'The front fell off.' The 94 metre 100 metre track. Fred Dagg. 24 years of political satire with Bryan Dawe. These are just a handful of the impactful comedic works from the one and only John Clarke.

For over 40 years, John Clarke brought an unparalleled level of wit, politically astute comedic understanding, and pitch perfect timing to Australian and New Zealand audiences. John Clarke's work as a comedian wasn't just to entertain, but to also make audiences sit and think. Whether it be utilising the landmark comedy series The Games as a way of presenting an apology to the Stolen Generation of Australia, or by calling out the hypocrisy of the colonial state we live in, John Clarke utilised his comedic genius to masterful effect.

In 2017, the world lost John Clarke, and Lorin Clarke lost her father.

Now, after having explored over 200 boxes of John Clarke's work and letters, having written about book about her relationship with her dad, and having interviewed countless fellow comedic masters like Sam Neill, Rhys Darby, and Ben Elton, Lorin has crafted a documentary about her dad called But Also John Clarke.

It's just about one of the most enriching and delightful experiences you'll have this year, even if you're not familiar with John Clarke's work - and I kind of almost envy you if you aren't, as you've got decades of work to be entertained by. For a film that could quite easily have become a hagiography or a maudlin experience, Lorin manages to balance the film with a delightful level of charm and compassion. Compassion not only for the loss of her father, but also for the audience who loved him, her mother, and most importantly, herself.

In the following interview, recorded ahead of But Also John Clarke's world premiere at the Melbourne International Film Festival, Lorin talks about getting the balance right for a film like this, while also touching on the process she undertook to be vulnerable this way.

I had an absolute blast and shed more than a few tears watching But Also John Clarke, as I'm sure you will too.

It screens at MIFF from 15 August to 24 August, with select Q&A sessions with Lorin in attendance. To buy tickets, visit MIFF.com.au.

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After having its world premiere at the Adelaide Film Festival in 2024, and having screened at SXSW and Sydney Film Festival, Kate Blackmore's essential documentary Make it Look Real is now available to view on Netflix. I've followed the journey of this documentary with keen interest, having discussed the film at length in conversations with Kate, co-star Albert Mwangi, and now, bringing the conversation full circle, producer Bethany Bruce.

In this deep conversation, Bethany talks about her journey into the arts, what her interest in producing has been, how her work with Staple Fiction is changing storytelling on Australian screens, and what it was like to work with Kate on this powerful documentary.

If this is the first time you're hearing of Make it Look Real, then welcome. This is a documentary that lifts the veil on intimacy coordinators, following their journey in film from the initial phases to the day of the shoot. In between scenes of working through the intimacy coordinator process, the film explores how films like Last Tango in Paris could have benefited from having an intimacy coordinator on set. Additionally, while this film is about film and TV production, it does open up discussion for others about consent when it comes to personal relationships.

Check out Make it Look Real on Netflix right now, and to find out more about Bethany's work, visit StapleFiction.com.au.

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Writer-director Domini Marshall is a talent on the rise. With short films like Go with Grace, Slap, and now her finest work yet, Howl, under her belt, Marshall is a force to be reckoned with. Her work is deeply personal, written from a perspective that invites audiences to engage with the internal mindset of her characters, and through that process, we're able to see the world differently.

Guiding Domini's creative output is producer Josie Baynes, a equally impressive talent on the rise. Alongside Domini, Josie has worked with emerging talents like Annelise Hickey on her films Stranger, Brother. and Hafekasi, while also allowing cinematographer Matthew Chuang to build a body of work that is also reshaping how Australian stories are seen on screen.

I highly recommend you seek out Domini's work on her website, DominiMarshall.com, where you can also seek out her web series her words, released during 2017-2019. It's a deeply informative series, one that pairs well with books like Taboo by Hannah Ferguson.

In the following conversation, Domini and Josie talk through their creative process, how they manage to bring us into the internal mindset of their characters, and a lot more.

Howl is screening at the Melbourne International Film Festival as part of the Aussie shorts package, alongside Stranger, Brother., I'm the Most Racist Person I Know, Mango Seed, and more. Screenings are held on 11 and 22 August, with online screenings taking place from 24 August. Visit MIFF.com.au for more details.

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Grant Hardie is the co-founder of Monster Pictures, one of Australia and New Zealand's leading distributors of horror and genre films. In 2011, Monster Pictures birthed the darkly delightful Monster Fest, which has quickly become Australia's flagship horror and genre film festival.

Now, in 2025, Monster Pictures, in partnership with Head Gear Films and White Hot Productions, have morphed into their next stage of evolution, launching Monster Pictures Studios, a full-service genre film studio which aims to work with Aussie creatives to bring genre films to life with the intention of becoming a defining force of Australian genre cinema.

There's a giddy level of delight when you read a press release like this one, as if we're honouring the scrappy genre-roots of Aussie cinema, splashing back to the era of Ozploitation where anything was possible. While the Age of Ozploitation is over, that doesn't mean Aussie filmmakers can't birth a new movement, and hopefully Monster Pictures Studios is going to do just that.

First films off the ranks includes the action-thriller Seven Snipers, directed by Sandra Sciberras, featuring Radha Mitchell, Tim Roth, Ioan Gruffudd, and Ryan Kwanten. The next wave includes films from horror legends Greg McLean & Sean Byrne, while Matt Day will be making his feature directorial debut.

I caught up with Grant Hardie to talk about Monsters Pictures ability to engage with audiences, filmmakers, and to shape how horror and genre films are embraced in Australia.

To find out more, visit MonsterPicturesStudios.com.

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Eya’s (Safa Gharbaoui) world as a 12-year-old Belgian Tunisian is filled with warmth and humour. She’s considered the welcome extension of her older brother Younès (Mehdi Bouziane) whose friends treat her like a part of their family. She loves viral dance moves, French rap, football, and riding on the back of Younès’ motorcycle. She’s bright and happy, especially when she’s included in Younès circle.

When Younès becomes “collateral damage” in a shooting incident, everything Eya thought was her life becomes turned upside down. Maja Ajmia Yde Zellama’s debut feature is a beautiful and powerful representation of the Tunisian community in Brussels as Eya’s family and extended family mourn and honour Younès and Eya finds strength in the gentle young men around her: and the spirit of Younès and what he meant to his community opening up a profound understanding of the importance of one life.

Nadine Whitney spoke to Maja Ajmia Yde Zellama about creating examples of healthy masculinity and how her own upbringing influenced Têtes Brulées.

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Debut Australian director Amy Wang’s twisted satire Slanted sees an aspiring prom queen undergo radical surgery to change her race. This is a film that's been called Mean Girls by way of The Substance. Nadine Whitney caught up with Amy Wang to talk about the process of getting her feature film debut off the ground, what it means to be an Australian filmmaker working right now, and the themes of the film, and more.

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.

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Dreams, imagination and sobering realities meld in this absolutely magical debut, in which a young girl must decide whether to leave her volcanic island home.

The island of Fogo, Cape Verde is singular in its beauty. Drylands give way to black-sand beaches, while villagers gather in intimately cluttered homes. Director Denise Fernandes’ attention to lyrical detail highlights the profound love that young Nana (Dailma Mendes as a child, Sanaya Andrade as a teen) has for her home. But for all its visual poetry, many residents seek to escape the island’s hard living. When her mother returns after decades away, Nana is faced with an impossible decision. Seamlessly moving between realism and the surreal – including a journey to a reality-warping volcano – Fernandes entwines myth and hard truths to tell a unique coming-of-age tale about what it means to belong to a place.

Nadine Whitney interview director Denise Fernandes about her film Hanami. This interview was recorded ahead of the films screening at the Sydney Film Festival. Keep an eye out for future screening details.

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Abebe Butterfly Song is a documentary that starts as a narrative exploration of Melbourne musician David Bridie, best known for his work in bands like Not Drowning, Waving and My Friend the Chocolate Cake, but then folds in his life-changing experience of travelling to Papua New Guinea and meeting musician George Telek and the Moab Stringband.

The film then takes audiences through a journey of discovering Papua New Guinea culture and how Australia's past is intertwined with Papua New Guinea's future. This includes explorations of the engagements during WW2, the devastating volcano eruption in 1994, and the music the emerges from these histories. Abebe Butterfly Song arrives as Papua New Guinea prepares to celebrate its 50th anniversary of independence.

Andrew interviewed director Rosie Jones about bringing this story to life. It screens at Perth's Revelation Film Festival on July 5 and 10. Visit RevelationFilmFestival.org for tickets.

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Co-directors Richard Moore and John Doggett Williams invite audiences into the space of pain, discomfort, and body exploration with their searing, curiously tender, and wonderfully life-enriching documentary Stelarc Suspending Disbelief. This occasionally profound experience follows performance artist Stelarc, a Cyprus-born Australian artist who was raised in the suburbs of Melbourne and found a path towards exploring mortality, death, and what it means to be alive through artwork that many might consider extreme or provocative, but for this pain-experiencing audience member, I found his artwork all embracing in its presentation of discomfort and finding peace within that space.

Those things, and many more, sit behind this conversation with Richard Moore, recorded ahead of the documentaries screenings at Perth's Revelation Film Festival on 9th and 11th of July, and the Castlemaine Documentary Festival on 4 July 2025. Links are in the show notes for both festivals.

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.

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On this episode of physical media reviews, Nadine Whitney & Andrew F Peirce delve into some of the major releases from Umbrella Entertainment. They kick off the discussion looking at Jamie Blanks Ozploitation throw back gorno flick Storm Warning, before taking a darker dive into the mammoth New Extremity Collection which features High Tension, Anatomy of Hell, Frontier(s), and Martyrs. Finally, they dive into one of the must have physical releases of the year, Tarsem's The Fall.

Physical media copies were provided by Umbrella Entertainment for honest reviews.

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.

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