<description>&lt;p&gt;Giles Chan's &lt;em&gt;Jellyfish &lt;/em&gt;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.&lt;/p&gt;&lt;p&gt;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 &lt;a href="https://youtu.be/UKuk6IPzSWw?si=uGFKNbiOXght77sU&amp;amp;t=351" rel="noopener noreferrer" target="_blank"&gt;Rosemary Mushrooms by Jack Davies &amp;amp; the Bush Chooks&lt;/a&gt;, which in the dissolution of the bond in that song he wails: 'How can I love somebody if I'm frightened of myself?'&lt;/p&gt;&lt;p&gt;&lt;em&gt;Jellyfish &lt;/em&gt;left a mark on me, a similar mark in the way that Giles' short film &lt;em&gt;Interview &lt;/em&gt;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.&lt;/p&gt;&lt;p&gt;In this conversation, recorded ahead of the Revelation Film Festival in July, and being released today to honour&lt;em&gt; Jellyfish&lt;/em&gt;'s inclusion in my annual &lt;a href="http://www.thecurb.com.au/best-australian-films-of-2025/" rel="noopener noreferrer" target="_blank"&gt;Best Australian Films of 2025 list&lt;/a&gt;, Giles talks about his journey into filmmaking, the literalisation of emotions in his films, and the presentation of pain on screen.&lt;/p&gt;&lt;p&gt;Sign up for the latest interviews, reviews, and more via https://www.thecurb.com.au/subscribe/&lt;/p&gt;&lt;hr&gt;&lt;p style='color:grey; font-size:0.75em;'&gt; Hosted on Acast. See &lt;a style='color:grey;' target='_blank' rel='noopener noreferrer' href='https://acast.com/privacy'&gt;acast.com/privacy&lt;/a&gt; for more information.&lt;/p&gt;</description>

the Curb Interview Podcast

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 <a href="https://youtu.be/UKuk6IPzSWw?si=uGFKNbiOXght77sU&amp;t=351" rel="noopener noreferrer" target="_blank">Rosemary Mushrooms by Jack Davies &amp; the Bush Chooks</a>, 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 <a href="http://www.thecurb.com.au/best-australian-films-of-2025/" rel="noopener noreferrer" target="_blank">Best Australian Films of 2025 list</a>, 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/<hr> Hosted on Acast. See <a style='color:grey;' target='_blank' rel='noopener noreferrer' href='https://acast.com/privacy'>acast.com/privacy</a> for more information.

Giles Chan on literalising emotions in Jellyfish & Interview

<description>&lt;p&gt;Even though we're only five days into the new year, one of the standout shows for 2026 is the ABC adaptation of &lt;em&gt;Shaun Tan's Tales from Outer Suburbia&lt;/em&gt;. 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.&lt;/p&gt;&lt;p&gt;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.&lt;/p&gt;&lt;p&gt;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.&lt;/p&gt;&lt;p&gt;&lt;em&gt;Shaun Tan's Tales from Outer Suburbia&lt;/em&gt; is currently on &lt;a href="https://iview.abc.net.au/show/shaun-tan-s-tales-from-outer-suburbia" rel="noopener noreferrer" target="_blank"&gt;ABC iView&lt;/a&gt;. Head along and give it a watch, it's a great show for kids and adults alike.&lt;/p&gt;&lt;p&gt;If you like this chat with Geraldine, then make sure to check out my earlier &lt;a href="https://www.thecurb.com.au/shaun-tan-interview-tales-from-outer-suburbia/" rel="noopener noreferrer" target="_blank"&gt;conversation with Shaun Tan&lt;/a&gt;, or consider becoming a paid subscriber to listen to the conversation with &lt;a href="https://www.thecurb.com.au/tales-from-outer-suburbia-video-interview/" rel="noopener noreferrer" target="_blank"&gt;director Noel Cleary&lt;/a&gt;. To join up and help keep the Curb independent, visit thecurb.com.au/subscribe where you can support us from as little as $2 a month. Even if you're unable to financially support us, join up to our free newsletter where you'll be able to read my annual Best Australian Films of 2025 list when it goes up on 6 January.&lt;/p&gt;&lt;p&gt;Sign up for the latest interviews, reviews, and more via https://www.thecurb.com.au/subscribe/&lt;/p&gt;&lt;hr&gt;&lt;p style='color:grey; font-size:0.75em;'&gt; Hosted on Acast. See &lt;a style='color:grey;' target='_blank' rel='noopener noreferrer' href='https://acast.com/privacy'&gt;acast.com/privacy&lt;/a&gt; for more information.&lt;/p&gt;</description>

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 <a href="https://iview.abc.net.au/show/shaun-tan-s-tales-from-outer-suburbia" rel="noopener noreferrer" target="_blank">ABC iView</a>. 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 make sure to check out my earlier <a href="https://www.thecurb.com.au/shaun-tan-interview-tales-from-outer-suburbia/" rel="noopener noreferrer" target="_blank">conversation with Shaun Tan</a>, or consider becoming a paid subscriber to listen to the conversation with <a href="https://www.thecurb.com.au/tales-from-outer-suburbia-video-interview/" rel="noopener noreferrer" target="_blank">director Noel Cleary</a>. To join up and help keep the Curb independent, visit thecurb.com.au/subscribe where you can support us from as little as $2 a month. Even if you're unable to financially support us, join up to our free newsletter where you'll be able to read my annual Best Australian Films of 2025 list when it goes up on 6 January.Sign up for the latest interviews, reviews, and more via https://www.thecurb.com.au/subscribe/<hr> Hosted on Acast. See <a style='color:grey;' target='_blank' rel='noopener noreferrer' href='https://acast.com/privacy'>acast.com/privacy</a> for more information.

Geraldine Hakewill on voicing Lucy in the adaptation of Shaun Tan's Tales from Outer Suburbia

<description>&lt;p&gt;Gabriel Mascaro's filmography embraces narrative perspectives that we rarely see on screen. His 2019 film &lt;em&gt;Divine Love&lt;/em&gt; is a neon soaked dance experience that amplifies love and unity against a backdrop of bureaucracy, while his 2015 film &lt;em&gt;Neon Bull &lt;/em&gt;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.&lt;/p&gt;&lt;p&gt;That approach to narrative storytelling continues with his latest, and in my view best, film, &lt;em&gt;The Blue Trail&lt;/em&gt;.&lt;/p&gt;&lt;p&gt;On paper, &lt;em&gt;The Blue Trail &lt;/em&gt;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.&lt;/p&gt;&lt;p&gt;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.&lt;/p&gt;&lt;p&gt;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.&lt;/p&gt;&lt;p&gt;&lt;em&gt;The Blue Trail &lt;/em&gt;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.&lt;/p&gt;&lt;p&gt;&lt;em&gt;The Blue Trail&lt;/em&gt; 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 &lt;em&gt;The Blue Trail&lt;/em&gt; 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.&lt;/p&gt;&lt;p&gt;That's one of the discussion points, amongst many, that Gabriel talks on in the following interview, recorded ahead of &lt;em&gt;The Blue Trail&lt;/em&gt;'s screenings at &lt;strong&gt;Perth Festival&lt;/strong&gt;. &lt;/p&gt;&lt;p&gt;Sign up for the latest interviews, reviews, and more via https://www.thecurb.com.au/subscribe/&lt;/p&gt;&lt;hr&gt;&lt;p style='color:grey; font-size:0.75em;'&gt; Hosted on Acast. See &lt;a style='color:grey;' target='_blank' rel='noopener noreferrer' href='https://acast.com/privacy'&gt;acast.com/privacy&lt;/a&gt; for more information.&lt;/p&gt;</description>

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/<hr> Hosted on Acast. See <a style='color:grey;' target='_blank' rel='noopener noreferrer' href='https://acast.com/privacy'>acast.com/privacy</a> for more information.

The Blue Trail director Gabriel Mascaro on his ode to living a full life in your older years

<description>&lt;p&gt;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 &lt;em&gt;Meek's Cutoff&lt;/em&gt;, to the heart shattering singularity of &lt;em&gt;Wendy and Lucy&lt;/em&gt;, to the manner that taste and fortune appear in opportunistic ways in &lt;em&gt;First Cow&lt;/em&gt;, and now, with her latest film &lt;em&gt;The Mastermind&lt;/em&gt;, 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.&lt;/p&gt;&lt;p&gt;&lt;em&gt;The Mastermind&lt;/em&gt; is a bit of a heist film, but it's a heist film in the way that &lt;em&gt;First Cow &lt;/em&gt;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 parents, all the while his loving wife Terri (another great turn from Alana Haim) has to look after their kids while also working a full time job.&lt;/p&gt;&lt;p&gt;James comes up with the idea to steal four abstract paintings from the local art gallery. What he intends to do with the paintings once he has them, we never find out. But it's also quite likely he has no idea too. Josh O'Connor is easy to watch here, so captivating as someone who thinks he's smarter than he is, but really just needs to be nudged along to make something of his life.&lt;/p&gt;&lt;p&gt;Yet, for me, he's not the interesting part of &lt;em&gt;The Mastermind&lt;/em&gt;. Instead, I found Kelly Reichardt's interest in the bystanders of the 1972 Worcester Art Museum robbery to be more fascinating. Kelly has talked in the past about her fascination with people stealing art, but what drew her to this robbery in particular was the schoolgirls who were bystanders and observed it happen. She plants similar girls as observers of James Blaine Mooney's heist, and it's through their brief perspective that we're also invited to see the film from the viewpoint of the women of the story.&lt;/p&gt;&lt;p&gt;It's an idea which I asked Kelly about in the following interview, which talks about the viewpoints of &lt;em&gt;The Mastermind&lt;/em&gt;, while also discussing how Kelly's films view the changing state of America. We close by talking about the importance of accessible art, and what it means to be able to see art in rural or remote areas.&lt;/p&gt;&lt;p&gt;Sign up for the latest interviews, reviews, and more via https://www.thecurb.com.au/subscribe/&lt;/p&gt;&lt;hr&gt;&lt;p style='color:grey; font-size:0.75em;'&gt; Hosted on Acast. See &lt;a style='color:grey;' target='_blank' rel='noopener noreferrer' href='https://acast.com/privacy'&gt;acast.com/privacy&lt;/a&gt; for more information.&lt;/p&gt;</description>

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 parents, all the while his loving wife Terri (another great turn from Alana Haim) has to look after their kids while also working a full time job.James comes up with the idea to steal four abstract paintings from the local art gallery. What he intends to do with the paintings once he has them, we never find out. But it's also quite likely he has no idea too. Josh O'Connor is easy to watch here, so captivating as someone who thinks he's smarter than he is, but really just needs to be nudged along to make something of his life.Yet, for me, he's not the interesting part of The Mastermind. Instead, I found Kelly Reichardt's interest in the bystanders of the 1972 Worcester Art Museum robbery to be more fascinating. Kelly has talked in the past about her fascination with people stealing art, but what drew her to this robbery in particular was the schoolgirls who were bystanders and observed it happen. She plants similar girls as observers of James Blaine Mooney's heist, and it's through their brief perspective that we're also invited to see the film from the viewpoint of the women of the story.It's an idea which I asked Kelly about in the following interview, which talks about the viewpoints of The Mastermind, while also discussing how Kelly's films view the changing state of America. We close by talking about the importance of accessible art, and what it means to be able to see art in rural or remote areas.Sign up for the latest interviews, reviews, and more via https://www.thecurb.com.au/subscribe/<hr> Hosted on Acast. See <a style='color:grey;' target='_blank' rel='noopener noreferrer' href='https://acast.com/privacy'>acast.com/privacy</a> for more information.

The Mastermind director Kelly Reichardt on the importance of art that represents home

<description>&lt;p&gt;Emmanuel Courcol's heartwarming and heartbreaking film &lt;em&gt;My Brother's Band&lt;/em&gt;, aka &lt;em&gt;En Fanfare&lt;/em&gt; or &lt;em&gt;The Marching Band&lt;/em&gt;, 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.&lt;/p&gt;&lt;p&gt;&lt;em&gt;My Brother's Band&lt;/em&gt; 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 &lt;a href="https://www.thecurb.com.au/tina-review-miki-magasiva/" rel="noopener noreferrer" target="_blank"&gt;&lt;em&gt;Tinā&lt;/em&gt;&lt;/a&gt;, which also speaks of the power of music and the joy it can bring in the shadow of personal upheaval.&lt;/p&gt;&lt;p&gt;I spoke to director Emmanuel Courcoul, with the assistance of interpreter Sally Blackwood, about the making of &lt;em&gt;My Brother's Band&lt;/em&gt;, the emotionality of the film, and what he hopes that Australian audiences will get from the film.&lt;/p&gt;&lt;p&gt;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.&lt;/p&gt;&lt;p&gt;&lt;em&gt;My Brother's Band&lt;/em&gt; 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.&lt;/p&gt;&lt;p&gt;Sign up for the latest interviews, reviews, and more via https://www.thecurb.com.au/subscribe/&lt;/p&gt;&lt;hr&gt;&lt;p style='color:grey; font-size:0.75em;'&gt; Hosted on Acast. See &lt;a style='color:grey;' target='_blank' rel='noopener noreferrer' href='https://acast.com/privacy'&gt;acast.com/privacy&lt;/a&gt; for more information.&lt;/p&gt;</description>

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 <a href="https://www.thecurb.com.au/tina-review-miki-magasiva/" rel="noopener noreferrer" target="_blank">Tinā</a>, 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/<hr> Hosted on Acast. See <a style='color:grey;' target='_blank' rel='noopener noreferrer' href='https://acast.com/privacy'>acast.com/privacy</a> for more information.

Emmanuel Courcol on the universality and emotion of My Brother's Band (En Fanfare)

Welcome to the Curb. This is the podcast where we bring you in depth interviews with filmmakers, creatives, and curators of culture. This podcast is recorded in Boorloo, Western Australia. Support&nbsp;The Curb&nbsp;on&nbsp;<a href="https://patreon.com/thecurbau" rel="noopener noreferrer" target="_blank">Patreon</a>, and make sure to follow us on&nbsp;<a href="https://facebook.com/thecurbau" rel="noopener noreferrer" target="_blank">Facebook</a>. Contact with us via our&nbsp;<a href="mailto:contact@thecurb.com.au" rel="noopener noreferrer" target="_blank">email</a>.<hr> Hosted on Acast. See <a style='color:grey;' target='_blank' rel='noopener noreferrer' href='https://acast.com/privacy'>acast.com/privacy</a> for more information.

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