Transcript
Speaker: I am the night rain. You're terrible Muriel. Talk to me. You gonna do that Pogger Pogger? You've been talking the cop. Today is a brand new day. No, that's it. It's the vibe.
Speaker: G'day, fellow Aussie film lovers, and welcome to another episode of On The Southern Screens, the most eating spaghetti for breakfast Australian cinema podcast. I'm Mitch. And I'm Matthew, and this is the big one. Biggin. The biggin. Did we say Wagust last week? We were three episodes in. People will know. I think people who can kind of insinuate that. Well, this is the finale for Wagust. We're done with the August after this. Well, I mean, until Wolfram comes out, then we'll just watch it sometime. It's funny that we have plans for two reduxes of our themed month so far because we have to go back for Furiosa. Yeah. And then we also will have to come back for Wolfram. Well, I consider it just a trend. know what I mean? Like a little month of trend where we have, we it's like we watch a franchise where there's five entries and one of them is just like, it just doesn't happen. If only we could do the Indiana Jones one to just leave the fifth one. Damn it, why couldn't you set it in Sydney like Mission Impossible? We could watch Mission Impossible four times. Five, four times and then a fifth time the next year. Can we do it like a a month where it's just like films shot in Sydney because the Sydney Olympics were happening at the same time and they wanted to generate tourism for it? We could do that. There's like three movies we could talk about.
Speaker: Yeah. Matrix, Mission Impossible 2. Dark City. Dark City. That's an episode two, Attack of the Clones. I hate episode two. Yes. It's the worst one. It's the worst one. Actually, Rise of Skywalker is the worst one, in my opinion. I'm not a huge fan of either. Star Wars just sucks. Star Wars is awful. I'm calling on pod now. I used to be a fan. I'm falling out of love with it. Just end And we never got popular ever because of Star Wars. to I mean, the unfortunate truth is that i I'm actually on your side with this one. i think Star Wars is garbage franchise filled with garbage fans who don't know what they want. We're really getting them on side. Yeah. that's all right. We're not here just to for the masses. We're here the- Yeah, the Aussie film lovers. Well, that's what we say at the start of every podcast. That's who we're saying hello hello to. Because if you're not an Aussie film lover, we're not saying good day to you. Anyway. But yeah, this week, the big finale for Wargus. This is, yeah. It's the film that made Warwick Thornton. It's probably his most famous film. I would say. yeah I'm sure in your intro you have a list of lists that yes this movie appears on. I needed some stats to back me on this. Yeah, and other awards that it garnered.
Speaker: It is Samson and Delilah, the 1948 film. Okay, no, don't do this to me, Mitch. You're torturing me, man. actually Although it is interesting. I didn't actually talk about this in in ah forty nine in the intro. When you look this movie up on Google and on Letterboxd, The 1949 movie comes up first and it does me because who the frick is watching that movie over this? Anyway, Samson and Delilah. Should get into an intro for Samson and Delilah, Mitch? Yeah, please, dude. And just like that, we've entered the final film for our Wargus retrospective with my favorite Warwick Thornton film, Out of Them All. The one that started it all, Samson and Delilah. Released in 2009, this Indigenous Australian love story is Thornton's directorial debut. After a successful career as a cinematographer throughout the two thousand s Warwick Thornton realised he was that guy and produced arguably the best Australian film of the 21st century, and a film that many, including a recent Sydney Morning Herald article, consider the best Australian film ever made.
Speaker: These are some pretty impossible standards to hit, as I'm sure you can imagine, but dammit, in my opinion, Samson Delilah sticks the landing, but you guys already knew that, as I've been writing this film for about a month straight at this point. Set in a remote colony on Tatooine, the film follows indigenous boy Luke Skywalker as he falls in love with a curvaceous astromech droid whom he buys as a slave.
Speaker: No, I'm kidding. This movie actually follows indigenous Australian children, Samson and Delilah, who live in an isolated reservation near Alice Springs. The silence is deafening. I i didn't know how to react. I'm I'm I wish I'd like screen grab that because brother looked straight at my screen. barreled the camera. Death's death.
Speaker: Brother to me. hit him with the Jim, dude. I hit him with the Jim. As a result of the passing of Delilah's grandmother, the blossoming romance of the pair through a young love, and the honestly kind of banging tunes of Samson's brother's ska band, the pair decide to escape the colony and assimilate into the Western world of Alice Springs. Unfortunately, what they find is quite possibly the most depressing, eye-opening, and true-to-life oppression towards this goal.
Speaker: This is a very heavy film to watch, with deep-seated systemic issues raised such as appropriation of land, profiteering off of Indigenous art, lack of employment, medical resources and government assistance for Indigenous people, substance abuse, human trafficking and going to coal supermarkets being some of the core challenges the pair face in their goal to assimilate. This, in my opinion, is a monumental Australian film catapulted into icon status through its fantastic world building, spellbinding cinematography and musical choices, structural decision as a predominantly silent film, and sophistication, intelligence, and dramatic weight in covering very real Indigenous issues that people have and still do face in an extremely remote community. And I swear to God, Mitch, if you didn't like this film, I'm ending the pod right now.
Speaker: So, here's the moment of truth. Samson and Delilah. It's decent. It's decent! It's decent. No way. No way. I think it's good. It's a good movie.
Speaker: he's um He's walked away from the mic. I'm actually staring at a blank screen. right I don't actually know if I've properly offended him this time. Can't that because there's someone in the hallway. It's possible that I've actually offended him this time. It's good. It's good. Okay.
Speaker: I didn't hate it. That's certainly a relief of good sir. Anyway. You talk about it, Matthew. You have a stronger- You teased me, Mitch. You did not log this film on Letterboxd the whole day. didn't want you to see what I felt. If you look now, it's long. I look. I want to hear what you thought. No, don't look. Don't look. Okay. So I've just waxed lyrical about this film. I want to hear your perspective going in. Did I set the bar too high? I'm real. I never thought going like this movie as much as you do. Not because of any other reason beyond am hard to please. You're a film elitist. I've watched a lot of movies and this is a good movie. And I don't disagree with anything you've said artistically. I think this is a really important movie, just like the dark side. I'm really glad this movie exists. I respect lot of its artistic merit.
Speaker: I think it's really important. i think the acting is really good. I think the camera work is really good. I think this is the probably the strongest film debut I've ever seen. I just have a really hard time with films that are just super depressing and there's nothing else. Yeah, that's fair. That is 100% fair. Okay. Yeah. Spoilers for Samson and Delilah. yeah, spoilers. Spoilers for Samson and Delilah. I forgot to do a spoiler warning. The fact she's not dead at the end really saves the movie. Yeah, agree. But i also, Sammy jumped my suspension of disbelief as well. Yeah, yeah. There was a mixture of both relief and also, but you could have stuck to it.
Speaker: But in a way, I feel like it wouldn't have been... a good message if she just died and he died under a bridge. It would be incredibly downer ending. Yeah. I don't think it would have been a good ending either. think it would have been a quite, just, it would have sad for the sake of being sad. Because this is one of my favourite Australian films. I've done a bit of research into it and originally they were supposed to die. Yeah, that makes perfect, you can see that. In the script. You can see that actually. It really feels like that's where it's going. So much so that when she reappears, and I think it's designed to be this way, but I was like, I don't believe she's really there. It's interpretive in that moment, but it does come back real. And even then I was like, ooh.
Speaker: Is he dying right now? What is happening? What's going on? And it took them going back to the community. It was like, no, at this point, it'd be crazy if now we find out. If all of this is a hallucination. The reason why Warwick Thornton chose not to go down that route, and he's explained this in interviews and that type of thing, is because he had this epiphany while they were shooting of how disrespectful is it to these characters? just whack them off at the end. To have them die at the very, very end. These are...
Speaker: two children 14 year old 14 slash 15 year olds it's bit unclear i've i've seen different numbers who have been through the absolute raises of hell throughou throughout this whole film i feel like delilah cops it's so much worse than samson does yeah 100 100 i do not deny that i don't feel great for either of them i think both of them have a hard time but delilah cops it hard man like it is well first of all her grandma dies she's then blamed and beaten for it she then proceeds to have to hang out with samson who continuously keeps stealing crap from calls yeah yeah um and she has to keep like acting as he's like his conscience and the moral compass she then gets kidnapped beaten and i'm pretty sure sexually assaulted yeah it's insinuated yeah and then gets hit by a car yeah Look, Samson's not having a great time either, but in comparison... It's an oppressive movie to watch, 100%. There's a difference between showing what sucks and then just being a bit mean-spirited. And it felt, towards Delilah, a little bit mean-spirited times. That's interesting. Yeah, okay. Especially because... okay Both times she gets grabbed and pulled into a car and then also gets hit by a car. Samson's just, just ahead of her. His brain is so cooked off of huffing petrol, which took me too long to figure out that's what he was doing. Yeah, that's all right. Yeah. It took me a while as well, that's because I watched this. I thought it was coffee. I thought he was like huffing a bag of coffee a nice cup of joe the morning Well didn't think he was drinking it I thought maybe it was like a bag that had had coffee in it And he was like sniffing it And I didn't realise until later Because he stole the petrol I was like he's stealing that for the car But then he was just kind of hanging it under his nose I went it's going into the car right And then I eventually was like oh no no
Speaker: I see what's going on here. I was a little slow on the uptake. Something that can be lost. Unless you know you know. Unless you're in the actual know. I don't think you're supposed to fully know. Because you can't see what he's sniffing. Unless you had that in the knower lived experience. Unless you're in the knower. Yeah, because you've either seen it before. have, as you said, lived experience or something along those lines. Well, please, what do you think? I'm going wax lyrical about this movie. Go for it, please. Because I think that this is one of the most intelligent Australian films ever made. I think there's so many subtle links and inferences and visual cues that you can pick up and subliminal meanings behind a lot of stuff. A lot of it is very overt. I do agree that it is a very hard to watch film to the point where it might feel a bit overpowering, I guess is the word, or maybe like too much. what I mean? Like, it's like, oh, okay, we're going down the pain Rolodex. But I think that this is just real. This is a real story of what Indigenous people face on a day-to-day. And I'm speaking for like a minority, so I'm very sorry to do that. But this film impacts me in that way because it's like, it's such an existential film. We start off in this really remote town.
Speaker: And this is personally, I think, one of the strongest aspects of the film because it uses its slow pace as a narrative thematic point. The film starts with three days in the life of Samson and Delilah and the town yeah that are pretty much exactly the same as each other. It's monotonous to watch, but it's purposefully so. It's showcasing the people in this town. They don't... see purpose within themselves they don't see ambition in life because it's been constantly beaten out of them they're ostracized from wider society we don't even know if they're content in their lives the brothers every day plays the exact same tunes on his guitar and his scar band love scar i love a bit of scar delilah every day tends to her grandmother it's a monotonous existential droll i think if that's even a word It's a fantastic visual motivator for Samson and Delilah to want something more. We don't need to know what their goals are. We can see it. You know what mean? We can see that it is a barren existence to death, pretty much. At least that's the way I read it in the film.
Speaker: And even then we see impacts of colonisation in the forms of the white shopkeeper leveraging food and drink over these people, the white art dealer who usurps the the Indigenous art and sells it at a premium. Mm-hmm. And it's just so routine.
Speaker: And it's just so eye-opening as a viewer to me. Because these are aspects of life that we don't usually consider. For me, it's just such an eye-opening watch, man. don't know. i think, obviously, everything we talked about in August, you know, that the filmic techniques, you know, the world-building, excellent performances, those all go without saying. But it really is the actual thematic structural storytelling of this film that I think puts it leagues above everything else we've watched. What do you think about the you know relation to the old testament with the name samson delilah i'm not familiar fill me in on so samson was an israelite i'm gonna possibly butcher this story so sorry tell i noticed the story properly but basically he was empowered by god to be basically invincible and he went and fought the philistines which is just kind of a terminology The whole thing was that basically he'd be invincible unless he cut his hair. Then he defeated the Philistines. But then Delilah, a Philistine woman, seduced and tricked him into cutting his hair. So then he was no longer invincible. Right. Which is interesting because both in this movie, both... Delilah and Samson in that order cut their hair. One does it after her grandmother dies and then Samson cuts his hair when he thinks Delilah is dead from being hit by a car. Yes. It's interesting. It's, yeah, I'm not sure how it ties into losing their strength per se because Samson does it at his weakest moment.
Speaker: Because also, like, the 1949 movie, because I had a bit of a read, it is about that biblical story of Samson and Delilah. It's an interesting parallel. I didn't know about it, actually, so I think that's... Oh, okay. Yeah. There's some inferences. It's bi is biblical. From your perspective, I mean, coming into this story blind, was it too much?
Speaker: too heavy? dude It's very Australian. Very Australian, just in general. Okay. It's possibly the mosts just one of the more Australian movies we've watched. it's Australia loves bleak. yeah It loves desolate.
Speaker: It's like the country itself. There's beauty though, just like in Australia, but it's harsh. It's a harsh, harsh movie and it's raw. Like, even though it technically has a happy ending, it's a freaking depressing ending because couldn't help but feel at the end that Delilah, her grandma dies and it's sad, but now she's kind of free to not have to look after this person anymore. Yeah. But then by the end, she's just back to pushing someone in a wheelchair again. It's such an impactful ending. It's bittersweet, but it's conflicting as well. Do they love each other? Do Samson and Delilah love each other? I don't think so.
Speaker: I think Samson is infatuated with Delilah, and I think Delilah just kind of is stuck with Samson. Yeah, yeah. I don't believe they're in love. and I don't think that's a bad thing. i don't think that's a fault in the film.
Speaker: I think it's just a point of contention you can talk about, but just never got the sense that there was actual love between them. Because she gets drawn in when she sees him dancing, essentially. Yeah, that's true. I forgot about that. But like, what is she thinking? That's what want to What's she thinking? Yeah. And she does kiss him on the forehead. But then like, is she just doing that because he's there? He did look after her.
Speaker: He got her out of a bad situation, kind of. But he's still stealing stuff and he's still whittling himself away with the petrol addiction. And then as you say at the end, you know, she's still in a subjugated position. Yeah, she's stuck to helping him again. To be fair, he is getting better. And it's pretty heartful as well, especially when the ska band plays. and Yeah, at the very end. But yeah, it's just interesting. What what did you think about the fact that Samson has that?
Speaker: Because he says one line, basically, and it's his name. and he He's a mute child. yeah And he studies his name out. He's that sort of the the catalyst for all this to go down, right? And we can only infer what we see because obviously it's primarily dialogue-less throughout the whole thing.
Speaker: On Stan, they have, because I watch this on Stan, they have the the subtitles for the indigenous language that's spoken. And that provides some insight into what people are, you know, obviously saying and and the thoughts of the different people and that type of thing. With regard to him being mute, it's very voyeuristic, this film. Like we're watching it happen. We're not with them, I guess. We're just sort of, we're sort of watching it all go down fast.
Speaker: A big point of the movie is the gentrification and taking advantage of Indigenous art and that type of thing. And that's a subsect of culture that was a real eye-opener for me. It's, don't know, it's something I would never really think about. And this is in real life too. These artworks are sold at a premium price. It's culture, it's hundreds of years of storytelling passed down through these artworks. Are the artists themselves reaping the rewards of that? Unlikely. unlikely i love movies that make you go huh yeah don't know maybe this just showcases how sort of closed-minded my education is but it's just all very eye-opening for me and i get something out of this film what's good it's good good movie good film i also think it's the best shot out of all of the warwick thawnton films it just looks beautiful this film don't know if you can disagree with me i think sweet country looked better
Speaker: I personally prefer the handheld rugged style. I see that. I can see if that's ah like a stylistic preference, but for me, I should just prefer. I disagree, but that's right. We can agree to disagree on all these things. I also love the musical choices as well. It's very sparse. It is sparse, 100%. Especially when they're like traveling on their way home and that that guitar piece plays. I know I'm just relating this to modern media I like, but it reminds me of Red Dead 2 when the vocal tracks would play and it's just like it hits you right at these pivotal moments. i don't know, man. don't know. know what you're saying. It's hard to explain why I love this film.
Speaker: Firstly, it's so depressing. So it's like I can't be like, oh I loved watching all these awful acts. ah committed on screen it feels so meaningful and it feels bigger than I can explain it to me there's so many systemic issues present in this film it paints a very real picture of what is still going on to this day yeah it doesn't even comment on it doesn't even like wag the finger or anything it just shows it bluntly I think it's hard to explain why I love it so much but I think um it's just a really impactful film for me
Speaker: Watch the film. You'll get it. It's a hard movie to talk about. It's deep. It's dense. oh You know how we talked about um The Stranger? Yes. Yeah. Yeah. and we said that's a movie you can't really spoil because it's not about the story. It's about experiencing the cinematography and the themes and the vibes. That's this movie. You kind of want to escape. You kind of want to stop watching because it's... Much like Samson and want to escape. Samson and Delilah want to escape, exactly. You get put into the same shoes and you you're just this voyeur hoping for this better life for these people and you you know they're probably not going to get it. And it's hard. hard movie, but it's good. It's good stuff. It's like Cars Like Paris. It makes a comment on this aspect of Australian living. It's making a stance. It's making a... It's taking a stand. It's...
Speaker: What do you think of Gonzo? He's, um... Because he showcases that there is a way out. Yeah, but it's not like a good one, is it, though? Yeah, yeah. It's quite sad. He ends up in, what it? He ends up in, um... Yeah, rehab. Church rehab. Yeah. Yeah. I don't remember if the movie was saying this, but it kind of almost feels like it's too late for him. And so it's kind of like, oh, the system may get to you eventually if you wait around like long enough. And by then, you'll have lived a lot of your life under a bridge eating spaghetti bolognese for, um... breakfast. Yeah. And you're going have gone a bit kooky by then. He's a nice guy, but you can kind of tell he's not a hundred percent there. He does impart some life lessons onto Samson. He's a good guy. I think he's a good guy. I think he's a good guy. And it adds a little, like a little bit of hope and levity. But it's kind of just sad though, because it's just, yeah, this guy, he he doesn't deserve to be where he is. And it just, he has to take a handout from a culture that forced its way into this world that's
Speaker: It's interesting because ah ah the the themings of religion in this with Warwick Thornton, you know, um the church, once again, is doing something good, but they're still part of the larger problem. yeah, yeah.
Speaker: And they're still... the reason why they need to help there's so many different vignettes and scenes that say something about the themes of this movie obviously i think the scene at the art gallery themselves when when she goes in with the other artwork and it's snobby art dealer with his 2009 macbook pro He's like, we don't want that. And I think it was like, how telling is that about what life is like for these people? An authentic um First Nations piece of art in a First Nations at gallery and he doesn't want it. Because it's not meat like it's not something he can like profiteer of. There's another great scene when she's showcasing like that darker painting. Oh, yeah, the red hand print. The hand. yeah And that the server, the white server goes, you need to leave. And she like laughs at her. because And it's like, oh, what does this say? You know what i mean? It's just like, oh.
Speaker: It's good stuff. It's not subtle, but it's like, it's well constructed. Sometimes subtlety not worth it. Sometimes it's good to not be subtle. Subtlety can be misconstrued. subtle beat Subtlety can be missed completely.
Speaker: I think sometimes you've got to be blatant. And this does a good job of being blatant, but not hitting you over the head. Yeah. You know, it's not it's like Don't Look Up or something like that. Don't Look Up is interesting, that It's an interesting case study. It's not a good movie, but it's an interesting case study. Yeah, it's it's obvious, but it's not... It lets you still think, you know? it It lets you still ponder your own perception of what's going on, but it is handing you an answer. It is saying, like, this is what's going on. It's like one of those questions of discuss. Yeah, it's like, this is messed up.
Speaker: Thoughts? yeah yeah legit legit yeah like yeah guys this is movie you're right this is kind of messed up i'll end on this we'll end the ep on on so this point sure i think the most poignant subtle and well thought out plot point throughout the whole film is with regard to the phone booth that comes throughout the whole film so at the start of the film at the start of every single day there's a phone booth in the town that rings and no one picks up the phone in the town it's like their alarm clock Yeah. It's how I see it. You know It's like like the rooster calling or whatever, you know? Yeah. The Chekhov's phone booth because later on in the film when Samson and Delilah are supremely struggling, she uses some of the final funds they have to call home and she doesn't get... No one answers. They don't get through, yeah. I see it as a metaphor for...
Speaker: no one is willing to help these people. As a wider comment on Indigenous society, no one is willing to help these people. And what really sells it for me is in the final moment when they're back at the town after they've had this whole ordeal, Delilah hears the phone ring and she picks up the phone.
Speaker: That is the message of the film. That's what the audience member watching this should take from it, is to pick up the phone. Be the person who picks up the phone. Be the person that funds these people's lifestyles. Be the person that goes to Indigenous rallies and supports Indigenous rights. and Be the solution, not the problem. Exactly. I'm getting on a soapbox here, but like, you know, help these people because no one else will. Yeah. Pretty rough. It's not being like, the person watching this is the problem. It's saying, here's the solution. And I think that's such a fantastic use of the film of medium. For a lot of the people, we are looking for an answer. How can we help? Yeah, exactly. It's probably the best thing that Thornton could do with this film that is so dark and so depressing is that he offers an answer.
Speaker: is to pick up the phone if there's a ah ah light absolutely and that's why it's my favorite australian movie thanks for listening to my presentation hope i get plus in the future oh these are hope you get hope i get a plus i was like ah what well i did say that technically yeah but not really well matthew what in this fine australian film do you believe is the most australian thing about it Well, I mean, it's a little bit dark, but I think this goes without saying um shoplifting a little Chucky bar from Coles with your GF. I reckon that's a pretty Australian. Yeah, it's pretty Aussie.
Speaker: Yeah. Bunch of convicts, aren't we? Yeah, we are. We're all just a bunch of f***ing sh** heads, aren't we? Wow. Tell them how you really feel. I will tell them what I'm thinking. I feel a piece of my mind, eh? I'm not shy away from expressing my feelings. Absolutely not. Final thoughts on Samson and Delilah Mitch, my favourite Australian film. Oh, the unicorn, your favorite Australian. I got really excited. Well, you are, but I was, I think you kind of, you know, you said all. I'm mansplained enough. There is to No, in all seriousness, i I feel like this is a movie that if I rewatch, I'd get more from it, yeah but I really don't want to rewatch it. Yeah. Yeah.
Speaker: Not because I don't like it, but just because it's hard. It's hard, man. i was not happy watching. And you're not meant to be. was just not happy watching this. I was like, this is the worst. um Yeah, it's an uncomfortable watch and it should be an uncomfortable watch.
Speaker: But it does kind of mean I don't want to rewatch Yeah, that's okay. That's fair. that's Yeah. How do you think it ranks in Worgust? Like, so, like, two little rankings? Because we did one for Mad Makes, so. Did we? Yeah. Yeah, we said three was the worst, and then. And then everything else was good. Yeah, yeah. Okay. Worgust. Worgust ranking.
Speaker: Do you want me to first, or you want me to go first? You can can go. From worst to best, Darkseid definitely the worst. Don't know why to think about that. You took a suspiciously long time. Darkseid. I think probably the new boy. I know when we talked about it originally, I said I preferred it to Sweet Country, but just think Sweet Country has sat with me more than New Boy has. I don't know. If I rewatched them, this would maybe just reset again. I'd like, no, New Boy's better. But I just think, as movies to think about, I think more about Sweet Country than I do New Boy. Yeah, yeah. So New Boy, then Samson and Delilah, and then Sweet Country. Yeah, okay. I'm the exact same, but flip. Sweet Country, Samson and Delilah. I was curious, because we both were like...
Speaker: New Boy better. But now we're like, no, Sweet Country better. That's interesting. I think um i think yeah i think a Sweet Country is more impactful than New Boy, I think. It says more. I have shots from Sweet Country appear in my head and moments appear in my head about Sweet Country way more than New Boy does. um Yeah.
Speaker: Yeah, that's right. They're both really good films. i Oh, yeah. this Look, the only one that I don't think is I actually had like no enjoyment with was Darkseid. um Which is not me saying I think it's a bad movie. It's just not a movie for me. It's not for me. It's not something for me. You can dislike things that are good and you can like things that are bad as long as it's not morally bad thing. Yeah, too wrong, mate. And there are movies that are morally dubious and you should not like Like Romper Stomper.
Speaker: We'll get to it. Really? and Is that morally dubious? We'll get to All right. I'm intrigued. Well, to be fair, what are we watching next week? I should ask you. oh yeah. I still owe you a horror movie. Oh,
Speaker: I was thinking Lake Mungo. Okay. Lake Mungo it is. It's fine. I'm going to play into the bit that I don't like horror, which I don't. I don't like horror at all, but I like Mitch more, so I'll... It's on Prime. Okay. like That's easy.
Speaker: Kanduski. Kanduski Brewski. But if you want tell us how much you love or hate Samson and Delilah, or just say it was good leave me in the dark, like always, you can find us on Instagram, threads, TikTok, at Undersudden Screens Pod. If you say it's bad three times, Matt will appear in a mirror. Yeah. true can you tell we recorded this one on the dark side back to back so we know all the bits not even like we told you or anything yeah no illusion has been far from broken yeah it would be great if you would leave us a review five-star review five-star rating the review can't say review can be nice if it was good the review is not dependent on the rating so yeah if you could please give us a five-star rating and then whatever you want as a
Speaker: review but it would be nice if it was at least constructive just give us some points if you're not enjoying it at least be constructive and tell us how we can tell me to analyze my favorite film better don't think you did a bad job man i think you're being harsh on yourself i don't know i this film has such a high bar in my mind i feel like anything i would say would be a disservice to it yeah but like you know You did a good job. Thanks, Mitch. Give yourself a pat on the back, eh? Give yourself pat on the back. I don't see you patting yourself on the back. Physically do it.
Speaker: Reach further. um Reach further. I'm getting it into the mic. That was your back. That was your shoulder. That's the stuff. Yeah. oh That's good. Don't hurt yourself. Don't self-flagellate. That's crazy. Did you just show me that fart? said flagellate. thought you said flatulate. I said flagellate with a G. G for gangster. On that note, we'll see you next week for Lake Mungo. Thanks for sticking with us through August, by the way. Yeah, thanks, guys. I hope you had a good time and keep an eye on those southern screens.
Speaker: Thanks for listening to another episode of Under Southern Screens. We'll be back next week to talk more films down under. We just want to attribute that our opening title is Heavy Duty by Zoo and our closing title is Heavy Weight by Fell Creek. Thanks so much for listening and Mitch and I will see you in the next episode. See you next time.
Speaker: Under Southern Screens would like to acknowledge the stolen lands on which this podcast is recorded and produced and pay tribute to the Wurundjeri and Woiwurrung people of the Kulin Nation and Kamaragal people of the Eora Nation.
Speaker: Sovereignty was never ceded and we pay respect to all Indigenous Elders past, present and emerging. Always was, always will be Aboriginal land.
