Claire Hooper's House Of Games: Series 1 Episode 30
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ABC iview Home Watch all your favourite ABC programs on ABC iview. More from ABC We acknowledge Aboriginal and Torres Strait Islander peoples as the First Australians and Traditional Custodians of the lands where we live, learn and work.
ABC News
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Daria Kasatkina's French Open win ensures 37-year first for Australian tennis
Daria Kasatkina has overcome the same feeling of burnout that sank her fellow Australian Alex de Minaur at the French Open, and now feels rejuvenated by reaching the fourth round at her "spiritual" tennis home at Roland Garros. On the venue's famed Simonne Mathieu 'greenhouse court', Australia's newest tennis recruit was left thrilled how her stagnant game suddenly bloomed in humid conditions with a 6-1, 7-5 defeat of former world No.2 Paula Badosa. Kasatkina's victory conjured up the rare but sweet smell of Paris success for her adopted tennis home as, for the first time in 37 years, there will now be an Aussie in both the men's and women's last-16 draws in the same year. In 1988, Nicole Provis, who went on to reach the semis, and Pat Cash, both made the second week. Now the onus is on Kasatkina and Alexei Popyrin, who plays his fourth-round match against Tommy Paul on Sunday night from 7pm (AEST). On Monday, Kasatkina will face Mirra Andreeva, her 18-year-old French-based Russian friend. The vlogging pals ended up sharing an ice bath after their early showcourt progress, and Kasatkina, in her first slam under the Australian flag, sounded as if a weight had been lifted from her following a tough spell when her form and motivation slumped. Echoing the lament of de Minaur, who said he was burnt out and mentally fatigued after his shock second-round loss, Kasatkina admitted it felt like a "super important" win for her. "It means a lot especially the last couple of weeks were a bit rough for me. I couldn't find myself on court, I felt a little bit flat, like with emotions and stuff," said the 28-year-old, whose form hasn't been great since she gained permanent Australian residency two months ago. "I felt little signs of burnout or something like that. I'm really happy I got back on track here in Roland Garros, one of my favourite tournaments." Of de Minaur's complaints about the overcrowded schedule, she added: "I agree with Alex, because our schedule is pretty rough." "We have a completely packed schedule. It's not normal, but it can happen that the person who is travelling all around the world all the time giving their best, living the life of tennis player, sometimes can feel he's tired, that sometimes you are just not super excited to go on court. "I mean, this can happen. This is our job but I think everyone can relate that sometimes you don't want to wake up to go to your job. "Yeah, we are super lucky at having this opportunity to do what we love and get paid for it and travel around the world. It's a nice life, but sometimes when you give everything to something, you feel tired and you need some rest." But the 17th seed said she felt much better on court, dominating the first set against an out-of-sorts world No.10 Badosa before having to dig deep when the Spaniard, with more firepower but little of Kasatkina's all-court guile and superb defence, dragged her into a "tense" second-set scrap. This triumph, still greeted by a standing ovation from the largely pro-Badosa crowd, was comfortably Kasatkina's best since her allegiance switch as she powered out to win eight of the first nine games, then nullified Badosa's biggest weapons, frustrating her into many of her 41 "unforced" errors. Kasatkina smiled about how she transforms when returning to Roland-Garros, where she was a semifinalist in 2022, quarterfinalist in 2018 and the girls' champion in 2014. "The courts, amazing, super-good quality, the atmosphere. I won here as a junior. When this happens, it just stays forever in you and automatically the place becomes special," she said. "It's my 10th professional Roland-Garros, every time I'm coming here, I feel comfortable. I know every corner of the stadium. I don't know how it works, honestly, on a spiritual level, but somehow this place, it's been always nice to me." AAP
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Bring Her Back review: This is a horror movie you'll only watch once
Australians watched on in awe in 2022 as grubby YouTubers the RackaRacka brothers transformed, Cinderella-style, into horror auteurs with their debut screamer, Talk To Me. What: Two orphaned children are sent to live with a mysterious guardian who is a bit too interested in the occult. Starring: Sally Hawkins, Billy Barrett, Sora Wong, Jonah Wren Phillips Directed by: Michael and Danny Philippou When: In cinemas now Likely to make you feel: Disturbed yet invigorated Three years later, Michael and Danny Philippou have returned with Bring Her Back, a step up for the twin brothers in terms of style, character and disturbing content. Bring Her Back begins with the most tragic of circumstances and it only gets worse from there. Parentified big brother Andy (Billy Barrett) and his visually impaired tween sister Piper (Sora Wong) find their father and only guardian dead on the shower floor. Social services try to split the siblings up but, after Andy's determined protest, they both get shipped off to Laura's (Sally Hawkins) house. Laura is your mum's hippyish friend that gave you bad vibes as a kid. She's sweet, if not a little bit ditzy, but will stomp all over any reasonable boundary while gaslighting anyone that will listen to make out she's the victim. She's obviously not happy about having to take Andy in for three months before he turns 18, but Piper is the apple of her eye. It turns out she had a biological child, Cathy, who was also visually impaired, but drowned not long ago, and it's clear she sees Piper as her replacement — it's only later we find out how literally she means that. But there's one more child living in Laura's lush South Australian home. Ten-year-old Ollie (Jonah Wren Phillips) is introduced shirtless and standing in an ominously drained pool. "Selectively mute" and sporting a mysterious shiner, Ollie is relegated to his locked room — that is, when he's not being led by Laura in the middle of the night to a deadbolted shed. Much will be made of the skilfully executed gore in Bring Her Back. It is plentiful, extreme, sickeningly realistic and will make you rethink every time you absent-mindedly nibble a snack off the end of a knife. But it never slips into being gratuitous and is a wonderful showcase for the practical effect work coming from AACTA winners Make-up Effects Group and prosthetics wiz Larry Van Duynhoven (whose work you'll also be able to catch in upcoming Aus body horror Together.) And behind the blood and viscera in Bring her Back, there is an affecting, character-forward rumination on grief and the lengths people will go to in order to avoid it. Grief horror has become a well-worn trope with Australian films like Lake Mungo and The Babadook championing the subgenre. It's become so popular that it runs the risk of being over-utilised. But the intricacies and performances of Bring Her Back's core four characters keep the film feeling fresh. Barrett, a young British actor with an international Emmy already under his belt, sells both the vulnerability and anger that comes with being an adolescent male. He acts as Piper's protector, which manifests in delicate gestures like flipping a sun visor up so his sister can enjoy the afternoon beams on her face. But he also shelters his sister with lies to keep her from life's harsher visuals, and expresses his pent-up frustrations by pumping iron and slamming creatine. Wong, who the Philippous plucked out of a school drama class for her first theatrical role, is treated like a wounded dove in a sea of hungry vultures. Young and easily influenced, you'll want to reach through the screen to protect Piper, until she proves that she's more than capable of protecting herself. If there is any justice in the world, Bring Her Back would herald a third Oscar nomination for Sally Hawkins. The British actor not only absolutely embodies the 90s kooky, crunchy Australian mum accent but her journey as Laura is nothing short of phenomenal. The undeniable Big Bad of the film, she dares to touch on the uncomfortable reality that some parents only care about the wellbeing of their own biological child. Laura is conniving, manipulative and, eventually, outright abusive — but she's also pitiful as a mother enslaved to the idea she could see her daughter again. However, the MVP trophy belongs to Phillips (How To Make Gravy) as Ollie. Barely into double digits, the film labours him with extreme content that he pulls off with aplomb. Perpetually covered with sickly blue veins and open gashes, he only has about five lines of dialogue. But his physical performance — accentuated by his impossibly wide, round, glassy eyes — is where most of the visual terror of the film is derived. There are multiple stomach-sinking moments during run time and it's always when Ollie is on screen. With the performances on lock, the Philippous relish in filling the gaps with their trademark humour and Australiana flare. (Exposing an international audience to Shannon Noll's 'What About Me' AND 'Untouched' by The Veronicas is surely grounds for an Order of Australia.) Writers Danny Philippou and Bill Hinzman leave just enough of a curiosity gap in how the mechanics of Laura's cult activities actually work, ensuring many exciting post-watch debates. Everything in their writing is cyclical, with visual and aural motifs bending back around on themselves in ways you would never predict. They're also smart enough to include a reassuring coda to keep the film slipping into complete misery porn. If this is what the future of Australian horror looks like, then it is very bright (and absolutely terrifying). Bring Her Back is in Australian cinemas now.
