the Curb

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. Sign up for the latest interviews, reviews, and more via https://www.thecurb.com.au/subscribe/ Hosted on Acast. See acast.com/privacy for more information.

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.Sign up for the latest interviews, reviews, and more via https://www.thecurb.com.au/subscribe/ Hosted on Acast. See acast.com/privacy for more information.

This interview has been a long while in the can, waiting to be published. This in depth discussion with filmmaker, creative, and fearless storyteller Lucy Coleman was recorded early in 2025 and due to reasons you'll hear in the long intro (recorded in the foyer of Luna Cinemas Leederville, a home away from home), it's now finally being released into the world.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. Sign up for the latest interviews, reviews, and more via https://www.thecurb.com.au/subscribe/ Hosted on Acast. See acast.com/privacy for more information.

Lianne Mackessy is a multi-hyphenate creative whose work spans from acting in front of the camera in films like 2025's Smoke, to writing and directing her own work, like her 2026 drama short film Tuesday Tuesday. 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.Sign up for the latest interviews, reviews, and more via https://www.thecurb.com.au/subscribe/ Hosted on Acast. See acast.com/privacy for more information.

Stellan Skarsgård as Gustav Borg in Joachim Trier’s Sentimental Value is a man who is searching for connection with the two daughters, Nora (Renate Reinsve) and Agnes (Inga Ibsdotter Lilleaas) he effectively abandoned when he split from their just deceased mother. 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.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.Sign up for the latest interviews, reviews, and more via https://www.thecurb.com.au/subscribe/ Hosted on Acast. See acast.com/privacy for more information.

Giles Chan's Jellyfish was one of the cinematic revelations that I experienced during 2025. It's a film about a man, Henry, played with grounded depression by Aidan Rynne, who earns money by being a human punching bag. His body is riddled with bruises, most inflicted by others, some inflicted by himself. He's a jellyfish of a person, consuming enough to survive, but otherwise floating through Perth on a journey to nothing.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.Sign up for the latest interviews, reviews, and more via https://www.thecurb.com.au/subscribe/ Hosted on Acast. See acast.com/privacy for more information.

Gabriel Mascaro's filmography embraces narrative perspectives that we rarely see on screen. His 2019 film Divine Love is a neon soaked dance experience that amplifies love and unity against a backdrop of bureaucracy, while his 2015 film Neon Bull invites us into a world of rodeos, horse dancing, and flights of fantasy, and in the process, Gabriel invites us to consider the world anew.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. Sign up for the latest interviews, reviews, and more via https://www.thecurb.com.au/subscribe/ Hosted on Acast. See acast.com/privacy for more information.

Emmanuel Courcol's heartwarming and heartbreaking film My Brother's Band, aka En Fanfare or The Marching Band, is a film about Thibaut (Benjamin Lavernhe), a conductor who discovers he has leukemia and needs a bone marrow transplant. After discovering that his sister is not his blood related sibling and the he was adopted as a child, Thibaut goes down a path of discovery to find his birth mother, and possible siblings. He discovers he has a brother, Jimmy (Pierre Lottin), a working class man who also has an affinity for music.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.Sign up for the latest interviews, reviews, and more via https://www.thecurb.com.au/subscribe/ Hosted on Acast. See acast.com/privacy for more information.

In its current form, Old Habits is part of the ABC Compass series, but as you'll hear in this interview with Alfie Faber, he's working on expanding the short into a feature length documentary. And gosh, what a film it will be if he gets it to a feature length. Old Habits is a delight, utilising the charm and vibrancy of the Sisters to expand upon a hidden part of Australian queer history. 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.Sign up for the latest interviews, reviews, and more via https://www.thecurb.com.au/subscribe/ Hosted on Acast. See acast.com/privacy for more information.

In this episode, Andrew interviews Lynette Wallworth about her collaborative documentary Edge of Life. 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. Sign up for the latest interviews, reviews, and more via https://www.thecurb.com.au/subscribe/ Hosted on Acast. See acast.com/privacy for more information.

...and a new way to support independent mediaSign up for the latest interviews, reviews, and more via https://www.thecurb.com.au/subscribe/ Hosted on Acast. See acast.com/privacy for more information.

Sophie Somerville is an Australian emerging filmmaker whose short films Linda 4 Eva and Peeps made waves at film festivals around the world. Now with her feature film debut Fwends, winner of the Berlinale Forum's Caligari Film Prize for Innovation, Sophie firmly makes her mark on Australian cinema as a talent to watch out for.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.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 to a wider audience.Sign up for the latest interviews, reviews, and more via https://www.thecurb.com.au/subscribe/ Hosted on Acast. See acast.com/privacy for more information.

Writer-Director Adrian Ortega's Westgate follows Netta (Sarah Nicolazzo) and her son Julian (Max Nappo) as she embarks on a torturous day of navigating hospitals, family, cultural prejudices, and more, all as she faces the threat of eviction and the ever rising debts that keep her and her son trapped in a class struggle.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.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 to a wider audience.Sign up for the latest interviews, reviews, and more via https://www.thecurb.com.au/subscribe/ Hosted on Acast. See acast.com/privacy for more information.