The Curb

Co-writer and actor Archie Lush, director Alex Power, and producer Mark Zanosov take us to the streets of Fremantle, Western Australia, where their short film Blunt pushes us into the simmering heat of the kitchen. Under the spatter of duck fat and the glint of sharp knives is the mounting pressure of being a top tier chef, a notion that's amplified by Archie Lush's emerging culinary creative need to try and save his fathers struggling restaurant. Shot with a vivid realisation from one of Australia's finest emerging talents, cinematographer James Dudfield, and edited with precision by Hamish Paterson, Blunt is a rapid fire short that immerses you in the world of fine dining in a way that'll scratch that itch between seasons of The Bear.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.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.We'd also love it if you could rate and review us on the podcast player of your choice. Every review helps amplify the interviews and stories from storytellers to a wider audience.

Nadine Whitney had the wonderful opportunity to speak with Karan Kandhari and Radhika Apte about Sister Midnight and how as original and ‘weird’ as it is, it’s also representative of people who are rarely seen as (essential) inhabitants of Mumbai. Both Karan and Radhika are an absolute joy to listen to.  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. 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.We'd also love it if you could rate and review us on the podcast player of your choice. Every review helps amplify the interviews and stories from storytellers to a wider audience.

Genevieve Bailey is a documentarian who has drawn attention to the impact of societal struggles with mental illness through her empathetic and nurturing body of work. With feature films like I Am Eleven and Happy Sad Man, Gen embraces a supportive mindset, using the power of cinema to bring real stories to audiences. It's that sense of support that is keenly felt in her latest documentary, Always Listening, a short film about the history of Lifeline Australia. Gen takes us to the end of the telephone where we meet the many counsellors and support people who volunteer their time, emotions, and empathetic listening skills to guide people through mental health crisis events, suicidal ideation, and other critical mental struggles.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.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.We'd also love it if you could rate and review us on the podcast player of your choice. Every review helps amplify the interviews and stories from storytellers to a wider audience.

Lorcan Finnegan's wild and weird trip-fest flick The Surfer is one that's had local audiences salivating at the prospect of its arrival. That anticipation went into hyperdrive when Oscar winning actor and walking cult-factory Nicolas Cage was announced as the leading man, a bloke returning home to the South West to buy his family home, reconnect with family, and surf a little. His idea of a Christmas sojourn is scarpered when 'the locals', headed up by Julian McMahon at his career best, thwart his chance of escaping the heat and securing the home he has his eyes on.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.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.We'd also love it if you could rate and review us on the podcast player of your choice. Every review helps amplify the interviews and stories from storytellers to a wider audience.

Jacob Richardson's feature film debut The Aegean sees the Queensland based writer-director embrace the Grecian story of a widower, Hector (Costas Mandylor), who finds himself in the orbit of Khristos (Light), a refugee who finds himself in the waters of the Aegean Sea. As Khristos finds himself becoming embedded in Hector's life, he discovers an unexpected bond that will give him a sense of place and purpose that he was missing.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.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.We'd also love it if you could rate and review us on the podcast player of your choice. Every review helps amplify the interviews and stories from storytellers to a wider audience.

With her essential website Infinite-Women.com, Allison Tyra has built a deep database that contains more than 6000 biographies from around the world and throughout history, documenting the biographies of women who have made a mark in history. Her debut book, Uncredited: Women’s Overlooked, Misattributed, and Stolen Work, expands on the database within Infinite Women and explores the stories of over 600 women who have had their work or achievements be overlooked, misattributed, or stolen, ultimately leaving their legacy as an uncredited and unacknowledged one.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.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.We'd also love it if you could rate and review us on the podcast player of your choice. Every review helps amplify the interviews and stories from storytellers to a wider audience.

Kelly Schilling's feature debut film With or Without You is the powerful and impactful story of a mother, Sharon (Marta Dusseldorp) and a daughter, Chloe (Melina Vidler), who are forced to navigate the complicated reality of alcohol addiction, an affliction that Sharon uses to manage her anxiety alongside Valium and men. For Chloe, the man in her life, an ex-boyfriend, turns violent and aggressive, inflicting abuse on her by burning down her caravan, destroying her life savings and home in the process. In a bid to get to some kind of safety and sanctuary, Sharon and Chloe head on the road, meeting Dalu (Albert Mwangi) on the way, a West African man who is looking for work in the Australian countryside.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.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.

One of the more exciting news points in recent weeks has been the announcement of the new First Nations initiative Damulgurra Stories. Founded by Larrakia man Cian Mungatj McCue, of Moogie Down Productions, and award-winning casting director and producer Sarah Price of Castaway NT, Damulgurra Stories aims to transform the way productions work with First Nations cast, crew and creatives both on and off screen— providing resources, protocols and training rooted in cultural integrity, collaboration and empowerment.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. We'd also love it if you could rate and review us on the podcast player of your choice. Every review helps amplify the interviews and stories from filmmakers to a wider audience. 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.

Lars and the Real Girl is Craig Gillespie's 2007 indie comedy-drama about a man who has an unconventional relationship with a sex doll. That man is a young Ryan Gosling, who is supported by Emily Mortimer, Paul Schneider, Patricia Clarkson, and Bianca the Doll.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.We’d also love it if you could rate and review us on the podcast player of your choice. Every review helps amplify the interviews and stories from filmmakers to a wider audience.