Podcasts about Melbourne International Film Festival

ONE HOT FEST – MIFF is a special mini-series from One Heat Minute Productions. Host Blake Howard takes you inside the Melbourne International Film Festival — from filmmaker interviews and festival dispatches to reviews and discussions with guests and critics.To celebrate the World Premiere of DIGBY & CAMILLE at the Melbourne International Film Festival, I talk with co-directors Trevor Graham and Digby Webster about turning eight years of footage into a living photo album of a love story, and the trust it took from Digby, from Camille, and from both their families, to let something this private and this joyful play out on screen.One Heat Minute ProductionsWEBSITE: oneheatminute.comTWITTER: @OneBlakeMinute & @OHMPodsMERCH: https://www.teepublic.com/en-au/stores/one-heat-minute-productionsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

ONE HOT FEST – MIFF is a special mini-series from One Heat Minute Productions. Host Blake Howard takes you inside the Melbourne International Film Festival — from filmmaker interviews and festival dispatches to reviews and discussions with guests and critics.To celebrate the Australian Premiere of The Latcher at the Melbourne International Film Festival, I talked with director James Hunter and star Lucy Lovergrove about fusing elemental and crushing emotional realities, sharing a rarely seen side of Australia, and shooting a movie on weekends that felt like a school camp.One Heat Minute ProductionsWEBSITE: oneheatminute.comTWITTER: @OneBlakeMinute & @OHMPodsMERCH: https://www.teepublic.com/en-au/stores/one-heat-minute-productionsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Adam C. Briggs is a prolific voice in Australian cinema, with acclaimed films like A Grand Mockery, Boogie Bobby, and his new film, Phillip Philadelphia, arriving over the span of a few years. His films are the result of collaborations with equally vital voices in Australian cinema, whether it be with Sam Dixon who co-directs A Grand Mockery and features in Phillip Philadelphia, or with Sarah Moore, who he made the short film It Flew Once with.Phillip Philadelphia is at once a lurid experience, and yet, a somewhat mournful one as well. It follows Phillip, a Golden Globe nominated British screenwriter who finds himself whiling away his existence with fuckboy boyfriend Antony (Oliver Cameron) on the vibrant Gold Coast. The neon lights of The Pink Poodle bathe Phillip and Antony as they exist in this desperate town that masquerades as a city.Phillip Philadelphia examines colonialism through a modern perspective, with Phillip regularly swilling liquor from the decapitated head of a Captain Cook bottle. There's a garish tone to the film that welcomes you to luxuriate in it, all the while the theme song by Sanfeliu lingers in the background.It's one thing to pontificate over the film, but it's another to ask Adam about the making of it, what his intentions are with the film, and more. I've been fortunate enough to run a couple of Q&A sessions with Adam at Perth's Revelation Film Festival so have an understanding of what kinds of questions Adam likes - or doesn't like - to answer.It's that perspective about how he likes to discuss his work that opens the following interview. We explore the perception of his films, the nose that Phillip has on his face, and engaging with Sanfeliu to create the theme for Phillip Philadelphia.Phillip Philadelphia screens at the Melbourne International Film Festival on 7 & 9 August 2026. Visit MIFF.com.au for tickets.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.

Adam C. Briggs is a prolific voice in Australian cinema, with acclaimed films like A Grand Mockery, Boogie Bobby, and his new film, Phillip Philadelphia, arriving over the span of a few years. His films are the result of collaborations with equally vital voices in Australian cinema, whether it be with Sam Dixon who co-directs A Grand Mockery and features in Phillip Philadelphia, or with Sarah Moore, who he made the short film It Flew Once with.Phillip Philadelphia is at once a lurid experience, and yet, a somewhat mournful one as well. It follows Phillip, a Golden Globe nominated British screenwriter who finds himself whiling away his existence with fuckboy boyfriend Antony (Oliver Cameron) on the vibrant Gold Coast. The neon lights of The Pink Poodle bathe Phillip and Antony as they exist in this desperate town that masquerades as a city.Phillip Philadelphia examines colonialism through a modern perspective, with Phillip regularly swilling liquor from the decapitated head of a Captain Cook bottle. There's a garish tone to the film that welcomes you to luxuriate in it, all the while the theme song by Sanfeliu lingers in the background.It's one thing to pontificate over the film, but it's another to ask Adam about the making of it, what his intentions are with the film, and more. I've been fortunate enough to run a couple of Q&A sessions with Adam at Perth's Revelation Film Festival so have an understanding of what kinds of questions Adam likes - or doesn't like - to answer.It's that perspective about how he likes to discuss his work that opens the following interview. We explore the perception of his films, the nose that Phillip has on his face, and engaging with Sanfeliu to create the theme for Phillip Philadelphia.Phillip Philadelphia screens at the Melbourne International Film Festival on 7 & 9 August 2026. Visit MIFF.com.au for tickets.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.

Jim and Sean look at the films in competition at the 2026 Locarno and Venice film festivals. They also discuss the Bright Horizons competition at the upcoming Melbourne International Film Festival. Films discussed include: Bucking Fastard, Ink, Bunker, Look Back, Possible Love, Primetime, Wild Horse Nine, Blue Heron, Josephine, La Gradiva, Congo Boy, Everyone Digs Bill Evans and MORE! Email: incompetitionfilm@gmail.com Facebook : In Competition Film Podcast Instagram : incompetitionfilmpod If you're in Brisbane, check out the New Farm Queer Film Festival (July 30 - August 8).

In this episode of Out Takes we speak with Kate Jinx, senior programmer at Melbourne International Film Festival about the retrospective of German avant-garde filmmaker Ulrike Ottinger, titled Radical Travels. We hear from Screen Australia COO Grainne Brunsdon about their new innovation the Private Investment Toolkit to encourage more investment in Australian film. We also encore our interview with Bina Battacharya, the writer and director of From All Sides, which is now streaming on SBS On Demand. The post MIFF Ulrike Ottinger retrospective, Screen Australia Private Investment Toolkit, From All Sides writer/director Bina Battacharya appeared first on Out Takes.

Victoria has entered a historic new chapter after becoming the first Australian state to formally begin a statewide Treaty process with First Peoples. A new series of short films is exploring what Treaty means and why it matters. The Sovereign Shorts program at the Melbourne International Film Festival features FOUR First Nations-led documentaries focused on the theme of Treaty. The program provides free mentoring, resources and 40 thousand dollars of budget for each film maker. One of the shorts is Dya from Wojotbaluk Ngarrinderri film maker Tracey Rigney. The Wire's contributor from NIRS Harrison Pedersen spoke with Tracey Rigney about the documentary.See omnystudio.com/listener for privacy information.

The Melbourne International Film Festival is around the corner and senior programmer Kate Fitzpatrick joins us for her Annual MIFF round-up! #GoodMovieMonday #MIFF #KateFitzpatrick #BoneheadWeekly

For this Out Takes, we speak with Jill Bilcock, the acclaimed editor of some of the most iconic films of Australian cinema, including Strictly Ballroom, Romeo + Juliet, Muriel’s Wedding and Head On, which are all currently screening at ACMI. We follow that up with our review of Heartstopper Forever, the final instalment of the much loved YA series, we talk Obsession and why it’s this year's phenomenal box office hit, and we make a first attempt at highlighting some of the queer- themed films in this year's Melbourne International Film Festival. The post Heartstopper Forever, special guest the acclaimed editor Jill Bilcock, MIFF picks, Obsession appeared first on Out Takes.

As is our annual tradition (since 1994), we scry the screen of the 2026 Melbourne International Film Festival with the Zero-G Genre Filter. See Zero-G's Facebook page for written film pick lists. https://www.facebook.com/ZeroGRadio/

Christopher Nolan's The Odyssey arrives amid enormous anticipation. Jason considers whether the mythic epic can live up to the hype.A tribute to Sam Neill, who died this week, as we revisit a beautiful highlight from our archives: Neill reflecting on his favourite film - a clue, it was directed by Alfred Hitchcock.We speak with filmmaker Alain Gomis ahead of the Melbourne International Film Festival about Dao, his visually striking exploration of memory, history and identity; and MIFF Senior programmer Kate Jinx is in for a preview of this year's festival.Presenter, Jason Di RossoProducer, Sarah CorbettSound, Angie GrantArts editor, Sarah L'Estrange

Christopher Nolan's The Odyssey arrives amid enormous anticipation. Jason considers whether the mythic epic can live up to the hype.A tribute to Sam Neill, who died this week, as we revisit a beautiful highlight from our archives: Neill reflecting on his favourite film - a clue, it was directed by Alfred Hitchcock.We speak with filmmaker Alain Gomis ahead of the Melbourne International Film Festival about Dao, his visually striking exploration of memory, history and identity; and MIFF Senior programmer Kate Jinx is in for a preview of this year's festival.Presenter, Jason Di RossoProducer, Sarah CorbettSound, Angie GrantArts editor, Sarah L'Estrange

For this Out Takes, we were very excited to welcome back MIFF a.k.a the Melbourne International Film Festival which is back in cinemas and online this August. Our special guest was Al Cossar, the Artistic Director of the Melbourne International Film Festival, who discussed with us many of the queer highlights and special events on offer for this year’s festival. We also heard from Dr Patrick Kelly who has curated two films, My Own Private Idaho’ and ‘Scorpio Rising’, that are coming to the Capitol Theatre on Tuesday July 21 for ‘The Best Films You’ve Never Seen: Queer Edition’. The post MIFF 2026 with Al Cossar and the ‘Best Films You’ve Never Seen – Queer Edition’ with Dr Patrick Kelly appeared first on Out Takes.

For this Out Takes, we were very excited to bring you our review and interview with Adrian Chiarella, the writer and director of ‘Leviticus’, a new gay horror-supernatural film that is in cinemas now and is already being hailed as one of the best Australian films of the year. Set within a Christian community in regional Victoria, it takes the already-terrifying reality of conversion therapy and magnifies it into something supernatural: a haunting demon, visible only to its victims, which takes the shape of the person they most deeply desire. With a fantastic cast and an excellent premise that is explored specifically from a queer lens, Leviticus is one to definitely see on the big screen this Pride Month. Adrian Chiarella is a local award-winning screenwriter and director who has made his mark in television and delivered highly acclaimed short films at festivals around the world. We caught up with him recently on the promo trail for ‘Leviticus’ to discuss all aspects of the film including the development of his original idea into a feature film, his cinematic inspirations, the casting process and more. Also, with the recent announcement of the return of John Cameron Mitchell for the 2026 Melbourne International Film Festival for a special 25th anniversary celebration of ‘Hedwig and the Angry Inch’, we revisited our 2018 interview with the queer auteur to discuss the ongoing impact of this defiant and uncategorisable cult classic. The post ‘Leviticus’ with special guest Adrian Chiarella and John Cameron Mitchell for MIFF 2026 appeared first on Out Takes.

A terrific opportunity to hear from Australian actor Shabana Azeez as she prepares to begin filming Season 3 of The Pitt in the US. Equity member Kat Hoyos sits down with Shabana to explore her journey from starting out in Adelaide to working on one of the most talked-about TV series today. Widely regarded as one of the most popular shows of the moment, The Pitt has captured global attention with its gripping storytelling and distinctive style. This a great opportunity to hear firsthand about the experiences, influences, and stories that continue to shape her work. They discuss how she has navigated the industry, developed her craft, and embraced the opportunities and challenges of an international career. Shabana Azeez has quickly established herself as one of the most exciting actors to watch with her undeniable talent and magnetic screen presence.  As a breakout star of HBO Max's Emmy-winning hit series, THE PITT, she can be seen reprising her role as “Victoria Javadi” in the second season which is currently streaming on Max in the USA, Binge in Australia and a number of other platforms around the world. She recently wrapped production on SBS's new drama, THE AIRPORT CHAPLAIN. The eight-part series stars Shabana opposite Hugo Weaving and captures the high-stakes world of a bustling international airport, told through the struggles and triumphs of the workers who keep it running. Recently in film, she voiced the lead character of “Saira” in the animated feature film LESBIAN SPACE PRINCESS which was selected for the 2025 Berlinale where it won the Teddy Award and honored with an AACTA Award for ‘Best Indie Film'. Previously in film, she starred as “Irene” in the feature film, BIRDEATER, for which she was awarded ‘Best Actress' by the Australian Film Critics Association. The film also won the AACTA for ‘Best Independent Feature Film', the audience award for ‘Best Australian Narrative Feature at Sydney Film Festival' and had sold out screenings at Melbourne International Film Festival prior to a very well-received release in the USA at SXSW. Shabana co-won ‘Best Female Actor' at Tropfest in 2019 and was nominated for ‘Best Performance' at Stellar Film Festival and ‘Best Actress' at the South Australian Screen Awards for her work in the feature CRUSH. She also plays “Lali” in the short film I'M THE MOST RACIST PERSON I KNOW which won the Special Jury Award at SXSW 2025, ‘Best Short Film' at Cinefest Oz in 2025 and ‘Best Short Film' at the 2026 AACTA Awards. Previous television credits include roles on the animated series TALES FROM OUTER SUBURBIA, ABC's IN LIMBO, SBS's THE HUNTING, Netflix's APPLE CIDER VINEGAR, Disney+'s NAUTILUS, ABC'S UTOPIA and WHY ARE YOU LIKE THIS?. Shabana also regularly lends her voice and talent for accents to voiceover work and audiobooks, including the very important story Home to Biloela by Priya Nadesalingam.  Splitting her time between Australia and Los Angeles, she continues to take on bold, diverse roles that showcase her talent and versatility while highlighting her passion for telling stories that push the envelope.

Ова е еден од трите најдобри филмови од македонски автори на сите времиња и едно од најдобрите филмски остварувања во светската кинематографија во минатата година.Минатата година, "Диџеј Ахмет" беше прикажан на водечките австралиски филмски фестивали ( Melbourne International Film Festival, Sydney International Film Festival), а годинава се врати и во моментот е на репертоарот на најдобрите кина за уметничка и алтернативна кинематографија во Австралија. Зошто?

This week's essential cyber security podcast uncovers a new threat actor targeting a raft of Australian organisations and asks the important question: Is AI profitable yet? Hint – it is not. Cyber Daily's David Hollingworth and Daniel Croft open the podcast with the good news that Anthropic's Mythos platform is, in fact, coming to Australia, and they talk to the man behind the website that asks – and illustrates – the question of our time: who is actually making money from AI? It's also been a shocker of a week for data breaches in Australia, and it looks like one threat actor is behind most of the activity. Organisations such as the ACMI, the Melbourne International Film Festival, and a corporate catering service have all been allegedly hacked. Find out what's happening in cyber crime in Australia, right here. Just another week in cyber security. Enjoy, The Cyber Uncut team

This week's essential cyber security podcast uncovers a new threat actor targeting a raft of Australian organisations and asks the important question: Is AI profitable yet? Hint – it is not. Cyber Daily's David Hollingworth and Daniel Croft open the podcast with the good news that Anthropic's Mythos platform is, in fact, coming to Australia, and they talk to the man behind the website that asks – and illustrates – the question of our time: who is actually making money from AI? It's also been a shocker of a week for data breaches in Australia, and it looks like one threat actor is behind most of the activity. Organisations such as the ACMI, the Melbourne International Film Festival, and a corporate catering service have all been allegedly hacked. Find out what's happening in cyber crime in Australia, right here. Just another week in cyber security. Enjoy, The Cyber Uncut team

Wake up with JOY Breakfast – the feel-good way to start your day. Join Mietta, Jason & Dr Cat as they unpack the stories everyone's talking about (and a few you didn't know you needed), from pop culture moments and internet buzz to politics, health and queer life. Each episode blends big headlines with sharp opinions, expert insights from Dr Cat, and plenty of laughs along the way. New episodes every Tuesday 7-9am This week's topics: Melbourne International Film Festival customers’ data leaked, Bad Company (Anne Edmonds & Kitty Flanagan), the Men on Men Exhibition and Competition, fire and ice, Pride Month, Kylie Minogue, Jenevieve live in Melbourne, Euphoria (final ep at last), reality tv: Summer House, Dua Lipa married, the blue moon, the ‘Heated Rivalry’ fleece, Jason doesn't really look great in full cream, Susan Boyle's music return?, creative date ideas, and Ariana Grande's new song 2/06/2026 Instagram: @joy949 @joybreakfast @miettahj_ @themelbourneurbanite (Jason) @nyuroscientist (Cat) The post Tuesday Breakfast – Episode 25 – with Mietta, Jason & Dr Cat appeared first on JOY Breakfast.

We're Duscher-less this week but we're joined by George and Demi from Grin and Dandy to help answer another incredible pop culture question. This time we're going back in time with only the information contained within our rotten brains to try and exploit those past-os for personal profit or financial gain. The only problem is we aren't clever nor do we retain information well. Zammit tries a harebrained scheme to invent the wheel but gets too caught up in coconuts and doesn't fundamentally understand how wheels work, Jackson wants to domesticate dogs early and wants to immediately break the rules and bring back a dog, George has a brilliant idea to make a cult and Demi wants to bring back an ear worm which made Zammit think of that horrible film he hates Yesterday so changes his answer to ensuring that he Yesterdays Yesterday.If you're in Melbourne for the Melbourne International Film Festival, be sure to check out Grin and Dandy! Check out their website https://grinanddandy.com or follow them on instagram.com/grinanddandy xx o.Links to everything at https://linktr.ee/plumbingthedeathstar including our terrible merch, social media garbage and where to become a subscriber to Bad Brain Boys+ Hosted on Acast. See acast.com/privacy for more information.

In dieser Folge spricht der Künstler und Filmemacher Josef Dabernig mit Kuratorin und Kunsthistorikerin Fanny Hauser über seine künstlerischen Anfänge mit Druckgrafik und Kleinplastik, das Verhältnis von Film, Skulptur, Fotografie und Text in seinem Werk sowie über seine langjährige Beziehung zur Secession, wo er mehrmals ausgestellt hat, als Vorstandsmitglied tätig war und wo er nach dem Studium im Rahmen eines Akademikertrainings Mitte der 1980er-Jahre die frische, internationale Ausrichtung der Institution unmittelbar miterlebte. Das Gespräch wurde am 12. Dezember 2025 in der Secession aufgenommen. Josef Dabernig, geb. 1956 in Lienz. Studium der Bildhauerei an der Akademie der bildenden Künste Wien. Filme seit 1994, lebt in Wien. Beteiligungen an der der Manifesta 3 in Ljubljana (2000), 49. und 50. Venedig Biennale (2001, 2003), 6. Gyumri Biennale (2008), 9. Gwangju Biennale (2012), 1. Bergen Assembly (2013), 6. Contour Biennale, Mechelen (2013), Manifesta 10 in St. Petersburg (2014), steirischer herbst '20 und '22 sowie der 15. Baltic Triennial, Vilnius (2024). Festivalteilnahmen u.a. an Locarno International Film Festival, Mar del Plata International Film Festival, Melbourne International Film Festival, Internationale Kurzfilmtage Oberhausen, International Film Festival Rotterdam, Toronto International Film Festival und Internationale Filmfestspiele Venedig. https://dabernig.net/ Fanny Hauser ist Kuratorin und Direktorin der Kunsthalle Zürich. Zuvor war sie als stellvertretende Direktorin am Ludwig Forum für internationale Kunst in Aachen tätig. 2015 gründete sie gemeinsam mit Carolina Nöbauer, Denise Helene Sumi und Franziska Sophie Wildförster den in Wien ansässigen Kunstverein Kevin Space, wo sie zahlreiche Einzelausstellungen und künstlerische Neuproduktionen mitverantwortete. Bevor sie von 2019 bis 2021 gemeinsam mit Viktor Neumann kuratorische Stipendiatin der Gebert Stiftung für Kultur in Rapperswil war, arbeitete sie als kuratorische Assistentin für die documenta 14 in Athen und Kassel. Sie studierte Kunstgeschichte und Komparatistik in Wien und Paris und war bis 2022 Lehrbeauftragte an der Universität für angewandte Kunst in Wien. Secession Podcast: Members ist eine Gesprächsreihe mit Mitgliedern der Secession. Das Dorotheum ist exklusiver Sponsor des Secession Podcasts. Programmiert vom Vorstand der Secession. Jingle: Hui Ye mit einem Ausschnitt aus Combat of dreams für Streichquartett und Zuspielung (2016, Christine Lavant Quartett) von Alexander J. Eberhard. Schnitt: Paul Macheck Produktion: Jeanette Pacher

Best known for her provocative comedy ATTENBERG and the unnervingly satirical CHEVALIER, Athina Rachel Tsangari helped define what critics dubbed the “Greek Weird Wave,” alongside longtime collaborator Yorgos Lanthimos. A longtime filmmaking hero of host Alexei, he hailed her latest film, HARVEST, as one of the very best of 2025. HARVEST is a medieval tale of modernity swallowing up tradition, it stars Caleb Landry Jones and is shot by the now legendary Sean Price Williams. There's no greater honor to have Athina Rachel Tsangari join us in The Last Video Store while she was serving on the Melbourne International Film Festival's jury. Pick up tickets to Alexei's comedy festival tour of his new show VHS in 2026 (https://comedy.com.au/tour/alexei-toliopoulos/) Follow ALEXEI TOLIOPOULOS on Letterboxd (https://letterboxd.com/thisisalexei/) for all the rental combo lists. Hit up the Last Video Store on instagram (https://www.instagram.com/lastvideostorebetoota/) for all of our guests picks

A panel discussion of talented international directors with films in competition at the Melbourne International Film Festival discuss their journeys, including American filmmaker Andrew Patterson (The Vast of Night), whose second feature The Rivals of Amziah King, starring Matthew McConaughey, premiered at SXSW this year; Chie Hayakawa (Plan 75) from Japan, whose second feature, Renoir, premiered in Competition at Cannes; and James J. Robinson, a Filipino/Australian artist based in Los Angeles whose feature debut, First Light, had its World Premiere at MIFF.

Once again we're celebrating some of the best films, movies and cinema of 2025 with Melbourne International Film Festival programmer and film critic Kate Jinx. This time we're diving into the best documentaries, Australian films, comedies and honourable mentions. Pick up tickets to Alexei's comedy festival tour of his new show VHS in 2026 Follow ALEXEI TOLIOPOULOS on Letterboxd for all the rental combo lists. Hit up the Last Video Store on instagram for all of our guests picks.

Watch the film FLATHEAD, currently streaming on IndiePix Unlimited, and let me know what you think. It took home awards from the International Film Festival Rotterdam, among others, because it's like nothing you've seen before. It tells the intimate tale of Cass and Andrew making their way in working class Australia.In my discussion with director Jaydon Martin, we delve into what is truly fiction in a documentary; his work at moving furniture to support his vision; and his advice for indie filmmakers embarking on their first feature.It's astonishing filmmaking from the Australian, and I cannot wait to watch what's next.In this episode, Jaydon and I discuss:the North American premiere for FLATHEAD and why he decided to make such an intimate film about his characters;how an award for the film at the Melbourne International Film Festival allowed him to stop moving furniture at night;finding his filmmaking system that works for him;how his career prepared him for FLATHEAD and his views on the concept of fictionalization in documentary;the unique docufiction nature of the film -- it's like nothing you've seen before;the dilemma about truth and how the film would be different if he had gone to film school;film v. digital;whether he'd use AI or not;the importance to him of the International Film Festival Rotterdam and how he views Australia's place in the world;whether the Australian government can do more;how indie filmmakers should view their careers;what's next for him and his advice from the festival run of FLATHEAD.Jaydon's Indie Film Highlight: SONG OF ALL ENDS (2024) dir. by Giovanni C. LorussoMemorable Quotes:"A lot of working class cinema or just media in general, it's always from a distance." "That was all just, talking through and establishing trust and establishing a relationship where, you go, all right, we want to do an intimate scene. And Cass was like, yeah, just, come in boys in the morning, I'll be stark naked.""That award has set me up. I'm working on two features right now.""I think sometimes you get into a trap if you try to work for industry jobs, you get burnt out. If you sat in an edit room four days a week, it's hard to jump into your own edit." "Mindless work is great because it's you can think about anything. You can dream away while you're moving a desk, moving furniture.""That's how you capture intimacy because if there's three people, two people there, the camera just fades away eventually after a while." "I've got a version of myself which is different to my partner's version of me or my friend's version of me or someone I work with. I've got different versions of myself in this world. Which is the most truthful version of yourself?""I'm a big believer in trying to create an aesthetic of now rather than an aesthetic of nostalgia.""People get wrapped up about...this nostalgia about the tools.""And realistically, I can't pitch an idea, go, all right, can you gimme money? And two years later I'll have something to show you.""For any young filmmakers, I think EPs (executive producers) help a lot as well. Getting good eps that can get your film in front of programmers."Links:Watch FLATHEAD On IndiePix UnlimitedFollow Jaydon On InstagramSupport this podcast at — https://redcircle.com/first-time-go/exclusive-content

Celebrating some of the best films, movies and cinema of 2025 with Melbourne International Film Festival programmer and film critic Kate Jinx. Join us again next week for another bonus episode discussing the best documentaries, Australian films, comedies and honourable mentions. Pick up tickets to Alexei's comedy festival tour of his new show VHS in 2026 Follow ALEXEI TOLIOPOULOS on Letterboxd for all the rental combo lists. Hit up the Last Video Store on instagram for all of our guests picks. PICKS: Sinners, One Battle After Another, The Mastermind, Sorry Baby, Peter Hujar's Day, Harvest, The Secret Agent, If I Had Legs I'd Kick You, Marty Supreme, It Was Just an Accident Thanks to Dan Murphy's for making this episode happen! Nobody Beats Dan Murphy's. Lowest Liquor Price Guarantee. Found it cheaper? We'll beat it. T&Cs apply. Shop in-store or online at danmurphys.com.au. Choose to DrinkWise.

Special edition - Backyard Stories at Melbourne International Film Festival 2025! This episode was recorded live at the MIFF Festival Hub, on August 11, 2025.The theme was SCREEN.© Long Story Short Broadcasting

Special edition - Backyard Stories at Melbourne International Film Festival 2025! This episode was recorded live at the MIFF Festival Hub, on August 11, 2025.The theme was SCREEN.© Long Story Short Broadcasting

Special edition - Backyard Stories at Melbourne International Film Festival 2025! This episode was recorded live at the MIFF Festival Hub, on August 11, 2025.The theme was SCREEN.© Long Story Short Broadcasting

Special edition - Backyard Stories at Melbourne International Film Festival 2025! This episode was recorded live at the MIFF Festival Hub, on August 11, 2025.The theme was SCREEN.© Long Story Short Broadcasting

Special edition - Backyard Stories at Melbourne International Film Festival 2025! This episode was recorded live at the MIFF Festival Hub, on August 11, 2025.The theme was SCREEN.© Long Story Short Broadcasting

With two feature films under his belt, Samuel Van Grinsven has quickly become a vital voice in Australian cinema. His feature debut, the lurid and sumptuous 2019 queer drama Sequin in a Blue Room, utilised neon lights and lingering shots of yearning to amplify the sense of lead actor Conor Leach's youthful Sequin finding his place in a new, inviting world.With his follow up feature, Went Up the Hill, Samuel, alongside regular co-writer Jory Anast, explores facets of grief through a gothic possession drama. Here we follow Jack (Dacre Montgomery) who returns home to New Zealand for the funeral of his mother. There, he forms a fractious bond with Jill (Vicky Krieps), the widow of his mother. Where Sequin in a Blue Room explored different shades of blue, from bright neons to dark navy's, Went Up the Hill immerses viewers in shades of grey, placing Jack and Jill in a brutalist style home overlooking a cold lake.This is a film that's hard to shake. I first saw Went Up the Hill over a year ago now and there are moments in the film which have lingered in my mind in a way that that haunts my dreams. The pairing of Dacre Montgomery and Vicky Krieps is a masterful one, with the two exploring emotionality in a way that we rarely get to see on screen in an Australian film. It is, ostensibly, a film about grief and the loss of someone in your life. For Jack, as an estranged son, he has grappled with processing that grief while his mother was alive, making her true passing feel like a new advent of grief and loss. For Jill, that grief is amplified by the arrival of Jack at her partners house, and what that means for her ability to mourn the loss of her partner. These aspects, and many more, are tenderly explored in the film.In the following conversation, recorded ahead of the films screening at the Melbourne International Film Festival, Samuel talks about that colour palette for the film, while also exploring the creative path to exploring grief on screen.At the end of this interview, I misquote the title of Max Porter's essential book about grief, his 2015 novella titled Grief is the Thing with Feathers. I want to read a quote from that book which I feel touches on what this film is about 'Ghosts do not haunt, they regress. Just as when you need to go to sleep you think of trees or lawns, you are taking instant symbolic refuge in a ready-made iconography of early safety and satisfaction. That exact place is where ghosts go.'Went Up the Hill arrives in Australian cinemas on 11 September. It is a film that demands a big screen viewing.Read Nadine Whitney's review of Went Up the Hill here and listen to the interview with Dacre Montgomery here. Hosted on Acast. See acast.com/privacy for more information.

With two feature films under his belt, Samuel Van Grinsven has quickly become a vital voice in Australian cinema. His feature debut, the lurid and sumptuous 2019 queer drama Sequin in a Blue Room, utilised neon lights and lingering shots of yearning to amplify the sense of lead actor Conor Leach's youthful Sequin finding his place in a new, inviting world.With his follow up feature, Went Up the Hill, Samuel, alongside regular co-writer Jory Anast, explores facets of grief through a gothic possession drama. Here we follow Jack (Dacre Montgomery) who returns home to New Zealand for the funeral of his mother. There, he forms a fractious bond with Jill (Vicky Krieps), the widow of his mother. Where Sequin in a Blue Room explored different shades of blue, from bright neons to dark navy's, Went Up the Hill immerses viewers in shades of grey, placing Jack and Jill in a brutalist style home overlooking a cold lake.This is a film that's hard to shake. I first saw Went Up the Hill over a year ago now and there are moments in the film which have lingered in my mind in a way that that haunts my dreams. The pairing of Dacre Montgomery and Vicky Krieps is a masterful one, with the two exploring emotionality in a way that we rarely get to see on screen in an Australian film. It is, ostensibly, a film about grief and the loss of someone in your life. For Jack, as an estranged son, he has grappled with processing that grief while his mother was alive, making her true passing feel like a new advent of grief and loss. For Jill, that grief is amplified by the arrival of Jack at her partners house, and what that means for her ability to mourn the loss of her partner. These aspects, and many more, are tenderly explored in the film.In the following conversation, recorded ahead of the films screening at the Melbourne International Film Festival, Samuel talks about that colour palette for the film, while also exploring the creative path to exploring grief on screen.At the end of this interview, I misquote the title of Max Porter's essential book about grief, his 2015 novella titled Grief is the Thing with Feathers. I want to read a quote from that book which I feel touches on what this film is about 'Ghosts do not haunt, they regress. Just as when you need to go to sleep you think of trees or lawns, you are taking instant symbolic refuge in a ready-made iconography of early safety and satisfaction. That exact place is where ghosts go.'Went Up the Hill arrives in Australian cinemas on 11 September. It is a film that demands a big screen viewing.Read Nadine Whitney's review of Went Up the Hill here and listen to the interview with Dacre Montgomery here. Hosted on Acast. See acast.com/privacy for more information.

Recommending a film to Col Needham is no easy task… His personal film diary literally evolved into THE comprehensive catalogue of all films, the Internet Movie Database. The founder of IMDb and quite possibly the most supreme movie loving guest we’ll ever have on The Last Video Store to pick up his favourite films. Alexei joins Col on one of the great adventures of movie watching to find out how a mobile travelling video store van helped shape his love of film.Follow ALEXEI TOLIOPOULOS on Letterboxd for all the rental combo lists. Alexei’s screening at the Sydney Opera House - Saturday Film Club: Children of Men, 6 September 2025 Our huge thank you to the Melbourne International Film Festival for getting Col to visit the Last Video Store GUEST PICKS: Mission: Impossible – The Final Reckoning (action), Vertigo (thriller), Touch of Evil (crime)STAFF PICKS: Limbo (2023) (crime)See omnystudio.com/listener for privacy information.

Shot in a rural village in northern Nepal and jointly produced by the Australian filmmaker Kalani Gacon and Nepal's Prawin Takki Karki, ‘Family Man' recently premiered in Australia at the Melbourne International Film Festival (MIFF). SBS Nepali spoke with Gacon, also the movie's director, about the idea behind this short film. - उत्तरी नेपालको रसुवामा छायाङ्कन गरिएको एक चलचित्र ‘फ्यामिली म्यान', हाल जारी मेलबर्न इन्टर्नेश्नल फिल्म फेस्टिभल २०२५ मा प्रदर्शन भइरहेको छ। विश्वभरका २७५ भन्दा बढी सिनेमाहरू प्रदर्शनीमा समावेश गरिएको उक्त वार्षिक चलचित्र महोत्सवको यो ७३औँ संस्करणमा अस्ट्रेलियन चलचित्रकर्मी कलानी ग्याकन तथा नेपालका प्रवीण कार्कीद्वारा संयुक्त रूपमा निर्माण गरेका हुन्। ‘फ्यामिली म्यान' बनाउने योजनादेखि नेपालको बसाइ र कलाकारका दायित्वका बारेमा सो सिनेमाका निर्देशक समेत पनि रहेका ग्याकनसँग एसबीएस नेपालीले गरेको कुराकानी सुन्नुहोस्।

Arriva anche al Melbourne International Film Festival, attualmente in corso, il film documentario e di finzione "Fiume o Morte!", diretto da Igor Bezinović, e vincitore del premio Tiger al 54° International Film Festival Rotterdam.

She wrote the book on Tom Cruise (for Cahiers Du Cinema) and has examined cinema greatness with Paul Scheer on the great film podcast UNSPOOLED, now while in Australia for the Melbourne International Film Festival, Amy Nicholson enters the Last Video Store to talk big screen movie musicals with Alexei Toliopoulos. Follow ALEXEI TOLIOPOULOS on Letterboxd for all the rental combo lists and follow Amy here. Alexei’s screening at the Sydney Opera House - Saturday Film Club: Children of Men, 6 September 2025 GUEST PICKS: BETTER MAN (music), FOOTLIGHT PARADE (music), HAIRSPRAY (cult)STAFF PICKS: WOMEN HE’S UNDRESSED (Documentary)See omnystudio.com/listener for privacy information.

Each year at the Melbourne International Film Festival, a panel of guests gather to dissect the highs and lows of the zeitgeist. Host Michael Sun, essayist and regular writer for the Guardian, is joined by actor and writer Maria Angelico, Chicago–based New York Magazine Vulture culture critic Angelica Jade Bastién and visiting Los Angeles Times film critic Amy Nicholson to discuss the most overrated, underrated and personal favourite moments in movies, TV, podcasts and books of the past 12 months. Hear hot takes, heated discussions and great recommendations to enjoy post-festival. Featured music is ‘Golden Hour’ by Sarah the Illstrumentalist.Support the Wheeler Centre: https://www.wheelercentre.com/support-us/donateSee omnystudio.com/listener for privacy information.

'Art is labour'. This is a statement from composer Jung Jae-il, the man behind the iconic scores to Bong Joon-ho's Parasite, Okja, and Mickey 17, the Netflix smash hit Squid Game, and Hirokazu Kore-eda's Broker, amongst other works. For Jung Jae-il, the art of composing a score is work.For Jung Jae-il, artists like Roxette, Metallica and Björk are notable influences on his work, with Pina Bausch's dancing leaving a lingering mark on his mind. It's these kinds of artists who influenced Jung Jae-il on his solo album, Listen, released in 2023.For Jung Jae-il, there is a clear delineation between art for the self and art for a job, and it's with his work on Parasite that the distinction is felt, while his passion for his album Listen shows an artist in harmony with his craft.These are just some of the things discussed in the above interview with Jung Jae-il, recorded ahead of his performance of the live score for Parasite at the 2025 Melbourne International Film Festival.Jung Jae-il participates in a conversation with Caitlin Yeo on 23 August at MIFF, with the composer performing a live score for Parasite on 23 August over two sessions at MIFF. Tickets are available here.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. New interviews drop every Thursday, with bonus chats appearing on Tuesdays. Hosted on Acast. See acast.com/privacy for more information.

'Art is labour'. This is a statement from composer Jung Jae-il, the man behind the iconic scores to Bong Joon-ho's Parasite, Okja, and Mickey 17, the Netflix smash hit Squid Game, and Hirokazu Kore-eda's Broker, amongst other works. For Jung Jae-il, the art of composing a score is work.For Jung Jae-il, artists like Roxette, Metallica and Björk are notable influences on his work, with Pina Bausch's dancing leaving a lingering mark on his mind. It's these kinds of artists who influenced Jung Jae-il on his solo album, Listen, released in 2023.For Jung Jae-il, there is a clear delineation between art for the self and art for a job, and it's with his work on Parasite that the distinction is felt, while his passion for his album Listen shows an artist in harmony with his craft.These are just some of the things discussed in the above interview with Jung Jae-il, recorded ahead of his performance of the live score for Parasite at the 2025 Melbourne International Film Festival.Jung Jae-il participates in a conversation with Caitlin Yeo on 23 August at MIFF, with the composer performing a live score for Parasite on 23 August over two sessions at MIFF. Tickets are available here.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. New interviews drop every Thursday, with bonus chats appearing on Tuesdays. Hosted on Acast. See acast.com/privacy for more information.

Our mate this weekend is a footballing giant. Her name is Peta Searle OAM. Peta won ten flags - five as a player, five as a coach - at the Darebin Falcons, later becoming the first woman assistant coach in the AFL and St Kilda's inaugural AFLW coach. It's a great chat. We think you'll love listening to it. 'Breaking the Line: The Peta Searle Story' is playing now at the Melbourne International Film Festival. Get amongst it here. Follow 'The Footy with Broden Kelly' on Instagram or TikTok.

Duncan Fellows is a dear old friend who I have known since we were both teenagers. His effortless charm has endeared him to audiences of tv shows like Deadloch and The Messenger and will no doubt do so again in the soon to be released tv series He Had it Coming and Reckless. He was even married to my partner in the excellent tv series The Letdown.Next week sees the Melbourne International Film Festival screening of a movie he's in, Zombucha - A hilarious and big-hearted horror comedy about a couple whose hopes of striking it rich in the fermented beverage game, are shattered when their homemade kombucha attains sentience and a thirst for blood.Get tickets to the two MIFF screenings of Zombucha here:https://miff.com.au/program/film/zombucha#topSupport this show http://supporter.acast.com/the-saturday-quiz. Hosted on Acast. See acast.com/privacy for more information.

When documentarian Shalom Almond received access to document a group of women prisoners training retired greyhounds to become house-friendly pets for her 2017 film Prisoners and Pups, she opened up a door to be able to capture the hidden stories of women prisoners in Australian jails. Prisoners and Pups is a gentle film that shows the power of rehabilitation programs in prisons, not just for the prisoners, but also for the greyhounds.Now, in 2025, she is back with her essential documentary Songs Inside. Here Shalom captures the lives of women in the Adelaide Women's Prison, becoming part of their lives for six-months as she documents their participation in a music program which sees prisoners learn how to play the ukulele, write songs, and sing, all in preparation for a performance with the Adelaide Symphony Orchestra in front of 200 inmates. The climactic performance became the largest concert staged within an Australian correctional facility.Along the journey, Shalom sits in the cells of the prisoners listening to their stories, accompanies them to hearings, and captures their rehearsal processes. Art becomes a salvation for those inside, a release that is given to the prisoners who show good behaviour. But Shalom is not alone in this process, with Barkindji singer-songwriter Nancy Bates guiding their process to becomes singers and songwriters in their own right.There's a beautiful charm to Songs Inside that never detracts the reality that these are women who have found themselves on the wrong side of the law. But Shalom also never focuses on what crimes they may have done to find themselves in this situation. Instead, she taps into the notion of redemption, showing in the process that their futures are in their hands and this musical process is a part of the healing journey they find themselves on.Ahead of Songs Inside's screenings at the Melbourne International Film Festival, I had a chat with Shalom about her work on the film, what it means to be a supportive filmmaker for her subjects, and more. With a career that spans over two decades, Shalom is someone I know I could talk for much longer about her work, and hopefully one day I will.Songs Inside also screens in competition at CinefestOz, with a full release to come down the line.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. New interviews drop every Thursday, with bonus chats appearing on Tuesdays. Hosted on Acast. See acast.com/privacy for more information.

When documentarian Shalom Almond received access to document a group of women prisoners training retired greyhounds to become house-friendly pets for her 2017 film Prisoners and Pups, she opened up a door to be able to capture the hidden stories of women prisoners in Australian jails. Prisoners and Pups is a gentle film that shows the power of rehabilitation programs in prisons, not just for the prisoners, but also for the greyhounds.Now, in 2025, she is back with her essential documentary Songs Inside. Here Shalom captures the lives of women in the Adelaide Women's Prison, becoming part of their lives for six-months as she documents their participation in a music program which sees prisoners learn how to play the ukulele, write songs, and sing, all in preparation for a performance with the Adelaide Symphony Orchestra in front of 200 inmates. The climactic performance became the largest concert staged within an Australian correctional facility.Along the journey, Shalom sits in the cells of the prisoners listening to their stories, accompanies them to hearings, and captures their rehearsal processes. Art becomes a salvation for those inside, a release that is given to the prisoners who show good behaviour. But Shalom is not alone in this process, with Barkindji singer-songwriter Nancy Bates guiding their process to becomes singers and songwriters in their own right.There's a beautiful charm to Songs Inside that never detracts the reality that these are women who have found themselves on the wrong side of the law. But Shalom also never focuses on what crimes they may have done to find themselves in this situation. Instead, she taps into the notion of redemption, showing in the process that their futures are in their hands and this musical process is a part of the healing journey they find themselves on.Ahead of Songs Inside's screenings at the Melbourne International Film Festival, I had a chat with Shalom about her work on the film, what it means to be a supportive filmmaker for her subjects, and more. With a career that spans over two decades, Shalom is someone I know I could talk for much longer about her work, and hopefully one day I will.Songs Inside also screens in competition at CinefestOz, with a full release to come down the line.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. New interviews drop every Thursday, with bonus chats appearing on Tuesdays. Hosted on Acast. See acast.com/privacy for more information.

First Light is written and directed by Filipino-Australian James Robinson, shot entirely in the Philippines, and screens in this year's Melbourne International Film Festival. - Ang First Light ay sinulat at dinerek ng Pilipino-Australyano James Robinson na binuo sa Pilipinas na mapapanood sa Melbourne International Film Festival ngayong Agosto.

Ginampanan ni Ruby Ruiz ang papel ni Sister Yolanda sa 'First Light', pelikulang binuo ng mga Pinoy Aussie creatives na tampok sa Melbourne International Film Festival.

To celebrate the Australian premiere at the Melbourne International Film Festival of NEVER GET BUSTED!, the utterly compelling documentary about narco-officer turned activist Barry Cooper, I talked with co-director David Anthony Ngo about this true American original, who subjects either "love, hate or have never met." Synopsis: Written and directed by Australia's David Anthony Ngo, director Stephen McCallum and produced by Erin Williams-Weir and Daniel Joyce, Never Get Busted! is the utterly compelling story of Barry Cooper, a highly decorated Texas narcotics officer - until he turned on the police force, busting crooked cops and teaching drug users how to hide their stash. Never Get Busted! is a high-octane, no-holds-barred documentary into the world of drugs, seen through the life of a man who has experienced all sides of the Drug War. Taking more than six years to make, and with filming across nine States of America, Mexico, the Philippines and Australia, the story takes the audience into covertly filmed police corruption, scenes of religious fervour, Hollywood pitch meetings, and the ultimate downfall of one of America's most brazen activists. In personal home videos, clandestine recordings, Barry's own police dash cam footage, prime-time news, and present-day interviews, we see his story unravel in a form of macabre and exhilarating entertainment.NEVER GET BUSTED! will be screening at the Melbourne International Film Festival on August 8 and 10, 2025.Facebook: Never Get BustedInstagram: Never Get Busted! (@nevergetbustedfilm)Support this podcast at — https://redcircle.com/one-heat-minute-productions/exclusive-contentAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

'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. Hosted on Acast. See acast.com/privacy for more information.

Hi pals! Strap in, cos we have a whole host of Culture Quickies to run through. Filming for The Devil Wears Prada 2 is officially underway with Meryl Streep and Anne Hathaway papped on the streets of New York. The Trisha Paytas baby reincarnation theory continues, and has Rebel Wilson “deliberately undermined” the release of her comedy musical, The Deb?We know many Culture Clubbers have fantasised about Mr. Harry Styles, and now he's letting us take him to bed – or, at least, his product. In Culture Shock, we discuss Pleasing's new product and whether we'd buy it ourselves... Next, Charli xcx and her musician husband, George Daniel, got married in Hackney, London. We share our thoughts on the pap pics and ask why everyone's obsessed with "low-key" weddings. Fashion brand Guess has published print ads in Vogue US… using AI models. Seraphinne Vallora, an AI marketing agency that creates editorial-level AI-driven marketing campaigns, is behind the images but who is responsible here? The publication or the brand? In recommendations, Maggie shares YouTube series, Worth It – Andrew, Steve and Adam and Jas is obsessed with The Summer I Turned Pretty. Up top, we also chat about Melbourne International Film Festival, which kicks off on August 7. Go support the arts! Chat to you next time! Jas & Mags xo See omnystudio.com/listener for privacy information.

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. Hosted on Acast. See acast.com/privacy for more information.