Ab Film Review & The Last New Wave

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

Filmmaker Jordan Giusti's Floodland is an impactful documentary that takes audiences to the flood-prone landscape of Lismore, NSW. Thousands of people call the region home, and yet, due to the climate crisis and government inaction, they find themselves in horrifying situations where their homes are swept away, they lose friends and family, and pets and livestock end up as collateral damage for an ongoing emergency that has no solution in sight. Resilience is a word that's used for those who call Lismore home, the flood capital of Australia, but Jordan's documentary shows that there is a way to solve this crisis.Shot with an immediacy and the level of compassion and understanding that elevates the crisis at hand, Floodland is a powerful document for the region, the people who call it home, and their future.The following interview sees Nadine Whitney, someone who lived in the region, interview Jordan and producer Rachel Forbes about making the film. This interview was recorded ahead of the films screenings at

Haydn Green has been the creative force of Hear My Eyes, a sonic-visual, hybrid experience which blends film and music in creatively intriguing and boundary pushing ways. As the founder and artistic director of Hear My Eyes, Haydn reaches out to contemporary musicians to craft new scores for pre-existing cinema.Collaborations include Sampa the Great rescoring Céline Sciamma's Girlhood, The Murlocs putting their spin on Gregor Jordan's Two Hands, while Springtime and Mick Harvey explored a new sonic landscape for Andrew Dominik's Chopper.For its tenth anniversary, Haydn Green has tapped Belgian electronic musician Peter Van Hoesen, powered by the Melbourne Electronic Sound Studio, to reimagine the music of James Cameron's iconic sci-fi classic, Terminator 2: Judgment Day (the original theatrical cut).Visit HearMyEyes.com.au for all tickets to the screenings taking place on the below dates:Melbourne: Feb 25-28, Hamer HallSydney: March 7, City Recital HallCanberra: March 18-19, Canberra TheatreSign up for the l

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

One of the standout films from the 2026 batch of Flickerfest shorts has been Damien Power's docu-drama Return of the Champ. With this excellent hybrid experience, the stand up comedian turned director spins the cameras on his relationship with his brother, Will Power, a world champion and Indy 500 winner, who spins a story about a crash that he once witnessed. It's a story that Damien hadn't heard before, and within Return of the Champ he utilises that story to explore sibling rivalry, masculinity, and what it means to be vulnerable or open with one another.If I'm painting the film to be a deep experience, the rest assured, it definitely is. What Damien has crafted here is something that will stick with me for quite a while, with the resulting film creating a fascinating and memorable nexus points of the quiet space of ocker comedy, reserved masculinity, loud cars, laughter at stand up comedy gigs, and frustration about fathers. There's a lot going on under the hood of this flick, with the film simmering alon

Addition is the latest film from director Marcelle Lunam and actor Teresa Palmer. It's a screen adaptation of the novel by Toni Jordan, telling the story of Grace, a woman who counts everything because numbers hold her world together. Yet, when she meets Seamus (Joe Dempsie), her world is thrown upside and her ordered life becomes disordered.In the following interviews, recorded ahead of Addition's release in Australian cinemas, Nadine Whitney talks to both director Marcelle Lunam and Teresa Palmer about making the film and respectfully presenting neurodivergence on screen.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 mo

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.a

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

In unison, director Óliver Laxe & composer Kandang Ray have created one of the most intense and heart racing cinematic experiences in recent years with their Cannes award winning film Sirāt (winning the Jury Prize). Playing out like a modern version of Wages of Fear with a missing daughter and a rave in the desert supplanting that films explosive cargo, Sirāt is as intense as experience as any other that follows Luis (Sergi López) and his son Esteban (Bruno Núñez Arjona) as they ask a swathe of desert ravers where their family member is. Óliver throws viewers into the fray from the first frame, utilising Kandang Ray's thumping electronic music to provide a sonic backbone to the anxiety provoking experience. That's a tone that never lets up throughout the films 114 minute runtime, ensuring that by the time credits role you'll be pushing down an oncoming panic attack.For some, that sensory experience of tension driven filmmaking isn't exactly fitting with the idea of a 'good time at the movies', but Sirāt i

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 i

Even though we're only five days into the new year, one of the standout shows for 2026 is the ABC adaptation of Shaun Tan's Tales from Outer Suburbia. This glorious animation carries a stop motion vibe as it invites us into a version of suburbia, one where deep sea divers roam the streets and single mums try to keep their family together.We follow Klara and Pim and their mum Lucy, voiced with beautiful attentiveness and care by Geraldine Hakewill. The focus is on the kids, but each time they return home, Lucy is there to tend to them and to set up their new life in outer suburbia.In the following interview, recorded ahead of the shows launch on ABC, Geraldine talks about the creative process of voicing Lucy, about how her varied roles throughout her career have influenced what choices she makes as a storyteller, and much more.Shaun Tan's Tales from Outer Suburbia is currently on ABC iView. Head along and give it a watch, it's a great show for kids and adults alike.If you like this chat with Geraldine, then ma

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 col

If there's one filmmaker who has left a mark more than any other on my life, it's been Kelly Reichardt. Through her work, I've gleaned an understanding of what American life through the ages is like. From the pioneer days captured with a desolate despair in Meek's Cutoff, to the heart shattering singularity of Wendy and Lucy, to the manner that taste and fortune appear in opportunistic ways in First Cow, and now, with her latest film The Mastermind, we see a nation at another nexus point, pushed by the Vietnam War and a changing society to be something different, something possibly more equal.The Mastermind is a bit of a heist film, but it's a heist film in the way that First Cow was a heist film, meaning, the nature of the heist is almost perfunctory in that while it's the instigating action for the film, it's the outcomes of the heist that throws Josh O'Connor's James Blaine Mooney life into disarray. Not that his life wasn't in some level of disarray with the feckless out of work father mooching off his pa

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 bri

Shaun Tan is many things. He's an Academy Award winning animator, he's an artist who has taken the fantastical to suburbia and made both feel real and otherworldly, and he's someone who has poured years into shaping personal stories into profound imagery.  To me, he's more than just those things. He's someone who has translated what it means to live in Perth, what it means to grow up in a version of suburbia that spreads far beyond our horizon, and more importantly, what it means to grow up in a multicultural landscape like Perth, where the history of pearl divers in Broome can linger in the ochre brick homes of Wanneroo, or vacant lots become the home to giant oxen.  This conversation with Shaun sees the artist open up about his work, the relationship with the suburbs, and how these aspects played into facilitating the translation of his acclaimed book Tales from Outer Suburbia into the new ABC animated series, Shaun Tan's Tales from Outer Suburbia. It hits ABC iView on 1 January 2026 and

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

Andrew interviews filmmaker Kitale Wilson about his short film A Silent Rebellion.Visit thecurb.com.au/subscribe to support this podcast.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.

A brilliant circus family’s hidden legacy unfolds as descendants reunite across continents, revealing their Australian Aboriginal ancestry, global stardom, and the extraordinary secrets they kept in order to survive. The greatest entertainment on earth in the 1900s was the circus and its performers were the global superstars. The big top transported children and adults alike into a world where anything was possible.Con Colleano, ‘the wizard on the wire’ defied gravity, while he and his family defied all odds to become a global phenomenon. Through the Colleano family's remarkable home movies, never-before-seen footage, family interviews and archive, their extraordinary story is revealed. Rooted in humble beginnings from the Australian bush, the family outmanoeuvred punitive Australian laws and prejudice to travel the world, concealing their Indigenous heritage and reaching the highest echelons of circus stardom.Con Colleano dazzled fans while also mingling with icons including Charlie Chaplin, at the most excl

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