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From MIFF to Mainstream: Navigating Cinema's Divided Landscape
The Melbourne International Film Festival serves as a way to reconnect with the city and rediscover a love of cinema beyond franchise films and IP-driven content. Festival audiences approach screenings with curiosity and openness, creating an atmosphere where filmmakers can take risks and viewers can discover new perspectives.
• MIFF creates opportunities to experience films that challenge conventional Hollywood structures and pacing
• Films like "All Dirt Roads Taste of Salt" force viewers to sit with moments and focus on human connection
• Festival screenings generate organic word-of-mouth buzz rather than orchestrated marketing campaigns
• Last year's standouts included "Late Night with the Devil," "Substance," and "Inside"
• The debate between original stories and established IP reflects broader tensions in the film industry
• Social media virality has fundamentally changed how films gain momentum and audience attention
• Film festivals provide a vital counterbalance to mainstream cinema as a complementary experience
Go see Weapons, now showing in cinemas everywhere, and check out the Melbourne International Film Festival running from August 7-24.
another big thing happening this week well, today, today, tonight officially, yeah, officially myth launch. Take us away, mr myth 2025, well, it's more of a discussion than anything else. I haven't really got a huge amount to say you're going hard, I'm going real fucking hard.
Speaker 2:Yeah, um, yeah, no, I, I don't know. Myth for me is always just like the, the nice kind of like warm blanket for winter in Melbourne. For me, there's something about it that just I use it to like. It sounds really fucking stupid, but I use it as a way to like reconnect with the city in a way, and there's something about it that I just have. I've been going for 20 years.
Speaker 1:Oh, wow.
Speaker 2:It'll be 20 years next year. I started going in 2006 and I think my first film that I ever saw was the Host.
Speaker 1:Oh, that's a good first film to watch.
Speaker 2:No, no, no, I take it back. The very first one was Hero.
Speaker 3:Oh, the Jet Li film Cool. I think I've said that.
Speaker 2:And it used to be when they still had screenings at the Melbourne Town Hall and I was sitting right behind. Uh, the former mayor of melbourne, uh, I can't remember, is it? I can't remember pedro pascal, yeah, um. So I have a lot of fond memories of robbie williams. No, he's the president of the carlton football.
Speaker 3:Club.
Speaker 2:He's got the keys to the city.
Speaker 3:He fucking does, doesn't he? Yeah, yeah, yeah.
Speaker 1:Oh, my God.
Speaker 2:Look, if we can't give it to him. He's a coke-sniffing ape. I love that. Him and kneecap are like the biggest draws in Melbourne.
Speaker 2:No, so I just I didn't have anything prepared for this, but I just I love't have anything prepared for this, but I just I love myth and you know I try to do it every year as much as I possibly can.
Speaker 2:But I want to segue this into the conversation that I wanted to have with you guys, because one of the things I see online quite a bit is this idea of IP versus original films and I feel like myth for me because I'm so deep into the world of like comic book movies and franchises and all this sort of stuff.
Speaker 2:I use this for myself as a kind of palette cleanser where I choose films in a way that I kind of just shoot from the hip and just be like yep, that sounds good, that sounds good, let's just choose that, let's use that, and I use it as a way to sort of like, I guess, re-acclimate myself to like cinema, because more often than not we kind of especially like in today's kind of, I guess, environment we uh sort of expose a lot more now to franchises than we would be to, and it makes I feel like it makes us less adventurous, at least from my point of view. Maybe I'm just not a very adventurous person. I need to get you on some different lists. I need to get on some different lists. But I like to use MIF as a way to sort of be more like, well, fuck you, no, I'm just saying what if, by accident, you had mixed MIF up with the Melbourne Queer Film Festival?
Speaker 3:And for 20 years you've been going dude. They play heaps of gay stuff, like when you're saying your narrow views and you're like dude man. I saw 20 gay films at Miff and you're like dude, you've mixed.
Speaker 1:There's a cue in here that you didn't live up Wrong festival sweetheart.
Speaker 2:Yeah, so no, I use it.
Speaker 3:That was you, I, that was you.
Speaker 2:I like to use it as a way to sort of, like you know, rediscover, I guess, my love of films.
Speaker 3:It's very wholesome, that's good.
Speaker 2:Love it.
Speaker 3:I still do a like because I've ranted a bit about people being childish, but I will read the myth guide and I read it like a real estate guide. I'm like these words are fucking euphemisms when they say like a glacially paced film. I'm like dear God.
Speaker 1:That means it's three and a half hours.
Speaker 3:It's a QFN narcolepsy right.
Speaker 1:It's a three-hour Turkish film about a farmer somewhere, oh I literally watched a four-hour film about someone in the Himalayas last year and I did leave because I couldn't.
Speaker 2:You've got to roll the dice, oh it makes both of us I mean you left out of that and I walked out of megalopolis.
Speaker 3:That's right, I do. I do get the guide and I do cross-reference it against rotten tomatoes or metacritic. I will do that yeah so um and only because I'm not like just um, whoring out the scores. I'm looking for, like I'm looking for something that will resonate in terms of someone saying you know, this is mythic or expansive or whatever fucking buzzword I'm looking for, but yeah. Yeah, and so you do like with. I can never get a handle on myth programming. It doesn't make any sense to me.
Speaker 3:I've always found it very schizophrenic. I thought you could clearly delineate this, saying these are truly experimental, these are truly, you know, foreign, like whatever's going on, it really is a mixed bag. I've heard some people will just go up to the box office and go I'll check that out which seems to me like fucking Russian roulette. I don't know, because you might get a four-hour.
Speaker 1:Turkish. I did that last year, I just literally. I think I did 70. You did 70 last year and I just went through and just went like I got my main ones booked and then literally took two and a half weeks off work and then just went fill in time I did I've kind of done something similar just see what happens, see what comes out of it.
Speaker 3:I've done something um, you're not wrong though, carlo. I think that doing I know I've done it I've taken two weeks off work and just completely given myself you know, a square ass and square eyes, but you will, uh, it does. It polishes up your critical skills in other ways, because you have to occupy the mental space of you know, maybe using the wrong term being bored right like in a way that you know you've gotten so used to the cadence of the Hollywood blockbuster and all these other things that you go. I'm getting into different rhythms here, but after a period of time you go. I've got a deeper appreciation of different forms and styles here and I think and if you're going to do it in one short burst like that, just to you know, it's like going to a wild food festival or something.
Speaker 2:Yeah, it feels like it does kind of rewire your brain in a way where you are exposed to a lot more kind of yeah, as you say experimental work, where people are really fucking with the narrative structure of things.
Speaker 2:And so, for example, I saw a film last year, recommended by Nadine, called All Dirt Roads Taste of Salt, and if you had described it to me, I was like, oh God, I'm not really into that. But there was something about like that's and you want to talk about a film that's glacial, that's very glacial. That is a film where it is literally all about sitting in moments and focusing on the tactile nature of human connection, right, and there's an entire I think there's like 15 minutes in this film where it's just like two people hugging each other, and normally I feel like any other audience would be like, oh, fucking hell. But I was so into that moment because it was just like focusing on the idea of it's forcing you to be present and forcing you to be present within another person's company, and I just bawled my eyes out in that film I just thought and there's a moment where a mother's telling her like where a small child is watching her mum dance with her father, that I just thought like was just fucking floored me, you know.
Speaker 2:Myth audiences are really respectful audiences too, and I will say, having said that, though during that sequence I hear, during that sequence I could hear this, and I'd stand around.
Speaker 1:Did you go last year has?
Speaker 3:there been a downturn there was okay was there yeah, disrespect yeah, really, because I felt like normally that the audiences there are curious, and they're seeking out new experiences and look there's a little bit of chatter here and there, but sometimes I think they're generous viewers in the way, like at a comedy festival, where they're like I want you to be funny like you know the audiences respond graciously to these films my first myth film was the nightingale at the asta and people yelled and walked out and I was like what the fuck is going on this movie's incredible, incredible movie people yelled yep well, it's pretty confronting.
Speaker 2:I have seen the Nightingale.
Speaker 1:Okay, yeah, yeah, so it was like I think it was like the second rape scene and then the baby scene.
Speaker 2:Yep, oh, fuck so.
Speaker 1:I get it, but you don't need to yell and ruin it for everyone else. Just leave, yeah.
Speaker 3:I don't know if this will go into a wild segue, but we've kind of have we moved past. I'm not seeing as much stuff about trigger warnings about films. For a little while there there was a little bit of a thing where there were, there'd be hit pieces, like there was a guardian piece written about the nightingale and said a film like this shouldn't be made right now. I am crazy look, I had.
Speaker 1:That is insane.
Speaker 3:I had the luxury of seeing the film and speaking to jennifer kent in a screening of it and it was funny.
Speaker 3:She was up against a wall and she was agitated and I said to her I said you have made a hand grenade of a movie here, like the targets here are. Colonialism is sexism, you know? I mean there's so much that is under the hood here. But there was a conversation that was being had at that point in time saying you're not indigenous, right? And she said I went and fucking lived here for six months with these people. I'm just telling their stories and casting them. She's like what do you want me to do about that?
Speaker 3:So, should I omit them from this story? There was some really I would call it higher education circular thinking where a few people she kind of told to fuck off and I was like good on you, but myth could be a lightning rod. I could see that for the faux political commentary. I'm just wondering if this yes.
Speaker 1:Same, and that's why I think I don't like them.
Speaker 3:My thing is that all three of us we fucking bleed movies and now and then I will see a transient person pop into two screenings of Myth and go well this is what I think about the state of film. And I'm like through a really political lens and. I'm like fuck off, like I don't need your three-paragraph Facebook review of what was wrong with this movie Letterboxd, yeah, yeah.
Speaker 2:That's where it goes now. No, but I just it seems.
Speaker 3:Even looking at this year's, just a cursory glance at the guide of this year, it doesn't seem particularly provocative.
Speaker 1:I evocative, I'm not saying there's yeah, there's nothing in there that, because now there's a few.
Speaker 3:I can't help myself. I'm such an edgelord. If there's some red button films I'm like oh yeah or it says like you know, if it's got that I'm warning because all films are 18. Well, they give them an 18 because some haven't even been classified but, now and then they've got in bold it says warning and I go done, done, done, and that's why I go to therapy, but I'm not seeing anything that looks like the substance or sees, you know like.
Speaker 2:I think I was talking. Was it you? I was talking to you about? Like there's no substance.
Speaker 1:there's no sing sing. There's nothing buzzing this year for me anyway, like I've. So I've just gone queer, I'm just like what are?
Speaker 2:the queer films.
Speaker 1:That's what I'm watching. I'm trying to Leave him alone.
Speaker 2:I'm trying to expand my boundaries. That is a very poor choice of words. I chose them. It wasn't a poor choice.
Speaker 1:Well, speaking of stretched, I think the only kind of buzzy one is Twinless.
Speaker 2:Yeah, and.
Speaker 1:Blitzville yes, I've heard that. Yeah, blitzville is anotherless.
Speaker 2:Yeah, and Splitsville.
Speaker 3:Yes, I've heard that.
Speaker 2:yeah, I've heard Splitsville is another one that's quite buzzy, but I feel like what.
Speaker 1:It's available online.
Speaker 2:Okay, I feel also like you discover these gems as they're happening during the festival. So what happened last year was two films. It was two films. It was Late Night with the Devil and there was a substance. That was a good screening. Right, that was a good screening. And the Astor screening yeah yeah, I heard that it was a wild fucking screening and that was the one that made me be like, oh okay.
Speaker 1:Oh for substance For substance, sorry. Oh for Substance For Substance. Sorry, I was so close to bailing Me too.
Speaker 2:I was like I'm so fucking sorry and I was so pissed off with myself that I didn't just like nut up and just go to that screening. I will love.
Speaker 1:Nicola Barrow forever for forcing me to go.
Speaker 2:Everyone was just like you need to see this fucking movie.
Speaker 1:And I was like why?
Speaker 2:What's the cause? It's the substance and I'm what's it about. And they're like you have to go. And it's the same thing with Late Night with the Devil, where it was like there are these and that is.
Speaker 1:That was like opening night, isn't it, and isn't it?
Speaker 3:amazing that at the forum and that was insane.
Speaker 2:It's invariably the first. Invariably, there'll always be two, maybe three films that come out during myth where people are like you need to go fucking see this. So, last year was Late Night with the Devil Substance and Inside yeah, and I kicked myself to this day not seeing Inside.
Speaker 3:That Inside screening was amazing as well. Yeah, so good. Charles was a legend. He's a legend, yeah.
Speaker 2:I don't know if I've watched it recently. It's a fucking dope film.
Speaker 3:But also too, like these festival films, the critical consensus is actively congealing. You're not sure, and like that's when early buzz was coming out, but it feels organic as well it does.
Speaker 2:It feels like you're getting a much more. That's the thing about the festival circuit is that you're feeling like you're getting a much more of an organic response.
Speaker 3:When you know. I mean there were headlines saying you know demi more midnight french shocker.
Speaker 2:She might get an oscar.
Speaker 3:I'm like, I'm like, dude, you've had as if way too much champagne yeah, like we all like a good midnight freak out, but I'm like the substance is not going to be an oscar film yeah, you know what are you talking about? Yeah and then when I watch it, I'm like I would hope that it would be, but it's not, and then you watch that. Um, this is a good jumping on point for a lot of like the engines that are racing towards you know, academy glory.
Speaker 2:Also Flow. Flow was playing Flow yeah, which won Best Animated Oscar.
Speaker 1:Memoir of a Snail last year. Memoir of a Snail yeah, Like I can't name.
Speaker 2:Yeah, but that might happen. But that might happen this year as well, Although yeah, because they do last minute.
Speaker 1:Well, not last minute, but like later edition. So a movie got added last year on the last night of Myth called. Stress Positions and it was one screening and it was I know you really liked it.
Speaker 3:I was fucking obsessed.
Speaker 1:Like literally bought it. You still can only get it on digital. And I had like the best, you still can only get it on digital. Um, and I had like the best, I was the only one laughing it's a gay film only one laughing because it's not a um mainstream gay film, yeah, it's a. Here's a. What an actual problematic gay person is. And it was so like, so funny, so funny. People walked out and like I will never see this again, like in a theatre and it didn't come out, just went straight to digital.
Speaker 2:I had the same thing with Biosphere, with Mark Duplass and Sterling K Brown play these.
Speaker 3:I was thinking of Paulie Shaw, and yeah, that's what I thought of no, it was a Biosphere, or.
Speaker 2:Biodome, biod, sure, yeah, no, it was a biosphere, a bio um by no biosphere biosphere you're thinking of biosphere biosphere was what I saw and I remember very specifically.
Speaker 2:People walked out. They were like there's, there's a few things that happen in the film, um, that's kind of like unexplained and quite confrontational, depending on where you sort of like how you view the world. You saw people walking out. I had the chance to to say hello to the director at acme and I was like I fucking loved your movie and she's like oh, thank you so much. And that's the other thing I love about me is the fact that you can have opportunities where you run into filmmakers too and you'd be like how often what you know, how often do you get the chance to actually be like hey, hey, your work actually really affected me on a deep level? Yeah, and say that to them and not be a weird fanboy about it, but I think that's really cool, adam, not you.
Speaker 1:The director of Memoir of a Snail chatted to him after the screening and then, I think, we interviewed him on Joy two months later and literally as soon as he popped up on the screen he was like I remember you, you were at me. If you were at the screening, I spoke to you.
Speaker 2:I'm like fuck legit like what that's great, which leads me into, like, the final discussion of of uh, I'm curious as to what you guys think. Do you think that there's any merit in terms of the argument between um original versus franchise? So we have this discussion a lot online about you know what's more popular and what are the general audience looking for, and I feel like, as film people, alistair's about to explode. I feel like, as film people, we tend to get our heads up our own asses about the fact that, yes, we want original.
Speaker 2:We you know the public yearn for originality and all this sort of stuff. And then you look at the box office and it's just like absolutely fucking not.
Speaker 1:Public just want to go and enjoy themselves and escape for two hours. They don't want to be preached to anymore, openly advertedly Preached to. In what way? Like? I don't want to use the W word, but you know what I'm talking about. They don't want it to be overtly slapped in their face.
Speaker 2:Have you seen? 28 Years Later.
Speaker 1:Yes, different situation, different kind of slapping yeah, different situation, different kind of slapping yeah, but I think, and I think people don't understand fundamentally how studios work, yeah, and you need the big films to fund the little films that don't make money. So you can keep encouraging smaller filmmakers to do their thing. So you need a Jurassic Park 10 to make a billion dollars. So, yep, you can make jurassic park 11, but also you could fund three or four small films from your focus.
Speaker 3:Features label look and I do um, and people.
Speaker 1:I think people forget I think, that? What do people forget? Or do they even know? Well, a, they probably don't know, because they're not in the beers, but beers oh um well, people that are obsessed with the, you know performative politics of film.
Speaker 3:Well, a, they probably don't know, because they're not in the beers, but beers oh Well, people that are obsessed with the performative politics of film and complain about these things terminally online. I think the biggest problem that they have is that the film that they are after comes out and they just don't go and see it. They don't support it. But then when a film comes out that doesn't contain what they want or it contains something that they have misinterpreted or actively dislike, they then won't shut up about that film and I'm like there are two roads.
Speaker 3:You can walk here, you can be in the indie wire comment section like all day, or you can just go and support that film and so, yeah, I think things like myth, you know, with, yeah, the broadness of that, you can, um, yeah, that you can go and say with the original ip thing, because it is complicated, I I think that now they're taking very stale IP and trying to shake it up and add a bit of spice to it.
Speaker 1:You know like they go why don't we do that?
Speaker 3:And you may offend some purists of that IP or you might bring it roaring back to life. This is extraordinarily nebulous and I can't really quantify this. But I just think do you give a fuck right, like you know, if something's been pushed across your desk and they go dude, do you want to make a new die hard?
Speaker 1:and I'm like yes dude, you know.
Speaker 3:Or someone going oh dude, you know what they gave me die hard, you know, like, and I think if you're having that private conversation in the lot then walk away. But um, and I guess the hell, you know, the road to hell is paved with good intentions. And but now and I'm such a sucker that I see this press release stuff and people are like oh man, I grew up with this, I love it. And then when I watch it I'm like did you even watch those movies? Have you got any idea of how they work?
Speaker 2:It reminds me of when they wheeled out James Cameron for Terminator Genisys and everyone was just like, oh okay, so this is going to be a good film because which?
Speaker 1:one was that one, the one with.
Speaker 3:Jimmy has defended and disowned every, basically because I've been obsessed with this, even with Dark Fate. He's got a co-writing credit and then fought with Tim Miller. But yeah same, because I'd go you prick. You know that you're looking down the camera going. This is a continuation that I always thought of and I'm like I've fallen for it again, but we're getting good versions of ip at the moment that are almost coming across as original, which is interesting yeah, and I like I know, because we've.
Speaker 2:You know, I get really frustrated with the discussion because people go well, sinners made us a lot of money and and you know in the us.
Speaker 1:In the us relatively speaking.
Speaker 2:Yeah, but like people look that and it's just like see the people do yearn for originality. And it's like, but do they? Do they really I?
Speaker 1:don't even know if it's originality.
Speaker 2:I feel like it's quality and virality.
Speaker 1:And I think virality is what's changed, because virality didn't exist before. It was like critics writing in the newspaper and now it's 30-second videos on TikTok of the movie itself, yeah. Or someone saying oh my God, I just watched this movie, you will not believe that the villain is a witch and she fucking like wraps their hair around the thing and then snaps and then like a million kids go and rip her face off. Oh my God, fucking watch it. And then people will go to the movies and watch it. Like that's changed fundamentally in how movies are discussed.
Speaker 3:A weird David Stratton impersonation.
Speaker 1:And spread.
Speaker 3:You know what I'm saying, though I know exactly.
Speaker 1:It's no longer the source and like do you go? Oh, this is probably a really bad example. But like I have friends that come to me and say, hey, what's your opinion on this movie? My best friend in the world hello, I know you're one of our listeners not in the industry, tajaristan, or wherever that country is Azerbaijan.
Speaker 2:Thank you, can you guys learn to say that We've got to be respectful?
Speaker 3:of our. Where's Borat from Kazakhstan, kazakhstan.
Speaker 1:He doesn't ask me about movies because he doesn't want to know. He will watch TikToks and go based off that Right. And you tolerate this person? Well, yeah, because I respect that he has a different opinion and we don't like the same things, unless it comes to like freakier friday.
Speaker 3:I'm like oh, my god, see it. Some people will message me and say what's your real opinion?
Speaker 1:and I'm like dude, oh, yes, I get this too like what's what's your non-up-yourself critic opinion and I'm like, excuse me and look, sometimes I do have them. I'll write a review from a critic's point of view and then walk out and go fuck. That was a piece of shit, but I can understand why it's getting critical acclaim. If I'm very quiet, that means I really didn't like something very often Ooh interesting critical acclaim if I'm very quiet, that means I really didn't like something, very often interesting.
Speaker 3:So if I do, if I see something and there's no post and no engagement, I'm sitting on something that I don't really want to like, because I know the gloves will come off and people go.
Speaker 2:Man, he's angry like yeah, I'm seeding I I have a theory of of comfort versus community when it comes to people going to the movies and people either want comfort when community when it comes to people going to the movies and people either want comfort when it comes to sitting in a cinema, or they want community.
Speaker 2:So they either want community via oh my God, you've got to go see Sinners. Oh my God, have you heard about F1? Oh my God, barbenheimer, you know. Superman, you know. Or comfort in that, let's go see Lilo and Stitch. Let's go see Jurassic World Rebirth. You know these tried and true franchises and things that people have grown up with and have kind of made part of their identity or part of their you know, nostalgia cushioning, you know, in their minds.
Speaker 1:I even think about like. When I was at uni a while ago and I remember my film um studies teacher saying like, and asking everyone in the room who here has gone to the movies just on a random whim to um, get out of the rain, and it was always a phrase that stuck with me. I'm like, and I remember saying what do you mean by that? Like, well, you can take it as a physically, I'm escaping the rain for two hours because I don't have an umbrella. I'm right near a movie cinema, so I'm going to jump in and watch a movie what it is, I don't know, don't care, just going to go to get out of the rain. When I come out in two hours, it should be fine. Yeah, but also like just that, going for the ritual of it oh the sacred going to the yeah, and that probably resonates more with us than the general public.
Speaker 3:Have you ever been to the movies on your own? And you're like dude.
Speaker 1:I saw some movies on my own last week I'm like, yeah, I've seen superman twice on my own. Yeah, yes, have.
Speaker 2:People get really weird about it when I say that, yeah, no, I go to the movies by myself all the time.
Speaker 1:It's amazing. And now?
Speaker 2:I've told my wife to go do that and she has. She went to go see a nice Indian boy based off your recommendations. I love you, Amanda and she loved it. She thought it was one of the best films she's seen.
Speaker 3:I guess people have got you know. There's a obvious viewpoint there that it's a communal thing that they're like well, who am I going to talk to about the film afterwards? Just slide in my dms.
Speaker 1:But even some yeah, message adam, but some movies like accommodate that, so like weapons yeah, freakier friday yeah, need to see with other people. Wouldn't have the same effect on your own.
Speaker 3:I've seen a real drop in resistance to. It feels like this year if a film comes up in conversation I haven't encountered people crossing the arms and going I'm not fucking seeing that. I haven't seen that that much this year. Most people go. Okay, I'm really curious and I want to go and I'll try and get this week Like everything from.
Speaker 2:F1 to even Jurassic.
Speaker 3:Park people.
Speaker 1:I think box office has got to be doing pretty well, I feel like Sinners was a hard sell for people that weren't critics.
Speaker 3:We were pumping its tires. We were absolutely. We were fucking. We flopped that movie to death.
Speaker 1:And it didn't yield, in my opinion, international results, but it's funny.
Speaker 2:you say that because, talking to the guy at IMAX when we were like waiting for F1 and he's just like we kept having to like it started very quiet with Sinners and then just at the tail end of it, the viewings of it just exploded and I will publicly say thank you to IMAX.
Speaker 1:Thank you, IMAX Like contacted me and said hey, do you want to come see Sinners and IMAX? I know you saw it at the screening but come see 9x and post on your story and we'll give you tickets. Sure, yeah, and it was fucking incredible. Yeah, and yeah so, but like a movie, so I'll give you a connection for this list. So pretty much every palace release um, or like the scandi film festival there's a film festival all year. Yeah, scandandi, italian, greek you name it Spanish.
Speaker 1:Those movies you will probably never get a general release here, no, or they get a release at Palace for two weeks and those. So there's a movie I saw at the Scandi Film Festival two years ago that I still watch every year.
Speaker 3:Happy Gilmore.
Speaker 1:Happy Gilmore. 3. The Mountain Rangers. And look that was at like Palace Como. There was five other people, and two of them you know was Nadine and Lindsay, and you'll never get that again, or?
Speaker 3:anywhere else?
Speaker 1:And only go because I got an invite, not because I knew about it.
Speaker 2:Yeah.
Speaker 1:And those films like you just will never, not never. I shouldn't say never, but it's a struggle for to get people to go to someone like that.
Speaker 2:Oh, Anatomy of a Fall was another one last year too.
Speaker 1:Was that? No, that was a year before. No, was it a year before? Yeah, it was the year before. Oh, okay, it wasn't last year I had 12 champagne oh yeah, I went to it.
Speaker 2:They had an oyster and champagne event and I went.
Speaker 3:How many can I have these? And they go. As many as you want, I mean okay, fucking watch this.
Speaker 1:That was another banger year. That was like anatomy may, december, the other big ones. How to Blow Up a Pipeline.
Speaker 2:How to Blow Up a Pipeline, oh that's right, that was the comedy theatre year. That was the final comedy theatre year.
Speaker 1:That was the first time I met you, that was the first time we met.
Speaker 2:That's right, yeah, oh, what a year.
Speaker 1:Yeah.
Speaker 2:That's so nice. Yeah, no, good year Good year.
Speaker 1:Thank you In the Heights for playing over MIF so we don't have to be subject to that. Thank God. Ripped, pixelated screen.
Speaker 2:One dead pixel in the middle of the fucking screen, I think.
Speaker 1:Hagen and I did a three back-to-back movie at the comedy that year. I think May, december was the last movie. Literally I remember him going. I love this movie but I can't get out of here. Let's go, let's go.
Speaker 2:I took Amanda to see Totem and that was a film that really affected me, based on the subject matter, and Amanda and I were sitting and it was at the comedy theater and we were sitting there and at one point she turns to me, she goes these seats are shit and I was like I know.
Speaker 1:Where was she last night, FYI.
Speaker 2:Last night. Oh, she doesn't come to horror films. No, she doesn't like horror films. I'll change her. You can change her. Can you work on her for that please?
Speaker 1:Easy.
Speaker 2:Also shower her with compliments, please. She loves that. That's your job. I do it every day. I do it every day, but it needs to be like a multi-pronged a multi-pronged thing.
Speaker 1:It needs to come at her from all angles big year, big week, big.
Speaker 2:Last night was great. Go see weapons go see weapons.
Speaker 1:Go see weapons and challenge yourself.
Speaker 2:Melbourne International Film Festival is starting tonight, the 7th of August, running through till the 24th.
Speaker 3:Are you going to open tonight?
Speaker 2:Yeah, yeah, I'm going to go see. If I had legs, I'd kick you with Rose Byrne. Is Rose here? And ASAP, rocky, I don't know, let's see if she is Bobby Carnival. Oh mate, if I see Bobby Carnival.
Speaker 1:Oh my God, if Bobby's there.
Speaker 2:If Bobby's there, I'll be like Bobby fucking loves you.
Speaker 1:Can you text me Because I will leave Naked Gun Brother and go Boardwalk.
Speaker 2:Empire is your best fucking performance.
Speaker 1:I thought you were coming with me. I swear we talked about this. Oh my God.
Speaker 2:Alright, cool and until next time. Anything you guys want to sign off on, no.
Speaker 3:Just go see Weapons Just go see Weapons.
Speaker 2:Yep Weapons releases today In cinemas Everywhere.
Speaker 1:Go read Go Carlos' review Of this film.
Speaker 2:Yep, I haven't written it yet. Go read Alistair's review. By the time this comes out In the next month. Yeah, I'll have written my review are you abc-ing it for weapons?
Speaker 3:yeah, I will they, they get. They think I just keep coming to them with horror films, but I'm just like the major films but this is what's coming out. Yeah, they just happen to be horror. They're like can you go see? Yeah, freak I love.
Speaker 2:I love the fact that people are like oh, people have horror fatigue and it's like I've never heard that.
Speaker 1:Do you know what Did you? Are you serious? Who said that I will kill you?
Speaker 2:Look, it is like errant fucking.
Speaker 1:Was it.
Speaker 2:Amanda, it's errant. No, it's errant. Journalists on fucking Hollywood Reporter and Variety who are like oh you know, people have superhero and horror fatigue. And of fatigue and it's like they don't even know. They fucking people go see what they want to see, exactly exactly. So, anyway, and that's it for now, all right until next time. Till next time.
