He Died with a Felafel in His Hand

Danny Noah Taylor discovers his friend Flip Brett Stewart dead in their Brisbane flat, a blunt opening that pulls us straight into the shock and sorrow of a life we’re about to revisit. The narrative then rewinds to nine months earlier, centered in Brisbane where the house they share — the Queenslander — sits high on stilts with wooden verandas, open rooms, and a sense that every corner hides a small story or secret.

In this cityscape, Danny is part of a crew that includes Flip, Milo, Otis, and a rotating cast of eccentric roommates. Danny, a man described as a restless figure drawn to grand ideas, wrestles with restless impulses and a penchant for vivid, if imperfect, self-expression. The film sketches a day-to-day rhythm of loud conversations, late-night confessions about love, and the casual chaos of communal living. A visiting Sam, an English girl, adds a new voice to the room, prompting Danny to test the boundaries of his own ambitions. In one early scene, he faces a Centrelink office where a staffer dismisses his dream of becoming a writer, a moment that tightens the grip of his frustration and fuels his longing for inspiration — a teletype paper, he says, would be a muse in itself.

Anya, a striking and enigmatic foreigner, arrives with a quiet insistence that unsettles the house. She makes her presence felt by declaring herself a strict vegetarian, and her arrival shifts the group’s dynamic as Milo and Otis both vie for her attention. The tension over affection, affection that feels almost childish in its intensity, bubbles beneath the surface of the everyday, giving the Brisbane home a volatile undercurrent. When rent lies unpaid and thugs threaten the residents, the sense of precariousness heightens. The house cannot rely on bravado alone, and as the week to pay passes, the fear becomes real.

To celebrate, Anya organizes a party that bleeds into a larger, more ritual moment for the group, a pagan-inspired gathering that culminates in a chaotic clash when skinheads arrive alongside guests invited by Danny’s circle. The house is damaged, the mood thins, and as violence erupts, Danny and Satomi gather what they can carry and depart with heavy hearts, sharing a brief, meaningful exchange with Flip before they go.

The story then follows Danny as he leaves Brisbane for Melbourne, where he attends his ex-girlfriend’s wedding and quietly tries to channel his experiences into writing. In this city, he finds a measure of solace and an unexpected sense of clarity in Sam’s presence, a moment of connection that feels almost essential against the backdrop of turmoil. Yet a disturbing incident linked to the police and drugs casts a shadow, injures Iain, and pushes Danny toward the possibility of leaving town. Sam chooses to stay beside him, reluctant to abandon the fragile thread of their shared moment.

Months slip by, and the arc pushes forward to Sydney, where Danny shares a flat with Nina and Dirk. The tension among the trio spills outward, and Sam and Anya, now a couple, visit, adding complexity to the already delicate balance of the household. A house meeting becomes tangled in the news of a shooting in Melbourne, a jolt that reverberates through the group. After a painful breakup between Sam and Anya, Sam departs in anger, telling Danny that his life is a mess and that he’ll never become the writer he imagines. The weight of failure and disappointment settles in, and Danny retreats into his room for days, wrestling with crushing self-doubt and the sense that the dream may have slipped away.

The culmination arrives with a bleak, devastating moment: Flip dies of an overdose, found with a felafel in his hand, a small, almost absurd detail that underscores the tragedy of it all. In a protest against the collapse of his aspirations, Danny abandons writing, discards his books, and hurls his typewriter into Sydney Harbour, a dramatic gesture that marks the end of a particular chapter. Yet the film does not leave us there. The house gathers for a quiet, pagan-inspired farewell to Flip, a ceremony that marks both loss and a stubborn, stubborn tenderness among people who have lived in close quarters for a long time.

In the quiet aftermath, Anya hands Danny a letter with a surprising windfall — a cheque for $25,000 from Penthouse magazine for a story he has published — a moment that suggests possibility again, even as the paths of the others diverge. Anya and Nina decide to move to France together, seeking new beginnings, while Sam offers Danny a rolled-up sheet of teletype paper, a symbolic reinforcing of the craft he’s tried so hard to master. What unfolds is a portrait of a group of people bound by a house, a fragile dream, and the stubborn, stubborn resilience it takes to keep living, writing, loving, and fighting to be seen.