Wet Woman in the Wind + No Date No Signature, We give away tickets to The Breaker Upperers and fangirl Cate Shortland. Canberran filmmakers and film fans are celebrating hard CORE after the announcement that ACT icon Cate Shortland will be directing Marvel's Black Widow. We give away tickets to Taika Waititi produced Kiwi Comedy The Breaker Upperers and review Wet Woman in the Wind and No Date No Signature.

Ant Man and the Wasp + The Gospel According to André, Celebrating 25 years of the Indigenous Department of Screen Australia we have Laurrie Brannigan-Onato and Issy Kahn talking to us about the future of Indigenous cinema in Australia and NAIDOC week. We also talk about the revealed ending of 2001: A Space Odyssey, Scary Movie, Nicholas Winding Refn's new streaming service, Scarlett Johansson in Rub and Tug and we pay tribute to the passing of cinematographer Robbie Mueller

The Incredibles 2 + Sicario 2, It's André's birthday and there's lots of juicy film news. Azealia Banks is suing Russell Crowe, Greta Gerwig is making Little Women, Silent Cinema is the back with a vengeance and Susan Sarandon arrested! We also review two nothing, conservative sequels and talk about our ideal birthday plans, Adelaide Film Festival's #YOUMUSTSEE and the online Focus on Ability Film Festival.

Greg Sestero, Mark from The Room, author of The Disaster Artist and screenwriter of Best F(r)iends talks about how to cast Tommy Wiseau, writing with edibles and how to make your creative dreams come true. We also talk about the horny review of The Incredibles 2 in The New Yorker, the M.I.A doco's release date, Cate Shortland in talks to direct Marvel's Black Widow, Mudbound's millions of hours of streams and we pay tribute to the passing of local artist Candy Royalle.

Ideal Home + Disobedience, we also talk to James L. Brown co-director of WATAN, a new documentary about Syrian asylum seekers in Jordan screening at the Refugee Film Festival this week. In news this week claims that Charlie Chaplin is an original meme Lorde, Sambene! Finally shown in Africa, A sleepy sequel to The Shining in the works and a Call Me By Your Name album that smells of peach and (probably) cum.

Soda_Jerk are the duo behind Terror Nullius, screening at the SFF. As two of Australia’s leading video artists they talk about their pastiche style, queerdom in video art, their undeniable love of Australian cinema, and hauntology in movies.

In this episode of DANGERFILM Jack and André are star struck by Leigh Whannell, writer and director of UPGRADE, which is playing at the SFF. Best known for creating the hugely beloved SAW franchise, Leigh talks about how stand up is in fact scarier than SAW, what it takes to make a Leigh Whannell horror film, and radical filmmaking v.s his artistic process. While Leigh has made a career of creating horror entertainment and visually confronting films he also reveals the one confronting trope he refuses to show in his work. Talking to Leigh was funny, insightful, and for someone who created the most horrendously enjoyable booby trap films, deeply spiritual.

In this episode of DANGERFILM Jack and André talk to Hunter Page Lochard - best known for being the star of Cleverman and Bangarra dance theatre. His debut short film Djali is playing at the SFF and we bring him in to talk about his favourite films, being a first time director, making work with a political message and blind casting. We didn’t know how to fit it in, but along the way we found out that Hunter loves Rachel McAdam’s Notebook audition. Enjoy!

Sari Braithwaite is with us on DANGERFILM to talk about her feature length documentary [CENSORED]. A long form video essay, this film is a collage of scenes collected from the National Film Archive that were censored from the public. Through years of research into the archive, [CENSORED] presents a nuanced and thought provoking investigation into the censored film archive. Sari talks about her experience of watching nearly 2000 scenes of censored footage, the state of censorship in Australia, and how to make a confessional documentary about films that the general public were never allowed to see.

Dr Karen Pearlman is a renowned filmmaker, film writer and dancer. She specialises in editing, and is a lecturer of screen production at Macquarie University. Her short film AFTER THE FACTS is a hybrid documentary about Esther Shub, an uncredited female editor who is noted for greatly contributing to the foundation of montage editing. AFTER THE FACTS is about the unnamed, sidelined female editors who played a huge role in creating modern day editing. We talk to her about her film AFTER THE FACTS, Soviet Russia in the 1920s, how holding film can create new ideas, and of course M.I.A and Björk.