Sound designer Mark A. Mangini returns to The Projection Booth to discuss The Oldest Person in the World (2026), the Sam Green documentary about the successive holders of the oldest person title.

Mark discusses the importance of using sound to tell a story and recounts his work on Dune and Mad Max: Fury Road.

 Look for screenings of The Oldest Person in the World at https://www.theoldestperson.com/

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Mike talks with editor Derek Boonstra about his work on Seized (2026). Premiering recently at Sundance Film Festival, the documentary traces the human fallout of asset forfeiture and the legal gray zones that allow property to be taken without conviction.

Find out more about Derek at his website, https://derekboonstra.com/

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Become a supporter of The Projection Booth at http://www.patreon.com/projectionbooth 

Mike talks with editor Andres Landau about his work editing the 2026 documentary, Nuisance Bear. A sobering look at the uneasy relationship between polar bears and humans when humans are infringing on the bears' natural environment. 


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Become a supporter of The Projection Booth at http://www.patreon.com/projectionbooth 

Director Angelo Madsen joins Mike to discuss his latest film, the 2025 documentary A Body to Live In which focuses on the body artist Fakir Musafar who spent his lifetime manipulating his physical form. The film's edgy subject is matched by its confrontational visual style in a striking work that will not easily be forgotten.

The film is currently playing at venues across North America.  Check your local listings or visit https://www.abodytolivein.com/

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Become a supporter of The Projection Booth at http://www.patreon.com/projectionbooth 

Australia month crashes to a delirious halt with 1997’s Welcome to Woop Woop, Directed by Stephan Elliott and adapted from Douglas Kennedy's The Dead Heart by screenwriter Michael Thomas, the film strands American grifter Teddy (Johnathon Schaech) in a surreal outback shantytown ruled by Daddy-O (Rod Taylor) and fueled by show tunes, superstition, and mob justice. Susie Porter co-stars as Angie, who drags Teddy into the warped social rituals of Woop Woop—Dog Day, asbestos mines, pineapple Christmas, and a kangaroo called Big Red.

Ben Buckingham and Rahne Alexander join Mike to dissect the film’s Cannes infamy, its grotesque fairy-tale politics, and Elliott’s post-Priscilla swing for the fences. 


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Mike sits down with editor Ryan Kendrick to discuss Carousel (2026) and unpack how Rachel Lambert's film finds its rhythm in silence, hesitation, and the messy recalibration of adult love.

Watch the trailer at https://www.youtube.com/watch?v=EFJmY__SC8I

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Become a supporter of The Projection Booth at http://www.patreon.com/projectionbooth 

Mike talks with writer and podcaster Brian Raftery about his latest book, Hannibal Lector: A Life. It's a look at Thomas Harris and his most famous creation, the genteel boogeyman Hannibal Lector in his various book, film, and TV incarnations from Red Dragon to Bryan Fuller's captivating series.

Buy the book now at https://amzn.to/4qMuNzB

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Become a supporter of The Projection Booth at http://www.patreon.com/projectionbooth 

Mike talks with Cody Jarrett and Siouxzan Perry about their 2025 documentary TURA! The filmmakers discuss how the project came together and how they shaped the voluminous material into a feature-length film. How can one film contain the power and strength of the one-and-only Tura Satana? 

VIsit https://turamovie.com/ for more details. 

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We continue our Australian month with Spirits of the Air, Gremlins of the Clouds, the stark 1989 feature debut of Alex Proyas. Before The Crow or Dark City, Proyas delivered this sun-blasted sci-fi Western set in a post-apocalyptic desert where the wind blows and desert bakes.

A lone wanderer, Smith (Norman "The Norm" Boyd), emerges from the dunes and collides with siblings Felix and Betty Crabtree (Michael Lake and Melissa Davis), who survive on beans, religious fervor, and flying mania. Smith's arrival fractures their fragile world, igniting jealousy, spiritual dread, and Felix’s obsessive dream.

Cullen Gallagher and Rob Spencer join Mike to explore Proyas’s theological undercurrents, and the film’s singular place in late-’80s Australian cinema. 

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The Projection Booth continues its dive into Australian cinema with Pandemonium, the delirious 1987 feature from writer-director Haydn Keenan. A film that plays like a fever dream filtered through exploitation cinema, absurdist theater, and cultural anxiety, Pandemonium resists easy summary—and happily punishes anyone who tries.

The story unfolds through the fractured testimony of Kales Leadingham, an escapee from an asylum portrayed by David Argue, who recounts his time working as a surveyor at a decaying movie studio run by the grotesque siblings (or spouses?) EB and PB De Wolf. What follows is a barrage of unstable identities, pagan imagery, religious parody, sexual panic, fascist satire, and mythic nonsense, all orbiting the enigmatic “Dingo Girl,” whose presence seems to fracture reality itself.

Mike is joined by Heather Drain and Payton McCarty-Simas to unpack Keenan’s anything-goes approach to narrative, performance, and tone. The discussion wrestles with the film’s wild accents, confrontational humor, taboo imagery, and relentless escalation—from Nazi roleplay and talking mirrors to possessed dolls, zombie parties, musical numbers, and outright apocalyptic imagery.  

The episode also features an interview with Haydn Keenan, who reflects on the film’s creation, its confrontational sensibility, and its afterlife as a cult object.


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The Projection Booth kicks off a month devoted to Australian oddities with Shirley Thompson Versus the Aliens, the startling 1972 debut from director Jim Sharman. Long unseen outside of archival corners of the internet, the film sits at the crossroads of experimental theater, pop music, political anxiety, and institutional paranoia. 

Heather Drain and Chris O’Neil join Mike to unpack the film’s radical shifts in tone and form: the oscillation between black-and-white and color, the omnipresent off-screen voices, the rock-and-roll aliens, and the way Sharman folds Cold War fears, ecological warnings, and Australian cultural touchstones into Shirley’s fractured psyche. The discussion also traces how the film anticipates Sharman’s later work, with its collision of spectacle, provocation, and musical disruption.

The episode features an interview with production designer Brian Thomson, who reflects on the film’s theatrical roots, handmade aesthetic, and the creative freedom that allowed such a strange debut to exist. Part asylum drama, part pop-art warning, Shirley Thompson Versus the Aliens stands as a message from the margins nobody was prepared to hear.

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Become a supporter of The Projection Booth at http://www.patreon.com/projectionbooth