Two very contemporary films that present the modern state of America as a bit of a dumpster fire. Works of genius, or antifa propaganda? Join us as we discuss Ari Aster’s Eddington and Paul Thomas Anderson’s One Battle After Another.

Two rags-to-riches stories told through the eyes of female sex-workers, then male directors. One story ends in romance, and the other a crying heap in the front seat of a car. Join us as we discuss Gary Marshall's Pretty Woman and Sean Baker’s Anora.

Two different portraits of obsession, compulsion and a critique of American capitalism. One film is set in the oil prospecting era, and the other, Wall Street. Today we’re doing Mary Harron’s American Psycho and P.T. Anderson’s There Will Be Blood.

Comparing a paranoid thriller from the 1970’s and an indie horror movie that took the world by storm. Today we’re doing Philip Kaufman’s Invasion of the Body Snatchers and Jordan Peele’s Get Out.

To celebrate the life of Robert Redford, Bruce and Herschel attempt to draft the five best films that he either directed, produced or acted in. We're also joined by special guest score-keeper Charlie.

All about the future, AI and robot women. One film is the directorial debut of an A24 darling, the other is almost 100 years old. Both films talk about class, technology and the creation myth. Join us as we look at Fritz Laing’s Metropolis and Alex Garland’s Ex Machina. 

Check out the spectacle of The Wizard of Oz at the Las Vegas Sphere on social media, then join us for a brief discussion about this, and immersion in cinema. Regular episode next week.

Two films that are all about fidelity. One was a box office smash, that made deep waves throughout the cultural landscape of the 1980s, the other is the last film of a meticulous auteur that caused its two stars to break-up. Adrian Lynne’s Fatal Attraction and Stanley Kubrick’s Eyes Wide Shut.

Two of the best exponents of the body horror genre! One film is an under-appreciated, incest-riddled, TrashFest, and the other is an Oscar-nominated, hyper-realistic, indie smash. Both films use the body to present satirical narratives about class, family, capitalism and the patriarchy. Brian Yuzna’s Society and Coralie Fargaet’s The Substance.

We celebrate everything we loved about one of Australia's greatest film figures David Stratton. We also share what films we're covering this season.