the Curb

Brandon Daley's $Positions has the makings of a cult classic. Nerve shredding at times, before hollowing you out with giddy laughter at others. It screens at Revelation Perth International Film Festival on 13 & 14 July 2026. Tickets are available via RevelationFilmFest.org.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.

Alana Hunt is a multidisciplinary artist whose work explores history through a forensic approach to research. Her work mines the history of Australia, often utilising archival material to navigate the violent, colonial past. In her 2023 work, Surveilling a Crime Scene, Hunt navigates the materialisation of non-Indigenous life on Miriwoong Country in the town of Kununurra. That exploration brings forth the often violent terminology utilised to demean and dehumanise First Nations people of the region. In her latest work, Displacement and Replacement: A Remixed Narrative of Western Australia, a film that utilises the archived work of Bryan Lobascher to present the manner that violence permeates through the landscape, films that utilise terminology to suggest that there is nothing of value living on and with that land. Lobascher's work presents in a beautific and adoring manner a level of cruel environmental destruction that has continued over the decades of Western Australia's mining existence.Hunt's work asks viewers to sit with that violence, understand its place in the present and to reconsider the past. These remixed films are interspersed with harsh sounds that inflict a sensory impact that leads us to further question the status quo.In the following interview, Alana discusses her processes as an artists, how she explores an archive and draws stories out, and more.Displacement and Replacement: A Remixed Narrative of Western Australia screens at Revelation Perth International Film Festival on Saturday 11 July 2026. Tickets are available via RevelationFilmFest.org.

Filmmaker Jess Londono's short film e-Mum is a slightly satirical, completely engaging exploration on motherhood in the age of AI. Emma lives a solitary life with no partner or kids, a point of contention between her estranged mum and her. As an intrusion on Emma's life, her mum delivers an android daughter for her to look after. In Emma's eyes, this AI creation is a mere tool, something that exists to do the tasks that she has no interest in undertaking herself. Emma finds herself gaining a connection with the robot, something that's jeopardised when it goes on the blink and she's left with a human shaped ornament rather than something she can engage with.In the following interview, Jess talks about her vision as a filmmaker, where the idea of e-Mum came from, and her hopes to bring a Colombian sensibility to Australian films.This interview was recorded ahead of e-Mum's screening at the 2026 Flickerfest, and is being published ahead of the upcoming screening at the Revelation Perth International Film Festival on 12 & 14 July 2026 as part of the WA Off Kilter Shorts line-up.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.

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.Read Kate Separovich's Australian in Cinemas newsletter.

Lint is the first feature film from Boorloo-Perth polymath David West. It's a hyper independent West Aussie film about Iris (Melissa Coci) and Susan (Courtney Swartz), colleagues who work at an environmentally friendly dry cleaning company who conspire to bring down their sleazy boss Vincent (Tom Camp). Along the way, they get distracted by dinners with friends, tennis lessons, and more, all the while their exploits are interspersed with sultry shots of Vincent against the backdrop of sunsets. This interview with David was recorded in May 2025 after Lint screened at the WA Made Film Festival and has been sitting, waiting to be birthed into public existence ever since. What better time to release it than ahead of the VHS Tracking Presents... screening of Lint at Goolugatup on 17 June 2026 between 6:30pm - 9pm. Tickets are free and available now, so if you're around, head along and support Aussie cinema. The interview starts as you might expect: with a conversation about goats. David's Zoom profile picture was that of a goat, which spurred a discussion about how great goats are. What happens after that, well, you'll discover as you listen.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.

West Aussie filmmaker Miley Tunnecliffe makes the shift from shorts to features with her debut feature length film Proclivitas. This familial horror-drama film features Clare (an impressive grounded performance from Rose Riley), an addict in recovery who returns to her hometown to tidy up her mother's house after her sudden death. Returning home, Clare connects with her old flame Jerry (a superb George Mason), and the two bond over an unresolved trauma from their youth. As Clare's time at home continues, the demons that plague her mind and memories start to re-emerge. 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. 

Filmmaker Jordan Giusti's Floodland is an impactful documentary that takes audiences to the flood-prone landscape of Lismore, NSW. Thousands of people call the region home, and yet, due to the climate crisis and government inaction, they find themselves in horrifying situations where their homes are swept away, they lose friends and family, and pets and livestock end up as collateral damage for an ongoing emergency that has no solution in sight. Resilience is a word that's used for those who call Lismore home, the flood capital of Australia, but Jordan's documentary shows that there is a way to solve this crisis.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.

Sophie Hyde's films have often explored identity, self-realisation, and the path to finding your place in this messy, mucked up world. 52 Tuesdays sees a child growing to understand the gender transition that one of her parents is going through, while Good Luck to You, Leo Grande sees Emma Thompson's 55-year-old Nancy reclaim her sexuality.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.the Curb is a completely independent and ad free website that lives on the support of listeners and readers just like you. Visit our subscription page where you can support our work from $2 a month. Paid subscribers get access to our monthly competitions, exclusive interviews and articles, and more. Follow us on Instagram, Facebook, and Bluesky.