many more.

In the following discussion, Michela and Bolude talk about the journey to getting this story on screen, the joy of dance, and the importance of seeing and hearing your own stories on screen.

Carmen & Bolude will be screening at the Hayden Orpheum on 19 March 2025, with further screenings around Australia. Find all the dates and more here.

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My Melbourne opens with the narrative called Nadini, it's directed by Onir with co-direction from William Duan. This story followed Indraneel, played brilliantly by Arka Das, and his partner Chris (Jackson Gallagher), who both prepare for the arrival of Indraneel's father, Mihir (Mouli Ganguly), in Melbourne to perform the Asthi Visarjan (ash-scattering) of Indraneel's mother.

This is followed by Jules, directed by Arif Ali, with Imtiaz Ali as the creative director and Tammy Yang as the co-director. Jules tells the story of Sakshi (Arushi Sharma), an Indian woman moving into the world of chef work at a prestigious restaurant. She encounters abuse and resistance from her distanced husband who demands she lives a life in service of him. Sakshi's life is disrupted in interesting ways by the appearance of the homeless woman Jules (Kat Stewart) who sleeps rough outside the restaurant.

The third story follows Emma, played by Ryanna Skye Lawson. Emma is directed by Rima Das with Samira Cox working as a co-director. Emma lives with Usher's Syndrome, which impacts her hearing and her ability to dance. We follow Emma's journey as a dancer as she encounters discrimination, all the while finding her path to dancing her way.

The final story is Setara's story, following the 15-year-old Afghan refugee Setara (played by Setara Amiri) as she immerses herself in her new school, and finds her way into the schools cricket team. Setara is directed by Kabir Khan, with co-direction by Puneet Gulati.

My Melbourne is a narratively rich, powerful and uplifting film about diverse lives in Melbourne. It's an enriching and grounded experience which encourages audiences to see their city differently - namely, through the eyes of diverse folk who we rarely get to see or hear on screen. Much like its northern counterpart, the 2022 film Here Out West, My Melbourne is a collaborative experience that aims to change what stories we hear on screen.

In the following interview with producer Mitu Bhowmick Lange, we talk about the journey to the screen for My Melbourne, while also touching on the importance of the collaborative relationship between Indian filmmakers and Australian storytellers. We also talk about the creative journey for the script writing process, and what it means for emerging filmmakers to be able to work alongside directors like Onir, Kamir Khan, Rima Das, and Arif Ali, who have each created rich bodies of work in Indian cinema.

My Melbourne is heading out into cinemas today, from 6 March 2025. I strongly encourage you to head out into the cinema to catch this brilliant film and to show filmmakers and funding filmmakers that diverse voices are important and what we need to hear on screen. As I mention at the close of this interview, I would love to see films like My Melbourne and Here Out West inspire filmmakers in other cities to create similar diverse stories of their home on screen.

https://www.youtube.com/watch?v=zQhQEryxDQg 

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It's also a biting satire about the consumerist world we live in, asking whether it's the mind-sapping parasites that have turned us into mindless beings, or whether it's our reliance on technology and automation that has sucked our engagement levels down to zero.

In the following interview, edited for length purposes, Matt talks about his journey into filmmaking, what his drive is as an indie filmmaker, and what it means to be able to work with a huge cast of emerging talent, some of whom share the screen with industry legends like Ian Smith and Don Bridges. Matt gets open and honest about the difficulties of releasing a film in todays landscape, how to engage with audiences, and more.

Residence will roll out around Australia this year. Keep an eye on the Instagram page for more details.

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There's an inherent drama to skateboarding - you never know if the skater is going to fall, what they're going to pull off, and how they're going to take a risky jump - and that's paired well with the inherent drama of being a teenager turning into an adult. Or, in the case of Charlotte, a kid turning into a teenager. Each of the girls has their own life journey to follow, and Eliza's dedicated observational lens follows them in a caring and considered manner. This is not a director simply documenting the lives of their subjects, but supporting their journey in an empathetic manner.

Queens of Concrete moves in the same vein as the great skating docos of the turn of the millennium, with Eliza noting the impact that Dogtown and Z-Boys had on her work. As a viewer, I couldn't help but feel the pull of Eddie Martin's excellent All This Mayhem, a film which also hails from the streets of Melbourne. Either way, the impact of sports documentaries is a strong one on Eliza's creative vision.

I caught up with Eliza ahead of the AIDC panel Levelling the Playing Field: Celebrating Trailblazers in Sports Docs, where she joins fellow documentarians Frances Elliott, who co-directed Renee Gracie: Fireproof, and Marlee Silva, of the upcoming film Skin in the Game. In the following interview, we talk about her journey into filmmaking, what it means to be a supportive director, the choice behind making a sports film about girls or a film about girls who skate, and a lot more.

If you're in Naarm-Melbourne this weekend, then make yourself known and head along to ACMI on Monday 3 March where you can catch Levelling the Playing Field, alongside a stack more great panels and events at the Australian International Documentary Conference.

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Jesse's work stands as a way of exploring the complexities of society through an absurd lens. It's a style of creativity which Jesse dubs 'imaginative logic', a term that makes complete sense when you let his work wash over you and change your world view.

In the following interview, recorded ahead of Accoladia's appearance at Flickerfest, Jesse talks about his creative process, the way critics or writers like me apply our own logic to absurdist work, the freedom of advertising, and a lot more.

To view some of Jesse's work, visit JesseVogelaar.com. I highly recommend you watch Room for One More, a brilliantly executed short film that is both absolutely hilarious, and quietly moving too.

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The work of director Ruth Caudeli regularly appears at the Queer Screen Mardi Gras Film Festival, with her previous films Eva and Candela and Leading Ladies both screening at the festival. Her latest film, Same, Again, makes its world premiere at the festival on 25 February 2025.

This improvised drama follows a Colombian theatre troupe who join together to bring the play La Casa de Bernada Alba (The House of Bernada Alba) by Federico Garcia Lorca to life on stage. This play follows the impact of men upon women, which then becomes a textual point within Same, Again, as one of the guiding forces behind this staged appearance is a man.

Same, Again deals with impactful themes of trauma, showing the power of coercion and control that takes place from the foundational aspects of putting on a play - as we see in some intense and controlling audition sequences which forces actors to put themselves into vulnerable situations - to the final performance. Throughout the play, the actors each expose their own vulnerabilities, insecurities, and exposure of their own past traumas. What results in a narrative that delves into male-created trauma, all the while giving agency back to those who have experienced pain.

In the following interview, recorded ahead of the films world premiere at Queer Screen on 25 February 2025, Ruth talks about the foundational work of the film, what it means to be able to give space to trauma on screen, and about her work with long time partner Silvia Santamaría.

Queer Screen continues its cinematic run until 27 February 2025, so you've got plenty of time to head along and catch a film in a cinema before this years festival heads online for the On Demand section of the festival, which runs Australia wide from 28 February to 10 March 2025. For all details, visit QueerScreen.org.au.

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I saw it in a sold out auditorium at the beautiful art deco Piccadilly cinema in Adelaide with an Adelaide Film Festival audience that lapped up every laugh, every tear, and every splash of neon bright queer celebration on screen. 

Lesbian Space Princess is the animated feature debut of filmmakers Leela Varghese and Emma Hough Hobbs, a collaborative force to be reckoned with, set to change the Australian film industry one bubblegum flavoured cel at a time. The film follows Saira (voiced brilliantly by the superb Shabana Azeez), the titular lesbian space princess who finds herself having to leave her sheltered planet in the wide galaxy to save her punk rock ex-girlfriend Kiki (Bernie Van Tiel) after she is kidnapped by the Straight White Maliens (voiced by the Aunty Donna crew). Saira pilots a ship (voiced with joyous deadpan delivery by Richard Roxburgh, completing his one-two punch of career best performances alongside his turn in The Correspondent), encountering the delightful Willow (a scene stealing Gemma Chua-Tran), and the two head off in the galaxy to save Kiki.

That plot synopsis barely scratches the surface of what is going on within one of the sharpest, funniest, queerest films to be produced in Australia. There is the Australian film industry before Lesbian Space Princess, and there is the Australian film industry after Lesbian Space Princess, and I can't wait to see what work this film inspires people to create. 

I'm still giddy from the ten minute standing ovation that took place on the opening night. You know us Aussies, we're not partial to standing ovations, let alone standing for anything (unless it's a queue), so to know we stood, clapped, cheered, and heaped deserving praise on this debut film is a strong enough statement as it is. 

That energy I'm putting forward lingers in the following interview with Leela, Emma, and Shabana (who joined us after a day of shooting her HBO series The Pitt, and after her film Birdeater took home Best Indie Film at the AACTAs). In this discussion, we talk about the origins of Lesbian Space Princess, what it means to create a narrative that everyone can relate to, the varied emotionality of the film, and a lot more. We close the chat with Emma telling us the impact of the film on relationships. 

This interview was recorded ahead of Lesbian Space Princess' world premiere at the Berlinale Film Festival where it is in competition for the Panorama Audience Award and the Teddy Award for LGBTQIA+ films. The version screened at the Adelaide Film Festival was a work in progress print. Lesbian Space Princess was awarded the full $10,000 from the Queer Screen Completion Fund. The Completion Fund recipients are determined by an independent jury. 

The following chat is one of the first pieces (of many) that the Curb will be putting up this year as we celebrate the year of Lesbian Space Princess. Get excited folks, your new favourite film is not far away.

If you want to find out more about the work we do on The Curb, then head over to TheCurb.com.au. We are a completely independent and ad free website that lives on the support of listeners and readers just like you. If you can and have the means to support us, please visit Patreon.com/thecurbau to support our work from as little as $1 a month.

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James' work as the cinematographer saw him utilising LED virtual production technology, alongside drone shots and on location cinematography. He comfortably blends the VFX backgrounds with on location shots, culminating in an effective and creatively engaging short that executes high concept ideas on a student budget.

James was also able to present the film at the 2024 CamerImage Festival in Poland as part of their Talent Demo program. At the festival, he was able to present the film and receive detailed feedback from celebrated filmmakers like cinematographer Jarin Baschkle (Nosferatu, The Lighthouse) and director Hiro Murai (Atlanta, Mr and Mrs Smith).

In the following interview, recorded ahead of the films screening at the WA Made Film Festival on Saturday 22 February as part of the Saturday Shorts line-up, James talks about his creative journey to becoming a cinematographer, what it means to be able to make films in Western Australia, and a lot more.

The line-up for this years WA Made Film Festival is a stellar one, with a huge array of shorts, long shorts, features, documentaries, and a panels galore to keep you up to speed on the ins and outs of the WA film scene. The festival opens with the world premiere of Remotely Famous, directed by Brad Newland. The excitement for that is so high that the screening has already sold out. The energy continues over the weekend with a live Cinema Australia podcast recording with Matthew Eeles and director Zak Hilditch, short film showcases, screenings of award winning films like Genocide in the Wildflower State, world premieres of films like Lint, Christmas Orphans, In Sect, and Highest Treason, while acclaimed films like Jellyfish, Green: The Fight for Rock and Roll, and Everywhere get spotlight screenings.

I'm proud to be part of this years festival as I join a panel of excellent WA filmmakers for The Future is Bright: Independent Filmmaker Panel on Saturday 22 February from 11:45am at the City of Perth Library Auditorium. The panel includes Sarah Legg, Tayah Lee-Traub, Steven J. Mihaljevich, Emilie Lowe, Lawrence Murphy, and Oscar Miller, each of whom will be discussing their upcoming feature films which were made completely independently.

I'm continually in awe of the work that Jasmine Leivers and Matthew Eeles put into bringing the WA Made Film Festival together. It's a top tier local film festival that reminds audiences that there is a vibrant, active, and downright vital film scene in operation here in Western Australia.

For all the details on the festival, and to secure your tickets, visit WAMadeFilmFestival.com.au.

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If, like me, you haven't truly heard the name Sally Gearhart before, then you might know of her activist work alongside Harvey Milk, notably from a pointed interview where Sally joined Harvey to debate John Briggs about his noxious and harmful bill dubbed Proposition 6, or the 'Briggs Initiative', which, if passed, would have seen homosexuals from academic positions in public schools. This debate with Briggs is one of the pivotal points in Sally's life, which also included her appearance in notable documentaries like WORD IS OUT: Stories of Some of Our Lives in 1977 and in Barbara Hammer's short film Superdyke.

What delights the most about Sally!, the documentary, is that it meets the energy, vibrancy, and advocacy of Sally, the person, and acts as a celebration of activism, queer liberation, queer culture, feminism, and so much more. It is, quite simply, a rapturous delight to watch and spend time with. 

The film details Sally's life, featuring in depth interviews with those she knew, loved, campaigned with, and built a community alongside. It also features some joyously funny and engaging interviews with Sally herself, recorded in the years before her passing. Sally! is more than just a history lesson, it's a reminder that in a time of great societal upheaval and distress, one of the purest forms of resistance is laughter, community, and joy. They can't take that away from you.

I was fortunate enough to talk with two of the co-directors of the film, Ondine Rarey and Jörg Fockele, while they were in Sydney for the Mardi Gras Queer Screen Film Festival screening of the film. Fellow co-director and producer Deborah Craig was unable to attend, but the sense of community and energy around the film and the following discussion carries her energy forward. 

This interview talks about how Deborah discovered Sally, and why telling Sally's story on screen right now is so deeply important. Ondine and Jörg also talk about the importance of being able to screen a film like Sally! in the world right now, and about the importance of keeping queer activist history alive and relevant. 

Sally! is a delight of a film, and you can see in person at the Mardi Gras Film Festival on Saturday 15 February. This is a special community screening, where all tickets are just $12. You won't want to miss it. However, if you're unable to attend the screening in person, then Sally! is also screening on demand later in the festival. For all ticketing details, visit QueerScreen.org.au.

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We Forgot to Break Up is adapted from Kayt Burgess' Heidegger Stairwell and feels pulled directly from an era where each new indie rock song that you heard spoke to your deepest emotions in a way that you'd never expected. The New Normals echoes the great bands of the era, with the strains of Broken Social Scene's guitars being felt throughout the soundtrack. There's a wealth of great original songs too written by Torquil Campbell from the band Stars. In one of the films many memorable moments, the band is living in a share house loft which acts as a creative space, and a space to earn money too, with bassist Coco (Hallea Jones) working as a phone sex worker to bring money in. Her responses to the client on the other end of the line spur Evan into writing a song that then becomes a hit for the band.

There's a wealth of heart and compassion within We Forgot to Break Up, but it's also a film that really sinks its fingers into the dirt and vibe of the indie rock scene, with Knox pulling from the aesthetic of the celebrated documentary Dig! We Forgot to Break Up really leans into that lived-in feeling, making the film feel almost documentary like at times, and in turn, it gives space to let the lives of the queer folk who make up the cast and characters simply live as they want to. While this is, ostensibly, a film about queer folks, their queer identity is not the main focus of the film, and that in itself is a refreshing, invigorating act of resistance.

In the following interview with Knox and Lane, recorded ahead of the films launch at the Queer Screen Mardi Gras Film Festival on Tuesday 18 February, where they both will be in attendance for a Q&A, we chat about the creation of the film, the choice of songs featured, and how that lived in feeling was created on screen. We close the chat by talking about what it means to be telling Canadian queer stories on screen right now.

I had an absolute ball watching We Forgot to Break Up, lapping up the wicked guitar licks and band drama, all the while losing myself with the excellent performances. And that was just from watching it at home; so I can only imagine what the experience would be like to see it with a full audience. Make sure to pick up your tickets to see We Forgot to Break Up via QueerScreen.org.au.

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Overlaying this is a chaos of noise and radio chatter from around the globe. European figures discuss trans rights, while American voices talk about reproductive rights. The message is clear: women's bodies are being controlled globally.

Gianluca asks us to consider the weight of these words and these voices momentarily before he introduces us to Dr Bini, a kind, considerate, and ageing doctor near retirement. Dr Bini works in Milan's Niguarda public hospital tending to patients who are undergoing reproductive technology procedures or gender confirmation surgery.

Over the next 100 or so minutes, Gianluca observes quietly and lets Dr Bini, his patients, and the transitory hospital he works in speak for themselves. Gen_ is a considerate and kind documentary which premiered at Sundance, and it stands as a beacon of recognition for the power of advocacy in medical fields for those who may not be able to stand up for themselves in the face of cruel and controlling legislation. Dr Bini talks through the possibility of care with his patients, noting for some that reproductive technology at a certain age might be risky or blocked, or that gender confirmation procedures might be restricted, and in doing so, he speaks through the avenues for care, treatment, and support.

Gen_ feels like someone resting a hand on the shoulder of those in need. It is shot in such a patient and kind manner, with Gianluca sitting in silence in a doctors appointment with Dr Bini and his patients, quietly observing and letting the words and weight of the sound of empathy linger in the air. Notably, Giorgia Villa's editing creates a conversation between appointments, ensuring that the impact of one patients journey is felt on anothers, someone they may never have met.

In the above interview, Gianluca talks about how the documentary came about, the notion of the documentary film as a form of advocacy, and more.

Gen_ screened at the 2025 Sundance Film Festival. Visit Gianluca's website for more details.

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I mention this as one of the values of being able to attend the festival remotely is that I can stay safe as a disabled, immunocompromised person. It also then means I can watch films like Mindie Lind and Megan Griffiths superb animated short View from the Floor. This five minute documentary tells Mindie's story as a musician, a writer, a director, and as someone who lives with disability.

Mindie doesn't have any legs, and while she gets around in a wheelchair, it's that view from the floor that she's forced to present on television when she becomes a guest on the Maury Povich show. With a comedic and open narration, Mindie takes viewers from her initial perspective of being invited on the show (this is in the era before 'who's your babies dad' reveals dominated the show) to the feeling she had when the producers asked her to go on stage without her wheelchair.

View from the Floor decisively and intimately unpacks the concept of inspiration porn, which leads to a further discussion about the exploitation of disabled folks, especially in relation to entertainment.

As co-directors, Mindie and Megan utilise the bright and expressive animation from Joe Garber to bring a sense of comedy and charm to Mindie's story, allowing non-disabled and disabled folk to understand how inspiration porn impacts everyone's lives.

In the following interview, Mindie and Megan talk about meeting through the late, great filmmaker Lynn Shelton, dealing with cat calls and more, the importance of stories about disability being able to reach a global audience, how they created the look and sound of the film, before Mindie closes the chat with an interesting fact about the person who played ET on set.

To help support Mindie and Megan in transforming View from the Floor into a feature film, visit ViewFromTheFloor.com. You can donate on that site, while also checking out the artwork and listen to Mindie's song as heard in the film.

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Years later, Jason is back with his second feature film, Voices in Deep. Here is another film that opens itself up to critical examination as Jason embarks on another exploration of the weight of humanity, of the turmoil of trauma, and the struggle for existence. Jason takes us to Greece, the land where millions of refugees wash up on the shores of Athens seeking a future of some kind.

In Voices in Deep, we're introduced to two characters who exist in the orbit of one another; Hannah Sims' Bobby, an Australian who travelled to Greece to help refugees, but now finds herself stranded in a foreign land with no sense of self and no sense of finding a path out. Then there's Christos Karavevas' Tarek, a refugee who lives on the streets with his brother, engaging in dangerous sex work to make a living.

Through Bobby and Tarek, we see the unresolved trauma of the ongoing refugee crisis. Voices in Deep is a response to the powerless and overwhelming nature of trauma, whether we're in the midst of it, or observers from afar. It doesn't seek to provide a resolution to the trauma, but instead asks us to consider its existence. To listen to its cries and acknowledge that its pain carries weight.

Jason's voice has been in the back of my mind as a continual reminder about the importance and value of discussing Australian films and chatting with Aussie filmmakers. Each year I write a list of the voices I want to listen to, to talk to, to engage with, and to give space to on this platform I call the Curb. Jason was at the top of my list for 2025, and I'm grateful that the following conversation exists.

As you'll hear, the last time we talked was when West of Sunshine came out. I spent a brief period of time chatting with Jason and Dame, and had intended to catch up with them both when they came over to Perth for the Q&A. But nerves and the conflicting events meant I never attended the screening, and I never got to shake Dame's hand in person. He passed away not long after this. His mark on Australian film lingers.

This interview, or conversation, starts in a state of flow. We had spent some time talking before I hit record, and the emotionality of the first question hit Jason, and myself, in an unexpected way. In fact, the emotionality of this conversation hit us both in an unexpected way. I can say, quite comfortably, that this is one of the finest conversations I've been able to bring you on this podcast.

In the following conversation, there are questions I don't ask, like who Jason's mentor is, or the films that have inspired him. But, I've almost deliberately left them for our next discussion, whenever that happens in the future. There has to be hope that we will talk again.

If you want to find out more about the work we do on the Curb, then head over to theCurb.com.au. We are a completely independent and ad free website that lives on the support of listeners and readers just like you. If you can and have the means to support us, please visit Patreon.com/thecurbau to support our work from as little as $1 a month.

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Kate Blackmore's Make it Look Real is a hybrid-documentary experience that explores the role of intimacy coordination on film sets. Albert features in the documentary as himself, and in the film-within-a-film as a character in Kieran Darcy-Smith's romantic thriller Tightrope. Make it Look Real is a captivating and conversation-starting film about how intimacy has been presented on screen and how it can safely be depicted for all actors involved.

Albert's other film that premiered the Adelaide Film Festival was Kelly Schilling's With or Without You, where he plays Dalu, a migrant worker swept into the lives of Melina Vidler's Chloe and her alcoholic mother, Sharon, played with effortless abandon by Marta Dusseldorp.

With both of these films, Albert holds the audiences focus keenly, asking us to lean in to find out more about his performances. This level of captivation is partly the reason why he was nominated for the Casting Guild of Australia's Rising Star list of 2021.

In the following interview, Albert talks about the balance of working on stage and screen, how he manages his creative journey as a storyteller and a vessel for others stories, and where he would like to see his career progress from here.

Both Make it Look Real and With or Without You do not have announced dates at this stage, but keep an eye out for them.

Follow Albert on Instagram here.

Listen to Andrew's interview with Make it Look Real director Kate Blackmore here. 

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Film recommendations this week include What Ever Happened to Baby Jane? and Superman.

Listen to Andrew's interview with Robert Connolly and Alison Lester here.

Find Andrew's 21 Films from 21 Friends list on Letterboxd here.

Clips featured in this episode include:

Sing Sing First Look | Magic Beach trailer | Parthenope trailer

Theme music is the Lantana score by Paul Kelly.

Follow the Curb on Bluesky, Instagram, and Facebook. Follow Nadine Whitney on Bluesky here, and visit the Rotten Tomatoes profiles of Andrew here and Nadine here.

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Listen to Andrew's interview with John Crowley here.

Film recommendations this week include the superb documentary I Used to Be Normal: A Boyband Fangirl Story (watch on DocPlay now) and The Mad Women's Ball (on Amazon Prime).

Clips featured in this episode include:

Nosferatu Once Upon a Time theme | Emma Corrin supporting Babyratu | Florence Pugh and Andrew Garfield making Slime Pies | How to Make Gravy trailer | I Used to Be Normal: A Boyband Fangirl Story trailer | The Mad Women's Ball trailer | Grimelda (fka the Faps) We Make Our Own Gravy

Follow the Curb on Bluesky, Instagram, and Facebook and visit the Rotten Tomatoes profiles of Andrew here and Nadine here.

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Die Bully Die was the winner of the Sydney Film Festival Dendy Award for Best Short Fiction, and is nominated for Best Short Film at the 2025 AACTA Awards. Nick and Nathan also received nominations for Best Direction in a Short Film at the Australian Directors Guild, while Nathan was nominated for Best Editing in Short Drama by the Australian Screen Editors, with cinematographer Patrick Coe nominated at Australian Cinematographers Society for Short Film Cinematography, and the sound team featuring Troy Mauri, Brendan Croxon, Cristobal Penailillo, and Jack Moiseyev, were honoured with a nomination at the Australian Screen Sound Guild.  

In the following interview, Nathan and Nick talk about building a trauma informed horror comedy, what the collaborative process with actors and writers Matthew Backer & Drew Weston was like, how Gaspar Noe's style influenced the production, and a lot more. 

If you want to find out more about the work we do on The Curb, then head over to TheCurb.com.au. We are a completely independent and ad free website that lives on the support of listeners and readers just like you. If you can and have the means to support us, please visit Patreon.com/thecurbau to support our work from as little as $1 a month.

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In this first episode, we delve into the relationships in William S. Burrough’s Queer, directed by Luca Guadagnino and adapted for the screen by Justin Kuritzkes, with Daniel Craig, Drew Starkey, Lesley Manville, and Jason Schwartzman.

This discussion flows into talking about Halina Reijn’s latest film, Babygirl, which gives Nicole Kidman the chance to give the performance of her career, alongside Harris Dickinson, Antonio Banderas, and Sophie Wilde.

Finally, Nadine talks about Pedro Almodóvar’s first English language feature, The Room Next Door, featuring Tilda Swinton and Julianne Moore.

Filmic recommendations this episode are:

Andrew: Fur: An Imaginary Portrait of Diane Arbus by Steven Shainberg

Nadine: Love is the Devil: Study for a Portrait of Francis Bacon by John Maybury

Follow The Curb on Bluesky, Instagram, and Facebook and visit the Rotten Tomatoes profiles of Andrew here and Nadine here.

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Magic Beach takes the Alison Lester's much-loved illustrated kids book and brings it to live with a series of vivid, vibrant, and invigorating animated shorts, made by some of Australia's finest visual talents: Lee Whitmore, Anthony Lucas, Marieka Walsh, Eddie White, Susan Danta, Jake Duczynski, Simon Rippingale, Pierce Davison, Kathy Sarpi, Emma Kelly, and Susie Shapones.

Magic Beach takes us on a journey into the ocean through the mind of kids, and it's through their eyes that we're immersed in the waves and ways of the water and the many stories the seas have to tell. From tales of sandcastle battles, to pirate smugglers, to a whimsical tale of a bird laying an egg on a boat, there's something for everyone in this brilliantly inventive film.

In the following interview with Robert and Alison, they talk about that journey into the water together, what it means to be able to tell stories for kids, and the role that the late, great Sarah Watt had in bringing this story to life.

Magic Beach screens as part of Perth Festival on January 7 and 13 at Luna SX in Fremantle, followed by special meet & greet screenings on 11 January at the Hayden Orpheum Picture Palace & Ritz Cinema in NSW and 12 January at the Classic Elsternwick & Sun Yarraville in Victoria. Magic Beach then opens wide around Australia on 16 January. Visit Madman.com.au for more screening details. 

If you want to find out more about the work we do on The Curb, then head over to TheCurb.com.au. We are a completely independent and ad free website that lives on the support of listeners and readers just like you. If you can and have the means to support us, please visit Patreon.com/thecurbau to support our work from as little as $1 a month.

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We Live in Time is an utterly brilliant drama the follows the lives of Andrew Garfield's Tobias and Florence Pugh's Almut in an out of sequence format. We flit from the past, to the present, to the future, with each moment acting as a new memory laid upon the next. This burgeoning relationship emerges into a family which emerges into a drama that will have you reaching for the tissues like no other, all the while it's underpinned by the gentle direction from John Crowley, which supports and gives space for his lead actors to deliver grounded performances.

It's that journey towards tenderness and empathy that underpins the following conversation with John Crowley, with Andrew asking about how the relationship of time has impacted John's work. This discussion encourages a reflection of John's previous collaboration with Andrew Garfield on his feature film debut Boy A in 2007, while also asking John to consider what he will take from this film going forward. Andrew also asks how aware John was of Florence's innate cooking skills and how that played into her brilliant turn as Almut. 

We Live in Time is, like John's Best Picture nominated film Brooklyn, a drama that slowly creeps up on you, and before you know it, you're wiping away tears from your eyes as the lights come up. It's a style of film that we've almost taken for granted now, but there is a genuine skill to bringing this level of weepie to life. See it with someone you love when it opens in Australian cinemas on 16 January 2025.

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Memoir of a Snail is driven by the delightfully dark sense of comedy and a relatable pathos, both of which bring the off-kilter world of Grace Pudel (Sarah Snook) and her equally orphaned twin brother Gilbert (Kodi Smit-McPhee) to life. It's a film that's resonated immensely with audiences around the world, with each person able to find a little bit of themselves in this tender tale of Grace and her obsession with snails.

As always, Elliot is able to bring forth a welcome sense of groundedness to his characters, and while they may physically appear eccentric, there's something about each and every one of them that makes us feel seen. As with his previous film, Mary & Max, Elliot actively removes stigmas associated with those who live with mental illnesses, while also shining a light on those who try to vilify, condemn, or in the case of Gilbert, cruelly convert them away from their true self.

The authenticity that sits at the core of Memoir of a Snail is not just driven by the characters we see on screen, but also from the empathetic and grounded voice work from Snook, Smit-McPhee, and other Aussie screen icons like Jackie Weaver, Magda Szubanski, Tony Armstrong, Eric Bana, while French icon Dominique Pinon also makes an appearance.

In the following conversations with Adam, then with Sarah, I talk about how they both built that relatability on screen, what it means to show Australian stories in this way, and curiously, the importance of dress up boxes in the homes of Australian kids. There's really something for everyone here.

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Lee's photography from that era is some of the finest work you will see focused on WW2, yet after the war, she sought to hide much of the work she did, with her son eventually finding many of her photos after she had passed away. Kuras and Winslet choose to frame Lee's story with an impossible conversation that sees Josh O'Connor's Antony Penrose sitting down with Lee Miller to talk through her life and her work in a haze of cigarette smoke. There's an emotional truth here that resonates strongly throughout the film that is keenly felt by the original writing by Penrose himself, otherwise known as the son of Sir Roland Penrose and Lee Miller.

In the following conversation, Kate talks about the journey of bringing Lee's story to life, including the importance of engaging in era-specific photography, as well as the need to be able to tell these kinds of stories in todays day and age. This conversation is pulled from two separate discussions, one from a panel discussion, and the second as a one on one interview with Kate. In the first discussion, I was briefly interrupted, which is what you will hear in the following chat.

Lee is now available to view on demand in Australia. It is as good as any wartime biopic that you'll see, with Winslet giving a powerful and impactful performance which is deftly supported by a rare dramatic turn from Andy Samberg, who equally deserves recognition and accolades for his work. They're both supported by a cast that includes Oscar nominee Andrea Riseborough, Oscar winner Marion Cotillard, and Alexander Skarsgard. 

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First off the rank is a chat with two of the creatives behind Saturday Night, the comedy retelling of the first night of Saturday Night Live. In it, we follow a young Lorne Michaels, played by Golden Globe nominee Gabrielle LaBelle, who attempts to wrangle an unwieldly and chaotic cast of comedians from Chevy Chase (Cory Michael Smith), to Gilda Radner (Ella Hunt), to George Carlin (Matthew Rhys), to Jim Belushi (Matt Wood), and Rosie Shuster (Rachel Sennott), plus many more. What eventuates is a slightly manic, utterly frenetic, yet extremely captivating almost real time night of comedy and chaos leading up to that iconic opening sentence 'Live from New York...' 

In the following chats, I talk with Gabriel LaBelle about how he came to work on Saturday Night, how he has become an almost surrogate historian of American pop culture with his work on The Fabelmans and now Saturday Night, and how he managed to maintain a level of comedy on screen. After my chat with Gabriel, I talk with writer-director Jason Reitman about bringing this all together. I kick off the conversation by confessing how much of a die-hard Young Adult fan I am, alongside the value of physical media, before we flow into talking about creating an energetic vibe on set with a live score by Jon Batiste, plus much more.

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Benjamin is given unparalleled access to the production, capturing honest and open discussions from cast and crew that shows off the strength that it took to bring Before Dawn to life. From freezing cold rain to escaping sheep to earthquake level explosions, In the Trenches captures it all.

In the following discussion, Benjamin talks about his entry point into documentary filmmaking, how working as a wedding videographer and on corporate gigs with local legends like Tony Galati aka the Spud King informed his guerilla style filmmaking, and the kinds of behind the scenes docos that inspired his work.

In the Trenches is currently available on Bluray and DVD via CaptureBehindTheScenes.com.au.

For those who are also keen to check out Before Dawn, head over to Umbrella Entertainment where you can buy it on physical media, or to Netflix where it's available to stream. Before Dawn recently took home the award for Best Sound at the WA Screen Culture Awards, where the film also received nominations for Narrative Feature Film with budget over $1m, Best Cinematography or Visualisation, Best Performance for Myles Pollard, and Best Original Music.

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Steph Stool is a dermatologist in training who has her feet in two worlds. The shiny sheen of Sydney where the pull of her bougie boyf (Alec Snow) sees her drawn towards spending Christmas with his family. Early in the film we meet his mum (Tara Morice) who gives Steph the complicated and intense rundown of what's expected from their family experience. For them, Christmas will be the 'introduce the family to the girlfriend', a factor that further drives a wedge between Steph and her family who she carries a level of shame about.

But, Steph's disconnection with home is short lived when she receives a call from her mum (Gia Carides) saying that the family dog, Nugget, is dead. Well, not exactly dead, he's just not feeling that well. Not wanting to miss seeing the pup she grew up with one last time, Steph rushes home to be with her family, all the while thinking she'll be able to return in time for her boyfriends Christmas.

What follows is a rapturously delightful and utterly joyous celebration of Australian Xmas, full of a deep reverence for the tackiness of the tinsel strewn households, replete with a Coles bought pavlova and overburnt sausages on the barbecue. There's an emotional honesty and warmth to Nugget is Dead that is found in Imogen's first feature film, 2019's Suburban Wildlife, a narrative that explored the pressing disconnect that younger generations face when they want to seek a life out of the suburbs and in the city where they can grow.

That concern is within Nugget is Dead, but it's presented in such a deeply relatable and enjoyable manner that, by the time the climax arrives, you're not completely aware that you're shedding tears of joy and sadness at once.

As you'll hear in the following interview with Imogen, I loved this film a lot, and particularly enjoy experiencing the work of Imogen McCluskey and seeing how her perspective on Australia grows and changes on screen. Throughout the conversation, we chat about working alongside actors who are also the writers of the film, what her time at the AFI Directors Conservatory taught her as a filmmaker, and what she hopes audiences will get from watching Nugget is Dead together.

Nugget is Dead: A Christmas Story launches on Stan. on 21 November 2024.

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The following discussion sees us traipse along a path of the highs and the lows of the Adelaide Film Festival, with each critic highlighting some of their favourite films for the festival, and some of the films that have left them wanting. 

Films discussed in the following episode include: The Correspondent, Emilia Perez, Lesbian Space Princess, Make It Look Real, Good One, The Wolves Always Come at Night, Anora, All We Imagine as Light, The Seed of the Sacred Fig, No Other Land, and more. 

There are few experiences which leave a mark on you and change how you experience the world, and yet, for me, the Adelaide Film Festival was one such experience. This is partly because of the festival itself, which provided such a wide array of cinematic, theatrical, and critical experiences that kept poking, prodding, and provoking immense thoughts, excitement, and bolstered my passion for cinema and the arts, but it's also partly because of the connection I have had with the following people you'll hear. Meeting my long time collaborator and friend Nadine was as wonderful as I'd hoped it would be, and getting to meet Virat, another person whose work I admire immensely was equally exciting. I hope you enjoy listening to the following discussion as much as I did recording it. 

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Over its brief existence, moviejuice has made its mark on Australian culture and cinema, showcasing films that would otherwise go unnoticed or underappreciated. Films like Gabe Bath's Ships that Bear or Tim Baretto's Bassendream, unique experiences that genuinely shift the filmic language of Australian cinema.

Now, in 2024, moviejuice have teamed up with Adelaide Film Festival to present a must see experience, a cinematic double featuring Jordy Pollock's Wabi Sabi Rendezvous and Audrey Lam's Us and the Night. In the following interview, Daniel and Shea talk about their history with moviejuice, the vision for the collective, what it means to work with an organisation like Adelaide Film Festival, and naturally, the importance of celebrating and amplifying this kind of Australian culture.

I am in awe of what the moviejuice team are creating from the heart of Adelaide. They are helping shape how we respond to Australian culture and ensuring that filmmakers like Gabe Bath, Tim Baretto, Tim Carlier, Jordy Pollock, and Audrey Lam, are continually talked about and are part of the ongoing conversation that is Australian cinema.

moviejuice presents Wabi Sabi Rendezvous and Us and the Night at Adelaide Film Festival on Saturday 2 November 2024. Tickets are available here.

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Like Samuel's first film, Sequin in a Blue Room, there's an unexpected nature to Went Up the Hill which comes from a foundational level, and is realised in the films sound design, its choice of location - a remote farm in Aotearoa/New Zealand - and the notion that this is a triple hander film delivered by two powerful, impactful performances from Dacre and Vicky.

There's an emotional vulnerability to the film that reveals itself as it progresses in a way that feels real and lived-in. How that emotional vulnerability was achieved is what's explored and discussed in the following conversation with Dacre Montgomery, recorded ahead of the films Australian premiere at the Adelaide Film Festival on Saturday 26 October, where Dacre will be in attendance, and Sunday 3 November. 

In the following interview, Dacre talk about his studies at WAAPA, the Western Australian Academy of Performing Arts, before discussing the tangible aspects of his performance that helped Vicky and himself ground their characters in the moment, while also being able to immerse themselves in the role of Elizabeth as she possesses their characters. 

Went Up the Hill is another towering achievement of emotional filmmaking from Samuel Van Grinsven, a filmmaker who is defiantly making his mark on global cinema with stories that feel deeply personal, yet completely universal at the same time. 

If you want to find out more about the work we do on The Curb, then head over to TheCurb.com.au. We are a completely independent website that lives on the support of listeners and readers just like you. If you can and want to support us, please visit Patreon.com/thecurbau to keep our lights on from as little as $1 a month.

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Throughout Make It Look Real, we see frank and open conversations between Claire, actors Sarah Roberts, Albert Mwangi, and Tom Davis, about the purpose of the sex scenes employed in Tightrope and how they play into the characters narratives. Then, we see conversations with Claire and Kieran and hear how they negotiate the progression of the narrative, leading Kieran to reflect on the third act threesome he had planned. In between these discussions, Claire and Kate take audiences on a journey through film history where we hear from actresses who have pushed themselves to unnecessary and unsafe places to work through a scene that features nudity or simulated sex scenes.

What results is a documentary that takes a holistic approach to intimacy coordination and proposes a safer, more inclusive future where the rights and safety of the actors is considered on a foundational level.

In the following interview, Kate talks through the process of intimacy coordination, how the concept of utilising a constructed film like Tightrope came about, and what Kate has experienced as a creative who has explored ideas like representation on screen and how that intertwines with body autonomy and respect. Kate also talks about how she hopes a film like Make It Look Real will be received by audiences.

Make It Look Real is an Adelaide Film Festival Investment Fund production and will premiere at the festival on Saturday 26 October where Kate, Sarah, Albert, and producer Bethany Bruce will be in attendance. It will then screen again on Sunday 3 November. Tickets are available here.

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Every Little Thing is a sonic and visual delight of a film that wonders the senses with cinematography that fully immerses us in the world of the hummingbird, all the while presenting the dedication and care that Terry Masear gives to these tiny, fragile creatures who flit about the world, acting as harmonious pollinators who enrich the ever-increasingly human dominated nature that they live within.

I've seen plenty of films about animals being cared for, or about the communities that spring up in a fight for animal activism, and yet, I've never really seen a film like Every Little Thing. In the following interview, you'll hear me talk to Sally about why I feel this is a purely unique film, one that manages to present the role of an animal carer in a deeply compassionate and understandable way. I'm in awe of the majesty on display here, and while I've always loved Sally's work, I feel that Every Little Thing is yet another grand step forward in her role as a humanistic filmmaker.

Every Little Thing screens at the Adelaide Film Festival on Thursday 24 October, and again on 2 November. Sally will be in attendance on 24 October and will attend a panel on documentary filmmaking on Friday the 25th of October. Visit AdelaideFilmFestival.org for more details.

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This serene and moving film follows a young family in the midst of transition. Parents Maria and Nik are raising their four children on a remote farm in Norway, teaching them a self-sustainable way of life and learning how to live alongside the land they call home. With Maria's photography helping provide a steady income for the family, all seems to be moving along comfortably, that is, until Maria passes away leaving Nik to raise their children. With no means of financially supporting the family, Nik is faced with the difficult decision of shifting his family to a new home and possibly moving away from Norway back to his home country of England where he has stronger familial support.

While this sounds like a heavy experience, Silje reflects on Maria's life perspective, her photos, and her journal writings which can be found on her blog, and in that process she manages to transform A New Kind of Wilderness into a beautiful, enriching, life affirming film that will leave you with a renewed perspective on family, nature, and the lives that we live.

In the following interview, Silje talks about how she shot A New Kind of Wilderness and the relationships that she had with the family on and off camera, while also reflecting on the relationship that the film will have with audiences around the globe.

A New Kind of Wilderness screens at the Adelaide Film Festival on Saturday 26 October and Tuesday 29 October. Tickets are available here.

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Each of these stories paints a picture of the kind of Australia that we live in - a complicated and multifaceted community that stretches from Western Australia to the shores of Bondi Beach in NSW. It's near those Bondi shores that Darling takes audiences with his latest film, The Pool, a mood driven documentary that presents a year in the life of the iconic Bondi Icebergs Club, a varied group of individuals who call the stunning seaside pool home.

The Pool sways through different styles of documentary filmmaking. At once, it's a nature documentary, with Ben Cunningham's camera capturing every shade of blue and purple that the sea, its sunrises and shadows of sunsets offer, at other times it leans towards a talking heads style documentary as swimmers, lifeguards, and trainers each tell personal stories about what the pool means to them. Darling matches the tone of the pool with an array of iconic songs that are masterfully paired with Paul Charlier's score.

What emerges from the salty waters of Bondi is a tonal poem that embraces the feeling and mood of being immersed in a body of water and being at one with yourself and the world, free from thoughts and worries. It is, quite simply, a unique experience that feels wholly appropriate for a documentary about a swimming pool.

Midway through watching The Pool, I couldn't help but be reminded of Apichatpong Weerasethakul's view that to fall asleep during one of his films is an honour. While I didn't fall asleep during The Pool, the experience that Darling has created is so relaxing that I couldn't help but want to drift off with the sounds of his film playing in my mind, wondering where the stories I hear would take me.

This is a question I wish I asked Ian when I interviewed him ahead of the films screenings at the Adelaide Film Festival, and the national release for The Pool on 7 November. Instead, our discussion swayed into the realm of talking about what swimming means to him, how he worked in the different colour palette for the film, and what his perspective of the truly Australian nature of this story is. The Pool is a film that, if you give yourself over to it, will certainly transport you to a different place, and is a visual treat on the big screen.

The Pool screens at Adelaide Film Festival on Sunday 27 October, where Ian Darling will be in attendance and on Sunday 3 November. Tickets are available via the Adelaide Film Festival website here. For those unable to attend, The Pool will release nationally on 7 November.

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But, dreams aren't always meant to happen overnight, with the film following their journey away from their home in Tiwi to Victoria where they have to train and try out for consideration with the major teams. On this journey, we see the difficulties that the AFLW hopefuls face, especially those from communities like the Tiwi Islands where the same kind of opportunities that come easily for male players are simply not afforded to the women players. 

In the following interview with Sal and Danielle, the co-directors talk about their journey of bringing this story to life, what kind of change they want to see in the AFLW, and the importance of hearing stories that have rarely been told on screen.

Like My Brother launches in Australian cinemas nationwide from today, 17 October 2024. It's a must see Aussie doco that you can take your whole footy loving family to.

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Over the span of eleven minutes, the impressive short film Yeah the Boys sways and swerves through a boozy night with the lads in nondescript backyard Australia. Drinking culture, Aussie larrikinism, and the masculinity that finds fertile ground in these areas is brought to life with a pulsing score by The Avalanches. Oh, and all of this is presented with an the organic dance movements choreographed by Vanessa Marin. 

Yeah the Boys is written by Vanessa, with her partner Stefan Hunt taking directing duties. The titular boys are Neven Connolly, Kieran Crowe, Hadley Davidson, Jackson Garcia, Jordan Hill, Rob McLean, with Bailey Spalding appearing at the shorts start. 

It is, quite simply, one of the most unique and invigorating slices of Aussie cinema you'll see this year, and after winning the Best Australian Short award at the Oscar qualifying Flickerfest in 2024, and winning the Innovation Award at the St Kilda Film Festival, where it was also nominated for Best Cinematography, and receiving nominations for Best International Short at the Palm Springs Short Fest, Yeah the Boys will be available to view online from 15 October. 

Ahead of the films launch on Vimeo, YouTube and Instagram, I caught up with Stefan and Vanessa to talk about the process of planning and creating Yeah the Boys, I also ask Vanessa about how she managed to flow organic, natural movements in with the boys dancing, before I close the chat with asking Stefan about how Yeah the Boys plays into his relationship with death. This really is an interview that goes everywhere. For those interested in Stefan's work, including delving into his views on death, head over to StefanHunt.com.

Yeah the Boys is a fantastic realisation of creativity let loose, embracing Australiana, warts and all. It stands as a reminder why Aussie films of all lengths need to be recognised and celebrated - short films are films. 

If you want to find out more about the work we do on The Curb, then head over to TheCurb.com.au. We are a completely independent website that lives on the support of listeners and readers just like you. If you can and want to support us, please visit Patreon.com/thecurbau to keep our lights on from as little as $1 a month.

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Yet, even calling Salt Along the Tongue an homage to Alomdovar feels like it's doing a disservice to Parish's work here. This is, much like his first film, a distinct work syphoned from the mind of Parish Malfitano, and in the realm of Australian cinema, that is a blessing.

Salt Along the Tongue follows Laneikka Denne's Mattia, a teen girl who struggles to find her place in the world being bullied at school and simply unable to be herself. It's a reality that's thrown into further turmoil when her mother unexpectedly dies, with Mattia having to move to live with her aunt, Carol (Dina Panozzo), who also happens to be her mothers identical twin. Yet, Carol is distinctly different than Matthia's mother, with her aunt having an exuberant personality that, when married with her complicated relationship with alcohol and the cooking show she records with her coven of friends, causes Matthia's life to shift in ways she doesn't know how to fully navigate.

This is just the surface of what Parish is working with in Salt Along the Tongue, a film that features an almost completely women led cast, and acts as an ode to mothers and the hardships that men have put upon them in the world. Shot with a stunning colour palette that plays out at times like an aurora gracing through the sky, and at others like a freshly slaughtered chicken, blood dripping everywhere, Salt Along the Tongue is a film full of supreme confidence, driven by a vision to explore Parish's Italian heritage in an Australian setting.

The co-lead of the film, Laneikka Denne, wisely said on Letterboxd that this does not feel like it was made in Australia in all the right ways, and they are completely right. There's a brilliance at work here that feels diametrically opposed to the projects that funding bodies in Australia are supporting. Parish is not working alone in this capacity, with filmmakers like Alice Maio Mackay and Alina Lodkina each exploring personal narratives within Australian cinema, and in doing so, these filmmakers are shifting what Australian cinema is.

That notion of Australian cinema, as always, is embedded in my conversations with filmmakers, and the following discussion with Parish, recorded ahead of the films launch at SXSW Sydney on 18 & 19 October, explores his relationship with Australian cinema, his drive to tell stories that he wants to see on screen, and his journey through the creative process of making Salt Along the Tongue. While this conversation goes for fifty minutes, I feel like we barely scratched the surface of what's at play within this vividly realised and sensorially invigorating film.

So, with that said, if you're in Sydney, head along and see the film on 18 or 19 October. It looks like the 18th is sold out, so jump on board for the 19th if you can. Make sure to seek out Parish's previous film, Bloodshot Heart, which is available on demand. And if you want to find out more about Parish's work head over to ParishMalfitano.com.

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On the horizon for Saara are two more films. Coma is a feature length film told from the perspective of a patient in a coma whose friends, family, and the hospitals employees spill their own truths onto this unconscious person, and Saara's other film being Conversations with Spithead, a short-long film about a physicist who engages in complicated and wild conversations with his cat, Spithead, about the nature of living.

In the following discussion, Saara talks about her journey into filmmaking, what it's like working within a film community like filmonik in Melbourne, and about how Coma and Conversations with Spithead were created. Saara closes the conversation by giving advice for fellow independent filmmakers in Australia.

To find out where you can view Saara's films, seek out her social media presence on Instagram and Facebook.

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Directed and produced by Gregory Miller and Georgia Wallace-Crabbe, The Koalas is a powerful, if at times devastating, documentary that speaks to a crisis occurring right in front of us. Whether it's bushfires or landscape clearing or road strikes, the life of the koala is always in danger.

Georgia speaks to me ahead of The Koalas screenings at the Berlin Down Under Film Festival on 29 September, Adelaide on 29 September, the Darwin Deckchair Cinema on the 30th of September, and in Copenhagen on October 3rd and 6th. In the following extensive conversation, Georgia talks about her journey into filmmaking, her path from winning awards the Melbourne Film Festival to making films that told global stories, to the importance of creating a film about the koala.

This is a generous discussion with Georgia, and one I'm grateful to have had. If you are interested in the work that is occurring across the nation to support koalas, please seek out this film. For additional information and future film screenings, visit thekoalasfilm.com

The Koalas is supported by Dov Kornits and Screen Inc. To find out more about Screen Inc, visit https://screeninc.com.au/

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There will also be a book launch from myself on Friday evening at Better Read Than Dead, where I'll be joined by Jack Sargeant and Platon Theodoris to kick off my new book, Lonely Spirits and the King.

Tickets for all of these films, and more, are available via SUFF.com.au.

Ahead of the festivals launch, I caught up with Festival Director Nathan Senn to chat about what makes an underground film festival an underground film festival, how important it is to showcase films from different genre backgrounds, and what it means to amplify Australian filmmakers like Saara Lamberg, whose film The Lies We Tell Ourselves screens at the festival on Sunday 15 September.

We dig into a bunch of recommendations, stories about the films screening at the fest, and a bunch more in this in depth discussion.

If you're in Sydney for the fest, come along and say hello. It's going to be one heck of a festival.

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Starring Jerry as Himself features Jerry and his family re-enacting Jerry's story, which is frequently tense, but thanks to the optimism and positive outlook of the world that Jerry has, the film is also rather endearing.

In the following interview with Jerry and his son (and the films producer) Jonathan, we delve into the spoilers of the film, and as Jonathan mentions at the start, the two would hope that audiences go into the film knowing as little as possible.

Starring Jerry As Himself was the Grand Jury Prize Winner at the 2023 Slamdance Film Festival, where it also received the award for Best Actor for Jerry, and it was the Audience Award winner.

In the following interview, Jerry talks about his life on screen, what it was like reenacting these moments of his life, while Jonathan talks about what it is like to have Jerry as a father.

This interview was recorded ahead of the films launch at the Castlemaine Documentary Film Festival in June 2024. Keep an eye out for a future release in Australia.

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Ahead of the films launch in Australia earlier this year, Nadine Whitney caught up with the creative team behind the film to discuss all of its eccentricities.

Nadine wrote about the film in her review saying:

Describing Hundreds of Beavers is almost reductive. It is quite simply a film that must be experienced to appreciate its genius. It is symphonic physical comedy with a sharp eye on what makes slapstick so universally appealing. It is saucy, subversive, and brilliant.

Hundreds of Beavers is now available to watch on demand in Australia. We highly recommend you pull together a group of friends and yack it up with this delirious film.

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Fungi: Web of Life is a 3D IMAX presentation which makes its Australian premiere at the 2024 Melbourne International Film Festival, featuring immersive cinematography by Cam Batten, a powerful score by Piers Burbrook de Vere, and two of the most captivating guides through the world of mushrooms that you could wish for: UK biologist Dr Merlin Sheldrake, who walks us through the grand Tarkine rainforest of Tasmania to explain why fungi are vital to a healthy ecosystem, while famed mushroom enthusiast, Björk, provides a calming narration to support Merlin's discussions.

Fungi: Web of Life is a fascinating and surprisingly powerful experience that excites the senses and provokes a new way of considering the world around us. In the following interview with Joseph, recorded ahead of the films Australian premiere at MIFF on 22 August, with a follow up screening on 25 August, Joseph talks about his journey to exploring environment on screen through documentaries, how the sound design for a growing mushroom was crafted, and the challenge of presenting nature on screen while also addressing the impact of climate change.

To find out more about the screenings, visit MIFF.com.au.

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The Organist is a darkly comedic film that speaks to the current global cost of living crisis as it follows Jack's Graeme, a budding organ-procurement businessman who sidles into the lives of struggling millennials and zoomers who have found themselves saddled with an insurmountable level of debt. His solution, or rather, the solution from the company he works for, is to alleviate these struggling souls of one of their organs, and in return their debt will be cleared. In a well rehearsed and successful spiel, Graeme outlines where the organs will go to, detailing the reduced amount of organ donations that's taking place in Australia.

Graeme's selling tactics are so strong and persuasive that he's offered a promotion, or rather, an invitation into the darker underbelly of the organisation he works for, where he discovers that the organs he procures don't actually go to needy recipients, but rather one of the wealthy cannibals who pulls the strings behind the scenes.

As Graeme falls into the web of the horrid organ donation turned cannibal operation, he encounters Riley (Luke Fisher), a morality focused person who believes he's finally equalled his ledger and seeks to end his life by way of locomotive. Seizing an opportunity to push Riley further into the 'good' side of his ledger, while also equalling up his own ledger, Graeme seeks out a needy donor recipient who can benefit from Riley's demise.

The Organist is frequently hilarious, with Jack Braddy's captivating lead turn as Graeme sways from moralistic to opportunistic as he finds himself struggling to stay afloat in a hungry organisation. He's equalled by Luke Fisher's Riley, a soul who was comfortable with the mark he left on the world, only to realise that maybe he has more to give.

What follows is a darkly hilarious game of cat and mouse that satirises and critiques the capitalistic society we all live in. This is a confident and impressive debut feature from a set of Aussie creatives who are eager to upend the notion of what Australian films can do. The Organist is a welcome treat as it gives audiences the chance to laugh at the difficult times we live in.

In the following interview, Andy and Jack talk about their interest in filmmaking, what Jack learned on the George Miller film Three Thousand Years of Longing that he was able to bring to The Organist, and about the timely presence of the film in the ever-growing cost of living crisis.

It screens at MIFF on 13, 15, and 23 of August, with the first two sessions having sold out. For more details, head over to MIFF.com.au.

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The sequel to the 2020 werewolf hit, 200% Wolf, hits cinemas on 8 August, and as I continue my championing of the film with interviews with director Alexs Stadermann and lead voice actor Ilai Swindells, I was able to have a chat with Akmal about his work on the film, what it means to be able to improvise as a voice actor, and I even managed to slip in a question about reflecting his 2003 comedy, You Can't Stop the Murders, which Akmal co-wrote and starred in.

200% Wolf is in cinemas on 8 August all around Australia and I urge everyone to head along and check out this absolutely delightful and visually spectacular animated extravaganza.

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In the following interview, recorded ahead of the films Australian release on 1 August 2024, Nadine discusses the film with director Chris Nash, delving into the dark delights that this horror offering has. As Nadine mentions in her review, the death trip that Nash takes his audience on shows a bevy of victims who will all face a gruesome demise.

To find out more about the film, head over to TheCurb.com.au to read Nadine's review, alongside other interviews and reviews. The Curb is a listener supported platform. To keep us independent and ad-free, head over to patreon.com/thecurbau to support us from as little as $1 a month.

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Afterwar screened at the 2024 Sydney Film Festival, with a release to come in the future.

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Yet, for all of its modernity, Stubbornly Here is as far from a dark, doom-laden experience as you can get, with the film joyfully embracing a trio of friends, Sunny (Cleo Meinck), PJ (Nathan Di Giovanni), and Floyd (Jonathan Maddocks), as they seek to use the vanishings as an opportune way to slink away from the routine life of this sleepy little deathtoll town and start a new existence in Sydney. Their road trip is thwarted early, leading the trio to shack up at a remote motel while they decide on what to do next. There's a sense of adult-free judgement within the film, like having cereal for dinner or wagging school or doing something that you shouldn't. Untethered freedom without concern.

What follows is a positively nostalgia-tinged experience of three friends bonding and enjoying the last remnants of their youth before they either vanish or adulthood arrives to steal away their unworried joy. Broadley's script is a delight, full of charming moments of hope and friendship, all of which is brought to life with vivid realisation by Cleo, Nathan, and Jonathan.

It's then a surprise to hear from Taylor in the following interview that the three actors only got to meet each other days before shooting began, with the group bonding quickly and forming a friendship on screen. Taylor talks about how he wrote the script for Stubbornly Here, a narrative that feels like he simply had to get it down on the page, and he talks about what it means to be a Perth creative, while also touching on the beckoning nature of Sydney for the sandgropers amongst us.

Stubbornly Here is a genuine delight, a warm embrace of inventive filmmaking, creative storytelling, and a keen realisation of what friendship, hope, and the possibility of youth is. I urge everyone who enjoys fear free filmmaking to seek out this film. If you're in Perth, you'll have a chance to catch it at the Revelation Film Festival on 4 July and 13 July 2024. Don't miss it.

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I was able to chat with director Alexs Stadermann and star Ilai Swindells prior to the films world premiere at the Sydney Film Festival and I got to ask both of them about the delight of fart jokes in films. My chat with Alexs does touch on some slight spoilers, but it's nothing that would impact your enjoyment of the film.

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Nadine Whitney spoke to Paul Goldman ahead of the World Premiere at the 2024 Sydney Film Festival, with the two talking about Paul's experience of shooting in Kalgoorlie, how he cast the roles, and the allure of the drama within a boxing story.

Kid Snow has two more screenings at the Sydney Film Festival on 14 and 15 June before it heads west where it screens as the opening night film for the Revelation International Film Festival in Perth on 3 July. Tickets for all screenings are available now. 

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Flathead follows these real figures as they're nudged along a partly-fictional narrative, and as the film plays with a sublime black and white presentation, it sways into a dreamlike state, providing a highly affecting story about modern Australia.

It's that notion of what a modern Australia is that drives the following conversation with Jaydon, who took four years to make the film and had to leave Australia to realise what it was that he needed to make. Flitting into some of the scenes, and delivering a closing duet with Cass, is fellow filmmaker Brodie Poole, a documentarian in his own right who has also essayed what modern Australia looks like on screen with his documentary General Hercules. Both Brodie and Jaydon are engaging in an essential conversation right now about Australian identity and culture, and in doing so, they're also reasserting the notion of who gets to tell stories on screen in this place we call Australia.

Flathead is an experience like no other, and my words here barely scrape the thematic text of the film, nor do they do justice to what Jaydon is putting forward as a filmmaker. As a nation, there is a shortage of filmmakers who operate in the realm of social realism, and I'm hoping beyond hope that Jaydon continues down this path. If so, then we will be richly rewarded as his body of work builds over the years.

For now, do what you can to see Flathead. It's one of the finest Australian films of the year.

It screens on 12 June and 15 June at the Sydney Film Festival. For tickets, visit sff.org.au.

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Starring the director Will Howarth, Ashley Zukerman (Fear Street) and Talia Zucker (Lake Mungo).

On an isolated cattle farm, Layla and Jack's life takes a dark turn when a storm exposes the unforeseen repercussions of Jack’s animal breeding technology.

Nadine Whitney chats to Will and Tom about creating a sense of extreme isolation in In Vitro, collaborative writing processes, making grounded science fiction, and Ash Zukerman doing the washing.

In Vitro screens at Sydney Film Festival on the 6th, 8th, and 9th of June. Tickets are available here: https://www.sff.org.au/program/browse/in-vitro

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In the following interview, Nadine Whitney and Andreas talk about his interest in telling the story of Hilde Coppi on screen. Hilde was a young German women who was drawn into the anti-Nazi resistance movement during World War Two.

Andreas Dresen is in attendance at the festival as a festival guest, and will be participating in Q&A sessions at screenings of From Hilde, With Love, on Thursday 9 May at Sydney Palace Central, Saturday 11 May at Palace Cinema Como in Melbourne, and Saturday 18 May at Palace Barracks in Brisbane. For all screening times and to purchase tickets, visit GermanFilmFestival.com.au.

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This is a film about physicality and the at times exclusionary manner that the gay community can exhibit prejudice against different body types. Shape explores how a community that is often vocal about celebrating diversity can engage in body discrimination.

Shape screened at the Mardi Gras Queer Film Festival in 2024. To keep track of where Shape will screen in the future, visit Roger's website: RogerThatPictures.com.au for more information.

Shape will screen at Victorian Pride Centre as part of their pride month events on 19th June 2024 at 7pm. Tickets are available here. 

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As Katherine details in the following interview, working together on each others films has helped create a body of work that has been able to showcase their combined and singular talents. There's a charm and devilishness to Alison & Betty that leans into a 1950s housewife modality, flipping it on its head with an off kilter kookiness that sees Katherine and Holly bounce off each other with ease. Alison & Betty shows a talent on the rise that has me excited to see where both Katherine and Holly progress as filmmakers.

To follow Katherine's work, make sure to follow her Instagram page @justamissgrace, or visit her YouTube page for more details, and Holly's Instagram page @hollyedodd to keep track of her projects. 

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So begins his Road to Patagonia, the title given to Matty's documentary about his journey from Alaska to Patagonia, a 50,000km trek that sees him encountering magnificent surfing locations, wildlife of all kinds, a bond with a group of horses who help on his journey, and a romance which changes his life. 

The Road to Patagonia is deliberately meditative film, and as such, it becomes a soothing experience as viewers learn from the people who live with the lands Matty and his partner Heather Hillier trek along. This is not some kind of 'white cultural tourist' narrative either, as Matty and Heather never seek to become saviours or people who co-opt the lifestyles of the people they meet, instead seeking to join the wavelength of the spiritual harmony that the people they meet exude. 

There's an optimism to The Road to Patagonia that comes across with the way Matty Hannon talks about his life. In the following interview, Matty talks about the challenges he faced making the film, and what he has been able to implement into his modern life in the Byron Bay region. 

The Road to Patagonia and Matty Hannon are heading around Australia on a national tour until 19 April 2024. Head over to the Facebook page for more details. https://garage.com.au/the-road-to-patagonia/#:~:text=Synopsis,between%20humanity%20and%20the%20Earth.

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