The Curb

And we're back with another review discussion with myself, Andrew, and my colleague Nadine Whitney. In this episode, we discuss the work that we both did on the Umbrella releases of Eyes Without a Face and Hounds of Love, while also discussing the importance of the supplementary materials that come with physical media releases, alongside the work that goes into writing or creating essays for physical media releases.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.

ion to our humanity. At twelve years of age, Darwin won the award for Best Film by a Child Producer, Best Cinematography, and Best Editing at the KidzFlicks awards for his short film Red Panda Man. He had previously made a claymation short film called My Eco Friendly House. Darwin then also was a Tropfest Jr finalist for his short Milk. Again, he was only twelve years old at the time.https://www.youtube.com/watch?v=CIZDIpQoomYFlash 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.the Curb is 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. 

In December 2013, Australian journalist Peter Greste, alongside fellow Al Jazeera colleagues Mohamed Fadel Fahmy and Baher Mohamed, were arrested in Cairo, Egypt under charges of holding illegal meetings with the Muslim Brotherhood, an organisation declared as a terrorist group by the Egyptian Interior Ministry. 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. 

Aussie band Kingswood are rock royalty, having played shows with AC/DC and The Hives, tearing down the rooves of Aussie venues in equal measure with their unique brand of raucous rock. In 2024, the band undertook a record-setting road trip across Australia with the Hometowns Tour, the longest ever music tour, encompassing 112 shows over six months, with everywhere from the outer regions of Western Australia to the sticky floors of Sydney getting a taste of their guitar licks and long hair. 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 EVENTTicketsSaturday 5 April Thornbury Picture House Melbourne **SCREENING, Q&A EVENTTicketsSunday 6 April Pivotonian Cinema GeelongSCREENING, Q&A EVENT Wednesday 9 April Regal Theatre Adelaide SA SCREENINGWednesday 9 April Byron Bay Palace Byron Bay NSW **SCREENING, Q&A EVENT Thursday 10 April New Farm Cinema Brisbane ** SCREENING, Q&A EVENT TicketsFriday 11 April The Ritz Sydney **SCREENING, Q&A EVENT

In 2024, director Natalie Bailey and writer Lou Sanz unleashed Audrey onto audiences in Australia and America. Here's a film that I called a caustic comedy that rains like refreshing acid rain. Here's the story of a mum, Ronnie (played by Jackie van Beek), who opts to literally take over the life of her daughter Audrey (Josephine Blazier) when she ends up in a coma after an accident.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.

At just twenty years old, transgender wunderkind Alice Maio Mackay has crafted a filmography that would make most seasoned professionals envious. Alice's filmography is built within a defiantly independent space that centres queer stories on screen. From 2021's short film The Serpent's Nest, to the run of genre defying horror and sci-fi feature films that includes 2021's So Vam, 2022's Bad Girl Boogey, 2023's T-Blockers and Satranic Panic, and 2024's Carnage for Christmas, Alice has showed other filmmakers the possibilities of independent cinema within Australia.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.

For decades, David Stratton and Margaret Pomeranz were Australian film reviewing royalty, having built up a loyal following with their weekly show on SBS, The Movie Show. The 90s and early 00s was the peak of David & Margaret’s influence over Australian audiences. What they recommended, people would head out and go and see.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.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.

This podcast is also recorded in Naarm, Victoria, with fellow critic Nadine Whitney reviewing two of the films screening at the 2025 Alliance Française French Film Festival.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.

Carmen & Bolude marks something of a first for Australian films. Here is a comedy about two close friends, Carmen (Michela Carattini) and Bolude (Bolude Watson), who both call Australia home. Carmen proudly embraces her Latin heritage, while Bolude navigates the line between Western values and her Nigerian roots. Together, they take on the world and the rampant Americanised identity politics that have caused much society to turn against itself.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.