Gone Bush By Outback Tom And Grandad
Through their fun, relatable 'bush style' cooking videos on TikTok and Instagram, Outback Tom and Grandad have amassed millions of followers who love their recipes and adventures from the heart of the Kimberley.
This colourful, easy-to-use cookbook features some of their best recipes, along with more than 30 new ones, all perfect for outdoor cooking but also easy to make at home. Try your hand at classic damper, or make a delicious brekky in a can. Have a go at smoking fish or cooking kangaroo tail, or keep it simple with some fancy snags. And finish it off with an apple crumble or lemon slice.
Ever wanted to go bush and build your own oven? Ever wanted to know how to cook a cheap and easy feed with just pantry staples and one pot? Look no more: Gone Bush is your new bush-cooking bible.
Read the digital review copy here - https://hardiegrant.us11.list-manage.com/track/click?u=77546cb8bb6b4320231975a53&id=7c1ebad35f&e=e59da6111c
The digital review copy is for publicity purposes only, not for distribution.
About the author
Tom Forrest is a proud Yorta Yorta man raised in the East Kimberley region of Western Australia. His media career started in 2017, after appearing in the ABC ME television show My Year 12 Life. Tom went on to have his own ABC iview series The Kununurra Kid, where he explored Australia and found the lost parts of his Indigenous family. Since then, he has worked for ABC Kimberley, triple j radio and ABC Indigenous as a journalist, finding stories within the community and tells them through radio, TV and social media. With his Grandad, Tom runs the social media page Outback Tom, which showcases life out bush, different meals, outback living, cooking, tips and tricks.
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Otago Daily Times
2 hours ago
- Otago Daily Times
The solace of strangers
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But as they inhabit the cold, creaky house Elizabeth left behind, secrets unravel and something else begins to inhabit them both. The two powerhouse performances at the film's centre compellingly anchor Van Grinsven's vision. Compositionally, he has a masterful grasp of tone, powerfully announcing his entry into the canon of New Zealand's cinema of unease. This dream-turned-nightmare supernatural tale is more Bergman than Blumhouse - less a conventional horror and more a psychological supernatural drama infused with the gothic sensibilities of nursery rhymes. For Van Grinsven, there is something haunting about nursery rhymes. "There's something about nursery rhymes that are both caring and cautionary. They're connected to the maternal, passed down from generation to generation and reinterpreted. That felt very connected to the idea of generational trauma, and how that is passed down, willingly or not, from parent to child. That, in itself, felt haunting," he says. If Jack broke his crown, perhaps it wasn't a fall that did it. Maybe Jill did come tumbling down, just not in the way we were taught. The film was shot on location at Canterbury's Flock Hill estate, nestled beside Lake Pearson; there couldn't be a more fitting environment in which to set this ethereal tale. The snow-blanketed Southern Alps loom over the estranged pair, isolated by their grief. Stretching into silence, the wintered highlands dampen any connection to the outside world - a cold and indifferent land, up the hill. Van Grinsven shoots the mountains, the snow and the shadows with precision, capturing the eerie locale as it lives in his mind. "I wanted to capture New Zealand as I remembered it," Van Grinsven says, "as a child driving up and down with a sense of wide-eyed wonderment and being dwarfed by the landscape." The painterly, desaturated aesthetic - whites, greys, browns, and blacks - pushes the visual language towards the Gothic. Van Grinsven and director of photography Tyson Perkins use light, shadow, reflection, and bisecting lines to mirror the characters' fractured identities and emotional states. Claustrophobic framing ensnares the viewer in Van Grinsven's trap, a compositional control he holds with a firm grip. "The antagonist of the film is not on screen in a way that audiences are used to," Van Grinsven explains. "I had to bring her to life with every other tool in my toolkit, whether that's the control of the camera or an extremely severe control over colour palette." Composer Hanan Townshend wrote the score before filming even began, helping shape the film's emotional tone. Lullaby-like, wordless vocalisations amplify the childlike longing Van Grinsven saw in the nursery rhyme. "That lulling effect that a nursery rhyme has on you in real life is what I wanted to capture," he explains. "That you almost feel hypnotised by it." The resulting tone is sombre and dreamlike, finely tuned, precise, and eerie. The tonal unease - somewhere between horror, fantasy, and drama - was achieved by layering genres. Van Grinsven drew inspiration from Persona -era Ingmar Bergman. He describes it as "the strange tension point when you put two genres together that aren't meant to go together, or don't conventionally go together". The cold and creaky house at the centre of his film, perched like a secret among the hills, was in the world of the film designed by the recently deceased Elizabeth. Young star Montgomery calls it "the third character". "Every single element and layer of the onion that is this beautiful film is influenced by Flock Hill estate. We were living on one side of the house and performing on the other side. It was intrinsically in our bones and our DNA by the end of the film. You couldn't escape it. It's everything," Montgomery says. "It's the archetype of the haunted house, but in a purely naturalistic way, connected to the landscape in New Zealand. She built in this location for a reason," Van Grinsven adds. It shapes the film's oppressive mood and echoes the characters' emotional imprisonment, eloquently portrayed by Montgomery and Krieps. "We were all Shelly Duvall in The Shining at one point," Montgomery jokes. Jack is fragile, consumed by a longing for maternal connection; Jill's identity, like Jack's, is deeply entangled with Elizabeth. He is searching for a mother he never had; she is mourning a partner she never truly knew. Together, they engage in this poetic "psychic ballet" - to coin Van Grinsven - creating Elizabeth in each other's bodies: Jack as Jill's wife, Jill as Jack's mother. In doing so, they search for what they believe is closure, but it's what ultimately keeps them trapped in grief. "There's always this unearned intimacy between the two of them; this unease where they are for a portion of the film, using each other as a means to an end, but gradually grow to care about each other," Van Grinsven says. "There was something quite beautiful about the way Vicky and Dacre kept up the energy - that palpable kind of tension that only comes from two strangers." Taking a leaf out of Phantom Thread co-star Daniel Day-Lewis' book, Krieps never socialised with Montgomery off-set. "We have the most intense chemistry of anyone I've ever worked with, but we never spoke to each other," Montgomery says. "I feel like I had this weird old soul bond with Vicky that we didn't need to get into." As much as this ghost story wasn't a horror film, it was certainly an exorcism for Montgomery, who describes his time on the film as a deeply personal journey of self-reckoning. 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