Prime Minister Scott Morrison last week announced "Australians have earned an early mark" for the work they'd done containing COVID-19 and the announcement of some eased restrictions would take place on Friday, May 8. That day has come and we now know a little more about what Australia's road to recovery will look like. After a national cabinet meeting today, Prime Minister Scott Morrison said "we're fighting this virus and we're winning", and he then outlined a three-step roadmap to a COVIDSafe Australia, with all three steps expected to be rolled out by July, 2020. Step one will "enable greater connection with friends and family", with the following allowed: Up to five visitors in your home, ten in businesses and public places Libraries, community centres, playgrounds and boot camps open Local and regional travel Shops, restaurants and cafes allowed to open, with a maximum of ten people at a time and one person per four square metres Step two, Morrison says, "will allow larger size gatherings up to 20 people, including for venues such as cinemas and galleries", ending with: "you'll be pleased to know, barre classes open once again." Gatherings of up to 20 people Gyms, beauty therapists, cinemas, theatres, amusement parks, galleries and museums open Caravan and camping grounds open Some interstate travel Step three, which will depend on the success of the previous steps, includes: Gatherings up to 100 people Nightclubs, food courts, saunas and bathhouses open All interstate travel Consider cross-Tasman, Pacific Island travel Those dreaming of an overseas jaunt will have noticed the roadmap does not include mention of international travel, except for to New Zealand and the Pacific Islands. On travel to other countries, the Prime Minister has said, "there's nothing on our radar which would see us opening up international travel in the foreseeable future." On the other three steps, the Prime Minister said the intention is by July "we will have moved through the three steps", but movement from one step to the next will depend on three criteria: testing, tracing and trapping. If all goes to plan, it's expected the country will move to the next step every three weeks. But, he has also warned that as restrictions are eased, "there will be outbreaks, there will be more cases, there will be set-backs". As has been the case throughout the COVID-19 pandemic, the roadmap is a guideline and it's now up to the individual states and territory leaders to implement the steps — and amend the state laws — as they see fit. NSW Premier Gladys Berejiklian has already announced that no restrictions will be eased before Mother's Day and Queensland will ease some public gathering restrictions from this Sunday. Victorian Premier Daniel Andrews has said no changes will be made until Monday. To find out more about the status of COVID-19 in Australia and how to protect yourself, head to the Australian Government Department of Health's website. Image: Kimberley Low
For much of the past six months, audiences worldwide have spent their movie dates watching Sydney on-screen. When two big Hollywood productions transform the Harbour City into their production playground and setting, as both Anyone But You and The Fall Guy did, cinema's spotlight shines bright and wide. Now, for 12 winter days between Wednesday, June 5–Sunday, June 16, Sydney Film Festival patrons can turn the tables, watching the world via almost 200 flicks gracing local silver screens and fluttering before their eyes. Again curated by Festival Director Nashen Moodley as every fest since 2012 has been — which gives him that honour on 13 of the event's 71 festivals across its entire run so far, too — SFF's 2024 lineup also guides its gaze towards Sydney. Opening with a tribute to the power and the passion of Midnight Oil, with the band formed in the New South Wales capital more than half a century ago, is only one example. So, to be more accurate, this year's Sydney Film Festival continues a trend that started on Boxing Day 2023 as well as its usual annual tradition: surveying everywhere from Sydney itself to the edges of the earth, space and time. Maybe you're keen to keep a homegrown flavour to your SFF schedule this year. Perhaps you're eager to roam anywhere that you can from your cinema seat. Whether a dose of weirdness is your ideal film fest flavour, or you're buzzing to catch the latest titles that've been getting the international festival scene talking, they're all on the program. And, you'll also find all of the above among our 12 suggestions below to help you narrow down your choices. Kinds of Kindness Since winning the 2012 Sydney Film Festival prize with Alps, Yorgos Lanthimos has technically bid the Greek Weird Wave goodbye by making his movies in English. That's one clear trend among his five features after nabbing SFF's prestigious award in Moodley's first year at the helm. Another pattern applies to his last three flicks, and it's a killer move: teaming up with Emma Stone, a collaboration that scored her her second Best Actress Oscar earlier in 2024 for the Frankenstein-esque delight that is Poor Things. Kinds of Kindness isn't a Poor Things repeat, just as that wasn't a do-over of The Favourite. This time, Lanthimos and Stone have teamed up on a triptych fable that tells the tales of a man without choice, a policeman with a wife who returns after going missing and a woman on the hunt for a spiritual leader. In a feature that also stars Poor Things' Willem Dafoe (Asteroid City) and Margaret Qualley (Drive-Away Dolls), plus Hong Chau (The Menu), Joe Alwyn (Stars at Noon), Mamoudou Athie (The Burial) and Hunter Schafer (The Hunger Games: The Ballad of Songbirds & Snakes), the picture's three-time creative partners are still making accolade-garnering magic, however, with Jesse Plemons (Killers of the Flower Moon) picking up 2024's Cannes Best Actor award. The Seed of the Sacred Fig The Seed of the Sacred Fig isn't merely another must-see SFF 2024 title, but also another new work by a Sydney Film Festival prizewinner. Mohammad Rasoulof's There Is No Evil took home the Berlinale's Golden Bear in 2020 before winning the Harbour City's ultimate movie gong in 2021 — and, as it told four stories connected to the use of the death penalty in Iran, it haunted and broke the hearts of everyone who saw it. Watching the Iranian writer/director's work has always been essential (including 2011's Goodbye, 2013's Manuscripts Don't Burn and 2017's A Man of Integrity), but more so since then. Even before playing to audiences in Sydney, The Seed of the Sacred Fig is impossible to forget due to the situation surrounding the picture off-screen. When the movie was selected by Cannes this year — where it won the Jury Special Award — Rasoulof was sentenced to a flogging and eight years in prison, sparking him to flee. On-screen, the film doesn't shy away from Iran's legal system or political unrest, following a Revolutionary Court investigator and his family amid protests sweeping the nation, and as fighting back against oppression isn't only on display on the country's streets. The Pool It's far too cold in Sydney in June for dive-in movies, but playing The Pool in its namesake location would've been a dream pairing of a film and its setting if the season had been right. SFF cinemagoers will instead get cosy indoors rather than splash around in their bathing costumes at Bondi Icebergs, but stepping through the swimming spot's history, allure and place in the Harbour City is on the itinerary regardless. Here's one guarantee: given how photogenic that the famous venue is anyway even just in everyday snaps, as everyone in Australian can instantly recognise, this documentary about it isn't going to be hard on the eyes. Filmmaker Ian Darling has a thing for chronicling Sydney icons in his two recent docos to wash across Sydney Film Festival's screens. The other: The Final Quarter, about Sydney Swans legend Adam Goodes and his treatment by the press and fans towards the end of his career, which earned a standing ovation at its State Theatre SFF world premiere in 2019. With The Pool, Darling switches from unfurling details through media clips to enlisting Icebergs regulars to share their recollections — and likely another warm hometown response beckons. Copa '71 SFF 2024 kicks off just two days after the Matildas took to the turf in Sydney to play their 14th soldout game in a row in Australia, notching up a 2–0 win over China in a friendly. It runs at the same time as Vivid is welcoming Mackenzie Arnold and Tony Gustavsson as speakers. And, it arrives almost a year after the Harbour City was one of the host spots for the 2023 Women's World Cup. So, the timing couldn't be better for Copa '71 to sit in the festival's program. This documentary jumps five decades back and heads to Mexico, to the 1971 Women's World Cup. If you think that you should know more about this event than you currently do, that's one of the movie's points as well. Filmmakers Rachel Ramsay (a producer earning her first directing credit) and James Erskine (Skandal! Bringing Down Wirecard) share the competition's story. They unpack how 100,000 fans can fill a stadium to support women's football but the tournament can fade into history, too. Also, the vast disparity between how men's soccer is managed, marketed, treated and regarded compared to women's is also on the doco's agenda. The Substance It was true of 2017's Revenge, her exceptional debut feature, and the word out of Cannes is that it's also true of her seven-years-later sophomore effort: French talent Coralie Fargeat is a helluva filmmaker. Matching style with substance and a feminist statement worked strikingly in her blood-soaked vengeance movie. Now, she's in sci-fi body-horror territory as a celebrity attempts to address the warring forces of time's inevitable passing and Hollywood's obsession with youth by opting for an experimental medical treatment. (Fargeat also just received the Cannes Best Screenplay award for her efforts.) Whether or not you've ever thought that Margaret Qualley, an actor with multiple appearances on SFF 2024's lineup, resembles not only her mother Andie MacDowell (her Maid co-star) but also Demi Moore (Feud), Fargeat draws the latter connection. Qualley is Sue, Moore is Elisabeth Sparkle, with one the younger version of the other. In a film that also enlists Dennis Quaid (Lawman: Bass Reeves) as a television executive — with the actor stepping in after Ray Liotta (Cocaine Bear), who was originally cast, passed away — messing with the natural order of things via a temporary clone has consequences. The Moogai Indigenous horror film The Moogai is making its Australian premiere at 2024's Sydney Film Festival, but the pair are no strangers to each other. Before writer/director Jon Bell, a creator of Cleverman and a scribe on the Mystery Road TV series, helmed his first feature with this name, he made a 2020 short of the same moniker that played SFF (and SXSW, and was nominated for an AACTA Award). It too starred Shari Sebbens (Her Dark Reflection) and Meyne Wyatt (Strife). Expanding that short film to full length, Bell's second take on The Moogai did the rounds of both Sundance and SXSW — the Austin version — earlier this year before heading home. In the two flicks, a malevolent spirit awaits and the trauma of the Stolen Generations fuels an eerie flick. Sebbens plays Sarah, a young mother who has just had her second child with Watt's Fergus when the movie's titular figure makes its presence known. The Moogai is also a contender for Sydney Film Festival's brand-new First Nations Award, which is offering a prize of $35,000 for the winning First Nations filmmaker, with ten flicks competing for that honour. The Outrun Since the 2020s arrived and her third decade as a actor began, Saoirse Ronan has played a young wife who falls in love with fossil collector Mary Anning in Ammonite, a showgirl in The French Dispatch, a police constable in See How They Run and a woman trying to find a path through a dystopian future in Foe. Variety has always been the spice of the Irish actor's on-screen life. In The Outrun, the four-time Oscar-nominee (for Atonement, Brooklyn, Lady Bird and Little Women) is Rona, who is trying to move past a history of addiction. Ronan's involvement in any film is enough to put it high on the must-watch list, but she isn't the only drawcard here. The Outrun adapts Amy Liptrot's 2017 memoir of the same name, about the Scottish author and journalist's experiences returning to the Orkney Islands. Liptrot also co-wrote the screenplay. Hitting the keyboard with her is director Nora Fingscheidt — who might've first followed up her excellent 2019 feature System Crasher with the mixed Sandra Bullock (Bullet Train) vehicle The Unforgivable, but is a helmer to watch nonetheless. The Contestant Films about people trapped in a sole space aren't rare. But no matter what Cube or Buried or Devil conjured up, or everything from Oldboy to Bodies Bodies Bodies as well, the scenario at the heart of The Contestant stands out because it actually happened. In 1998, Tomoaki Hamatsu aka Nasubi became a TV star by doing nothing more than existing in a single room alone and sans clothing on reality series Susunu! Denpa Shōnen. To survive, he had to win competitions to obtain the necessary supplies. Also, he had no idea that audiences were watching. Of course a documentary was eventually going to to chronicle this months-long ordeal, how it happened and the repercussions, with Clair Titley (One Born Every Minute) examining the reality of a situation that could've come straight from a horror movie in The Contestant. Nasubi became immensely famous in Japan for his role in the show — footage from which is included in the doco — but as a result of a Faustian bargain with a television producer that he didn't really know that he was making. If you're not already a fan of the format at its far less extreme, this film definitely won't change that. I Saw the TV Glow In Jane Schoenbrun's We're All Going to the World's Fair, a screen became a portal to another world when its teenage protagonist embraced an online trend by playing a virtual horror game. I Saw the TV Glow, the filmmaker's next feature, also gets young eyes trained at a small screen and plunging into what they find awaiting. If you've ever loved a television show so much that you felt like it completed you, saw you and understood you far more than anything flesh and blood around you ever could — and you also couldn't stomach that series coming to an end — then you'll understand Owen (Justice Smith, Dungeons & Dragons: Honour Among Thieves) and Maddy (Brigette Lundy-Paine, Atypical) in one of the most-talked-about flicks out of 2024's Sundance and Berlinale film festivals. That pop culture, including the screen dreams that we eagerly insert ourselves into in our minds while watching, is an escape isn't a new revelation. But after exploring the digital allure in We're All Going to the World's Fair, Schoenbrun now brings their perspective to a tale of connection through the broadcast stories we take into our heads and hearts. The writer/director makes deeply layered films about the loneliness and isolation of growing up, and working out who you want to be, the relationships with screens that we all have, and gender dysphoria — and their latest has Limp Bizkit's Fred Durst (Y2K) among the cast, plus Emma Stone (The Curse) and her husband Dave McCary (Brigsby Bear) as producers. Dahomey 2024's Berlin International Film Festival Golden Bear-winner shares a name with a West African kingdom that existed for three centuries, on land now situated within the Republic of Benin — a place that earned the great Werner Herzog's attention in 1987's Cobra Verde and also provided the setting for 2022's The Woman King. The focus of Dahomey for Both Sides of the Blade actor and Atlantics filmmaker Mati Diop in her latest directorial effort: 26 royal treasures taken from the country in the 1800s by French colonial troops, plus their journey home now. How do these statues and objects feel about their their path? One of Diop's creative touches is to give the artifacts a voice and turn them into characters, rather than keep them as mere items discussed by everyone else. It's a telling choice in a documentary that traces the treasures' repatriation and unpacks the bigger picture not just surrounding the contents of museums around the world, but the impact of colonialism, especially in North Africa — all within 67 minutes. All We Imagine as Light Love and hope flow within All We Imagine as Light, and also in nurse Prabha (Kani Kusruti, Poacher) and her roommate Anu (Divya Prabha, Family), who are each grappling with affairs of the heart in their own ways. So unfurls this sensual film that bases its characters in Mumbai, then takes them on the road to an otherworldly beach town. The romantic drama has earned love itself off-screen and proven a beacon of hope IRL as well, as writer/director Payal Kapadia makes her first fiction feature. Kapadia's full-length debut came via 2021 documentary A Night of Knowing Nothing, which premiered at that year's Cannes Film Festival in the Directors' Fortnight and picked up the Golden Eye for Best Documentary. Before that, her short Afternoon Clouds also played the fest. Kapadia's ties to the French event continue with All We Imagine as Light, which made history just by being selected in competition — a feat an Indian film hasn't achieved in three decades prior. And while it didn't take out the Palme d'Or, it came as close as anything could, earning the Grand Prix, the festival's next gong, which Oscar-winner The Zone of Interest received in 2023. Problemista It's currently a great time to be a Julio Torres fan. That's been true for almost a decade thanks to his work as a writer on Saturday Night Live — 2017's famous 'Papyrus' sketch with Ryan Gosling, which earned a sequel also starring the Barbie and The Fall Guy talent in 2024, was penned by him — and then due to two seasons of glorious HBO comedy Los Espookys in 2019 and 2022. 2024 brings two treats, however, and both at the same time if you're heading to Sydney Film Festival. On the big screen, Problemista sees Torres write, direct and star, making his feature debut as a helmer and acting opposite none other than Tilda Swinton (The Killer). On the small screen, his comedy series Fantasmas will debut on Binge on Saturday, June 8. Accordingly, after you watch Problemista you can start Fantasmas, or vice versa. With Torres' new movie, he plays a man who wants to design toys in New York, then loses his job and looks set to be deported, with a job working for Swinton's demanding art collector Elizabeth his possible lifeline. Wu-Tang Clan's RZA (Minions: Rise of Gru) also pops up. So does Past Lives star Greta Lee. And narrating the whole thing? The iconic Isabella Rossellini, who also appeared in Los Espookys, and hasn't been far from screens of late courtesy of Marcel the Shell with Shoes On, Cat Person, Julia, La Chimera and now this. Sydney Film Festival 2024 takes place from Wednesday, June 5–Sunday, June 16 at various cinemas and venues around Sydney. For more information — and for tickets — head to the festival's website.
When the latest version of Mulan starts its story, it does so with a crucial piece of narration that clearly signals the movie's intentions. "There have been many tales of the great warrior Mulan, but ancestors, this one is mine," Hua Mulan's father Zhou (Tzi Ma, The Farewell) advises the audience. Most viewers know the titular character's name from Disney's 1998 animated musical. The Mouse House is behind this new film, too, as part of its growing stable of live-action remakes of its own past hits (see: everything from Cinderella and Beauty and the Beast to Aladdin and The Lion King). But Mulan circa 2020 isn't interested in slavishly recreating the company's last take on the tale frame by frame, just with flesh and blood rather than illustrations — instead, it's smartly interested in retelling the Chinese legend in a rousing and vibrant way. As first transcribed in the Ballad of Mulan in the sixth century, the story of Hua Mulan holds a considerable place in history — and it is easy to understand why. When her elderly and ailing father is conscripted to serve in the Imperial Army, with no son of an acceptable age to take his place, Mulan steals his armour and sneaks off to join the forces for him. To do so, she disguises herself as a man, which none of her colleagues or superiors suspect. The fact that she has considerable martial arts, swordplay and archery skills assists, of course, but Mulan's kindly subterfuge sees her become a formidable and respected warrior who helps save her kingdom. With Whale Rider and The Zookeeper's Wife's Niki Caro in the director's chair, Mulan covers the expected tale; it wouldn't be a Mulan movie otherwise. But this story first fought its way across the big screen in a 1927 silent film, and has been no stranger to the page, stage or cinema over the past 93 years — so just repeating the 1998 movie really would've been the laziest option. Accordingly, the feature's four writers (Jurassic World's Rick Jaffa and Amanda Silver, plus Christmas Perfection's Elizabeth Martin and Lauren Hynek) aren't afraid to wrangle their own version of the narrative, and Caro doesn't shy away from imparting a specific tone and focus either. Where its animated predecessor played the situation in a lighthearted but still respectful manner (think: talking dragons, cricket sidekicks and lively songs about arranged marriage), this iteration adopts a weightier mood, stressing the significance of its protagonist's journey at every turn. Cue details both familiar and new, including ditching the aforementioned Eddie Murphy-voiced dragon for a symbolism-laden (and mute) phoenix, scrapping the romantic subplot with Mulan's commander and delving into the treatment of women in multiple ways. As the Emperor's (Jet Li) military battles invading northerners led by the revenge-seeking Böri Khan (Jason Scott Lee, Crouching Tiger, Hidden Dragon: Sword of Destiny), Mulan (Liu Yifei, Once Upon a Time) not only fights alongside her peers and tries to keep her secret from her mentor (Donnie Yen, the IP Man franchise) and her rival (Yoson An, Mortal Engines), but also comes up against shapeshifting sorceress Xianniang (Gong Li, Memoirs of a Geisha). Mulan isn't very subtle about juxtaposing the two women's plights — nuance is rarely Disney's specialty — but the comparison is always moving. And, with Liu serving up a quieter, more stoic performance and Gong getting a showier part as the outcast on the other side, they offer something that the company's movies aren't always known for: multiple visions of femininity, even in a story that literally tasks its lead with pretending to be male. As a result, Mulan feels like it's forging its own path even when it does hit recognisable notes, either from the 1998 film or from general cinematic tropes. Its central figure is given an almost superhero-esque origin story, involving her innate ability, or qi, because Disney is also the home of Marvel and Star Wars — but in charting her quest to succeed, the film never merely drums to the requisite beats. This version of Mulan was always going to heighten the inspirational angle, too, to rightly reflect today's attitudes; however the emotions it earns are genuine. When a coming-of-age story about a determined young woman defying the shackles of her gender and her culture in a groundbreaking way is treated thoughtfully and intelligently, it's always going to evoke a reaction. While viewers will be watching Mulan on a small-screen — after the feature was originally scheduled to play in cinemas in March, had its date delayed several times until July and August due to COVID-19, then opted for a streaming release via Disney+ instead — there's no missing the movie's visible spectacle, too. Australian cinematographer Mandy Walker (The Mountain Between Us, Hidden Figures) delivers a sweeping feast of lush imagery across a plethora of landscapes, and lenses energetic wuxia-inspired combat action as well. Indeed, this is one of Disney's most sumptuous-looking remakes, and one of its better examples in general anyway. The chasm between the company's best do-overs (Pete's Dragon, The Jungle Book) and its worst (Alice in Wonderland, particularly) is considerable, but this big-hearted, captivating and striking film easily falls into the first category. https://www.youtube.com/watch?v=KK8FHdFluOQ Mulan is available to stream via Disney+ from Friday, September 4, for an extra price of AU$34.99/NZD$39.99 on top of your regular Disney+ subscription. It'll join the service for no extra fee from December 4. Top image: Jasin Boland. © 2019 Disney Enterprises, Inc. All Rights Reserved.
If your idea of a relaxing pastime involves moseying through Australia's picturesque landscape by foot, bike or horse, then add the Brisbane Valley Rail Trail to your must-visit list. Spanning 161 kilometres, it runs through southeast Queensland from Wulkuraka, west of Ipswich to Yarraman in the Great Dividing Range. And, with its final stage completed and opened this month, it's now Australia's longest continuous hiking, cycling and horse riding trail — exceeding the Great Victorian Rail Trail's 134 kilometres in length. Inaccessible to cars, the track follows the now-defunct Brisbane Valley railway line, which dates back to the 1880s. Upon closing to trains in 1991, it was converted to a recreational trail; however the final link between Toogoolawah and Moore has only just come to fruition through $3.354 million in funding from the federal, Queensland and local governments. Visitors can now make their way through an array of scenery — including farms, country towns and bushland — across the trail's entire expanse, with the track winding through the likes of Fernvale, Lowood, Esk, Toogoolawah, Moore, Linville, Blackbutt and Yarraman, and including both coffee stops and campsites along the way. Further work is planned along the trail, including a $4.5 million upgrade to the heritage-listed Lockyer Creek Railway Bridge. Image: Brisbane Valley Rail Trail Users Association Inc.
If you stare at something long enough, you don't just see the obvious. You notice everything, from the details that fail to immediately catch your attention to the way things can change instantly right in front of your eyes. The Killing of Two Lovers is all about this idea, and on two fronts. It puts a fractured marriage before its lens, ensuring its struggles and troubles can't be ignored. It also takes its time to peer at its protagonist, the separated-and-unhappy-about-it David (Clayne Crawford, Rectify), and at all that his new life now entails. In a sparse small town — with the film shot in Kanosh, Utah — its central figure attempts to adjust to living with his ailing widower father (Bruce Graham, Forty Years From Yesterday). His wife Niki (Sepideh Moafi, The L Word: Generation Q) remains in their home with their four children, as they've agreed while they take a break to work through their problems. David isn't coping, though, a fact that's apparent long before his teenage daughter Jess (Avery Pizzuto, We Fall Down) gets angry because she thinks he isn't fighting hard enough to save their family. He's trying, but as Crawford conveys in a brooding but nervy performance — and as writer/director/editor Robert Machoian (When She Runs) and cinematographer Oscar Ignacio Jiménez (Immanence) can't stop looking at in lengthy and patient takes — he can't quite adapt to the idea of losing everything he knows. Not just wed young, but welcoming Jess into their lives when they were basically kids themselves, David and Niki have spent their entire adulthood together so far — and as parents. They've agreed that they can date other people during their time apart, which Niki is doing; however, David just wants what he's always had. Indeed, The Killing of Two Lovers opens with him appearing poised to put that title into effect. He even has a gun, in fact. But nothing is that simple here, or for everyone in the movie's frames, or for anyone. From that very first moment, with the camera lingering on him wrestling with a big decision and radiating pain, anger and uncertainty, this is a feature that's determined to keep staring while its characters grapple with complexities both intimate and commonplace. David can't handle that Niki has started seeing Derek (Chris Coy, The Deuce), who works in the same building. He can't face the fact that she's been promoted at work, which brings more opportunities for her to be independent. And he certainly can't abide by only spending time with his beloved kids — including pre-teen boys Alex, Theo and Bug (Arri, Ezra and Jonah Graham, God Bless the Child) in agreed slots, instead of being there for their every moment. The Killing of Two Lovers watches David rage and fray. It sees him try to be the cool part-time dad, buying his brood toy rockets to send soaring into the sky in the local park, and waking up his sons in the middle of the night to show them he's taken their comedy advice. The film observes as he weathers Jess' anger, fear and disappointment, too, and as he tries to make his date nights with Niki the kind of evening that'll get them back together. It notices his self-centred wish to keep everything frozen in time, his stubbornness to accept any other fate, and his posturing with the unpleasant, jerk-ish Derek. Crucially, though, this is a movie about domestic disharmony that witnesses as much as it can, and lets as broad a spectrum of its protagonist's life as possible tell its tale. The Killing of Two Lovers ensures that Niki's predicament is just as complicated as well. This isn't just a movie that explores what happens when a man could lose everything that's made him who he is; it's also a portrait of a woman torn between a past she knows and a future that's on her own terms. And, it definitely isn't a film that condones David's actions, or offers any neat or predictable answers, explanations or options, but rather it's a snapshot of just how tangled and elaborate life always becomes. There's an element of Scenes From a Marriage at play here, although The Killing of Two Lovers pre-dates the new remake — and so much of the feeling in this gorgeously shot movie comes from its imagery. When it's hard to look away from such rich and enticing visuals, it's impossible not to spot and soak in everything they depict. Each frame is postcard-perfect, not that those pieces of cardboard ever capture such everyday sights, but wide vistas and the snowy mountains hovering in the background are just the beginning. With its long takes, The Killing of Two Lovers forces its audience to glean the naturalistic lighting that never casts David and Niki's hometown in either a warm glow or grim glower. Repeated images of David alone, especially in his car, also leave a firm impression of a man moving and solo. And, presenting most of its frames in the 4:3 aspect ratio, the film also possesses an astonishing and telling sense of space. Nothing is bluntly boxed in here, but everyone is trying to roam within the claustrophobic patch of turf they've scratched out. And, within the feature's square-shaped visuals springs an added fountain of intimacy that cuts to the heart of such close relationships, such as when David and the kids all pile into his truck, or during one of David and Niki's car-bound dates. Of course, without the right actors inhabiting those shots — and the right performances emanating from them — Machoian's stunning sights would ring hollow. Crawford is as soulful as the film's cinematography, and as jumpy as the metallic-sounding audioscape that echoes during its 84-minute running time. He's both masterful and devastating as he, like the overall feature itself, tussles and jostles with David's internal and external chaos. His is a raw and invested portrayal, so it comes as little surprise that he's one of the picture's executive producers. Crawford is aided by spot-on work by his co-stars, though; by smartly penned, stirringly insightful dialogue that most scripts wish they could muster, too; and by a piercing use of silence to let everything sink in. The devil isn't in the detail here — the minutiae is the entire movie, and what an unflinching, evocative and heady vision of yearning and emotionally churning it is.
Concrete Playground recently caught up with David Stewart, one of England's most respected photographers. He started off capturing punk bands like The Clash and The Ramones, as well as the colourful characters of Morecambe Promenade, from which he developed a distinctive style of portraiture. Often eerie, funny, creepy and touching (sometimes at the same time), his photos incite curiosity at what imagines to be a fascinating back story. He also directed and produced a film in 1995 called 'Cabbage' with a series of surrealist photographic images to accompany in homage to the often misunderstood vegetable. He is currently working on a series called 'Teenage Pre-occupation' about what teenagers go through growing up, and will have some new work on show in Australia as part of an Olympus ad campaign. Fingers crossed an exhibition of his will travel down under soon. How did your time growing up as a child and teenager in Lancaster influence your work? Growing up in the North of England definitely gives you a different view on life and maybe it is this that causes me to see things with the sense of humour. Northern people are very funny and straight to the point. There is an element of telling it how it is. You started photographing famous rock bands, which for some photographers is a topic they stick with for their whole career. What made you decide to stop photographing people in the music industry? The band photography was what got me interested in photography but, when I was at college, I realised I was more interested in constructing images from scratch which gave me the opportunity to put forward a thought or point of view of my own. The band thing was something that could not be controlled and so, after a while, became routine. What does camouflage symbolise to you? Hiding and trying to fit in while there may be a more sinister message. When looking at your photos, I am sometimes torn between laughing and feeling extremely uncomfortable. Why do you use humour in the depiction of very dark scenes? Humour acts as a way of grabbing people's attention and then, in turn, leads them to a thought if they stay with the image long enough. It's like music where you like the tune but you're unaware the lyrics are telling a darker story. Do you think your characters are representative of the real folk of England? Are the characters who seem threatening or malicious actually harmless or are your exposing their true nature? I think the characters do represent real people – everyday people or situations you might be familiar with - but when presented as photography, the character or situation becomes heightened. There is an element of exposing the true nature of people to provoke a thought. Can you tell me about the upcoming series 'Teenage Pre-occupation?' How did you choose your subjects? The series again draws on observations I have made. The changes that the digital age have created, especially with regards to young people, is very relevant at the moment. The subjects in 'Teenage Pre-occupation' are all chosen as they portray something I have noticed about being a teenager in the current cultural climate. Again, this becomes more noticeable when presented as a piece of photography.
Port Douglas is packed with resorts but for all-out luxury with your special someone, nab one of the two-person bungalows at Thala Beach Nature Reserve — you can take your pick of a room overlooking the coral sea or positioned within a eucalypt forest. Staying here also includes a number of complimentary experiences such as wildlife and stargazing tours and private access to the two-kilometre Oak Beach. Image: Tourism and Events Queensland
With its Cheap Trick-sung opening theme tune, 90s and 00s sitcom favourite That '70s Show described its setup perfectly: hangin' out down the street, the same old thing we did last week. The decade clearly changes in sequel series That '90s Show, and viewers don't yet know if the introductory track does as well, but the same idea will still ring true in the new Netflix sitcom — based on its just-dropped full trailer, at least. Prepare for nostalgia on plenty of levels — including for the OG series itself, and for the 90s era that this follow-up is set in. Helping the former: the fact that the bulk of the initial comedy series' cast is back this time around, although they're not the focus. Instead, teenager Leia Forman (Callie Haverda, The Lost Husband) is. So, while Topher Grace (Home Economics), Laura Prepon (Orange Is the New Black), Mila Kunis (Luckiest Girl Alive), Ashton Kutcher (Vengeance) and Wilmer Valderrama (NCIS) all pop up, returning to the characters of Eric Forman, Donna Forman, Jackie Burkhart, Michael Kelso and Fez — and Debra Jo Rupp (WandaVision) and Kurtwood Smith (The Dropout) are also back as Eric's parents Kitty and Red — a new group of high schoolers will be hanging out both down the street and in the Forman family basement. In his typical cantankerous manner, Red is hardly thrilled about it. Kitty, though, revels having more kids to look after. If you're keen on That '90s Show for the returning old faves, take note: the new crew is firmly in the spotlight in this sneak peek. But all of those aforementioned original characters do indeed make an appearance in the trailer, and make it feel like no time has passed at all. That '90s Show hits Netflix on Thursday, January 19, with the 1995-set series revisiting Point Place, Wisconsin during Leia's summer trip to see her grandparents. Hardly popular at school, she finally feels like she belongs with Kitty and Red's rebellious teen neighbour Gwen (Ashley Aufderheide, Four Kids and It), her brother Nate (Maxwell Acee Donovan, Gabby Duran & The Unsittables), his girlfriend Nikki (Sam Morelos, Forgetting Nobody), and their pals Ozzie (Reyn Doi, Barb and Star Go to Vista Del Mar) and Jay (Mace Coronel, Colin in Black & White). As well as nostalgia, expect déjà vu to strike amid the familiar sets — clearly by design. Behind the scenes, creators Bonnie and Terry Turner are back, also with their daughter Lindsey Turner. Yes, the multi-generational vibe flows on- and off-screen. In fact, in front of the camera, that even includes Tommy Chong (Color Out of Space) returning as Leo. Check out the trailer for That '90s Show below: That '90s Show will hit Netflix on Thursday, January 19, 2022. Images: Patrick Wymore/Netflix © 2022.
Much might be changing at the Museum of Old and New Art in 2024, including giving Dark Mofo a rest for the year and farewelling summer festival Mona Foma for good. But having a party in winter is still on the cards, as the Tasmanian venue confirmed a few months back. The lineup of events keeps growing, in fact, as part of what's now being dubbed a 'Dark Mofo presents' program. On offer from Thursday, June 13–Sunday, June 23: Winter Feast, the Nude Solstice Swim, both Genesis Owusu and Marlon Williams playing live, the Mona Gala, a new exhibition, a multi-storey nightclub and late-night tunes that begin the next morning. [caption id="attachment_950174" align="alignnone" width="1920"] Rosie Hastie, 2022. Courtesy of the artist and Dark Mofo 2022, Hobart, Tasmania, Australia.[/caption] "I know we said Dark Mofo would stay quiet, but winter wouldn't feel the same without the chance to feast and frolic during the long Tasmanian nights," said the fest's Artistic Director Chris Twite. "As the chill of winter creeps in, I know we are already longing to feast, dance and swim together. So we're really excited to be able to present these beloved pillars of the festival this June for Tasmanians and all our dedicated Dark Mofo pilgrims." [caption id="attachment_950181" align="alignnone" width="1920"] Sam Stewart. Courtesy of Dark Mofo / DarkLab, Hobart, Tasmania, Australia[/caption] If you're keen to eat your way around a huge midyear food festival on the Apple Isle, Winter Feast will be serving up plenty to tempt your tastebuds. Vaughan Mabee, the Executive Chef of New Zealand's Amisfield in Queenstown, is the the guest chef, teaming up with Mona's own Vince Trim. They'll hero unorthodox ingredients, such as Tasmanian deer and wallaby, wakame furikake, wattleseed and long-spined urchin, in an outdoor pavilion that'll be custom-built for the event. The meats will be fire-roasted onsite, then sliced to order. For dessert, deer also proves pivotal via deer milk ice cream, a signature dessert from Mabee. You won't forget it — it comes shaped like antlers, served in a real deer skull, then topped with 'deer blood' caramel. [caption id="attachment_950183" align="alignnone" width="1920"] Courtesy of Vaughan Mabee and Dark Mofo / DarkLab, Nipaluna Hobart, Lutruwita Tasmania, Australia.[/caption] Also set to be at Winter Feast: 80 stallholders, spanning not only returning favourites, but also 25 new joints from around the state. Standout dishes to look out for include spit-roast pork buns, crispy-fried southern rock lobster sliders, neo-Nepalese goat curry, arancini filled with beef ragu and mozzarella, and mortadella cruller choux pastries, as well as milk and honey doughnuts, mulled wine and smoked beetroot vodka. Yula (mutton bird) will also be back on the menu, while a Tasmanian sparkling wine bar is new for the year. Another change for 2024: making Winter Feast entry free on Sundays. [caption id="attachment_950175" align="alignnone" width="1920"] Dark Mofo/Rémi Chauvin. Courtesy Dark Mofo, Hobart, Tasmania, Australia[/caption] If you're most excited about taking a swim sans clothes to celebrate the winter solstice, the Nude Solstice Swim at Long Beach will have a larger capacity than in the past. Elsewhere, Owusu and Williams are each playing gigs at Odeon Theatre on successive nights; the Mona Gala will get everyone partying for the opening of exhibition Namedropping, which showcases 200-plus artistic works about status, perception and trying to look good for others; and Dark Mofo 2021's Night Shift is making a comeback so that you can hit the dance floor, get debauched and make the absolute most of the early hours. Slow Burn, a brand-new event for 2024, is also about staying up late, only opening at midnight at Odeon Theatre's Mezz Bar. At the In the Hanging Garden precinct, Winter in the Garden will get DJs spinning tunes earlier, and also host food and drink pop-ups. [caption id="attachment_950177" align="alignnone" width="1920"] Courtesy of the artist.[/caption] Dark Mofo will return in 2025 as the full usual shebang, but better than ever — not that there's anything usual about the event. "Dark Mofo has established itself as a beacon of artistic exploration and challenging ideas for a decade, immersing audiences in the depths of darkness and the heart of winter," said Twite earlier in 2024. "This year, by taking a fallow year, we are taking a crucial step in ensuring that Dark Mofo continues to be a catalyst for artistic innovation, cultural dialogue, and shared experiences for many years to come." [caption id="attachment_950178" align="alignnone" width="1920"] Dark Mofo/Jesse Hunniford. Courtesy Dark Mofo, Hobart, Tasmania, Australia.[/caption] [caption id="attachment_950182" align="alignnone" width="1920"] Courtesy Museum of Old and New Art (Mona), Tasmania, Australia.[/caption] [caption id="attachment_950176" align="alignnone" width="1920"] Dark Mofo/Jesse Hunniford, 2021. Courtesy Dark Mofo, Hobart, Tasmania, Australia.[/caption] [caption id="attachment_950180" align="alignnone" width="1920"] Rémi Chauvin. Courtesy of DarkLab, March 2023.[/caption] [caption id="attachment_950179" align="alignnone" width="1920"] Jesse Hunniford. Courtesy of the artists and Mona, Tasmania, Australia[/caption] Dark Mofo Presents: Winter 2o24: Thursday, June 13–Sunday, June 16 — Winter Feast week one Thursday, June 13–Sunday, June 23 — Winter in the Garden Friday, June 14 — The Mona Gala Saturday, June 15 — Genesis Owusu Saturday, June 15–Sunday, June 16 — Slow Burn Saturday, June 15, 2024–Monday, April 21, 2025 — Namedropping exhibition Sunday, June 16 — Marlon Williams Thursday, June 20–Sunday, June 23 — Winter Feast week two Friday, June 21 — Nude Solstice Swim Friday, June 21–Saturday, June 22 — Night Shift The Dark Mofo Presents lineup takes place at Mona from Thursday, June 13–Sunday, June 23, 2024. Head to the festival's website for further details, and for tickets on Tuesday, April 16 — from 10am for subscribers and 12pm for everyone else. Top image: Rosie Hastie, 2022. Courtesy of Dark Mofo 2022.
Saving your loved ones from medical emergencies, reuniting with school friends, using AI in filmmaking, revisiting memories: whether or not you've ever wondered how these situations could turn into technological nightmares, you're about to find out how Charlie Brooker thinks that they can. When the seventh season of Black Mirror arrives, all of the above scenarios will feature across its six episodes, which viewers can check out from Thursday, April 10, 2025. Also included: sequels to season four's Star Trek-riffing USS Callister and choose-your-own-adventure movie Black Mirror: Bandersnatch. Grabbing everyone's attention with one shiny promise, then delivering something else as well: if you've ever watched the dystopian franchise, then you've seen that exact situation play out several times. Soon, you're about to again. And yes, that does apply to the fact that following up USS Callister has long been promised, but doing the same with Black Mirror: Bandersnatch only started being teased in March when the first glimpse at season seven dropped. Netflix has now unveiled another trailer, which also includes episode titles. If you need more information on what's ahead, the streaming platform has revealed more details about each chapter in the new season as well. 'Common People' with Rashida Jones (Sunny), Chris O'Dowd (The Big Door Prize) and Tracee Ellis Ross (Candy Cane Lane) is where that life-saving storyline comes in, for starters, while 'Bête Noire' features Siena Kelly (Domino Day) and Rosy McEwen (Apartment 7A) in a tale of an unnerving reunion. To dive into the impact of artificial intelligence of making movies, you'll be watching Issa Rae (American Fiction), Awkwafina (Jackpot!), Emma Corrin (Nosferatu) and Harriet Walter (Silo) in 'Hotel Reverie'. Paul Giamatti (The Holdovers) and Patsy Ferran (Mickey 17) star in 'Eulogy', about a man looking back with photorealistic detail. Then there's 'Plaything', where Bandersnatch's Will Poulter (The Bear) and Asim Chaudhry (Industry) return — this time joined by Peter Capaldi (Criminal Record) and Michele Austin (Hard Truths). In USS Callister sequel USS Callister: Into Infinity, Cristin Milioti (The Penguin), Jimmi Simpson (Pachinko), Billy Magnussen (The Franchise), Milanka Brooks (The Windsors), Osy Ikhile (All American) and Paul G Raymond (Deadpool & Wolverine) are all back and stuck dealing with another problem. The latest episodes in Brooker's can't-look-away take on how humanity's use of gadgets and innovations can go devastatingly awry are hitting two years after 2023's sixth season, which is a short gap in Black Mirror terms given that there was a four-year wait after season five. Season seven's batch of Black Mirror episodes is also bigger than the past two seasons, thanks to its six instalments — which only season three and four have done in the past. Check out the latest trailer for Black Mirror season seven below: Black Mirror season seven will stream via Netflix from Thursday, April 10, 2025. Read our review of season six, and our interview with Charlie Brooker.
There are so many rankings in the culinary world! It was only a couple of months ago we were showering praise on Attica for being the best restaurant in Australia as per the rankings in Restaurant magazine. Then, earlier this week, Gourmet Traveller weighed in on the debate and reaffirmed Ben Shewry's Melbourne restaurant as the best. Now the Weekend Australian and their annual 'Hot 50 Restaurants' ranking have deemed Neil Perry's Rockpool as the greatest in all the land. We don't know what to believe, but we do know that having too much delicious food everywhere can hardly be a bad thing. The poll, self-described as "Australia's most honest snapshot of the national restaurant scene," was released this weekend. Rockpool Sydney took out the top gong and various other awards were divvied up across the nation. The titles of both 'Hottest Regional' and 'Hottest Victorian' restaurant was awarded to Dan Hunter's Brae in Birregurra. Wasabi was named the best in Queensland. Martin Ben from Sydney's Sepia was named 'Hottest Chef'. And Melbourne's Stokehouse, rebuilt this year after a devastating fire, was named 'Hottest Classic' without a hint of irony. Editor of the Weekend Australian Magazine Christine Middap had endless praise for both Sydney, Melbourne and South Australia in her published list, though openly derided the restaurant scene in Canberra, Brisbane and Perth. "An almost obsessive, market-driven surge in informality too often has translated to slackness [in these regions]," she said. Foodie cattiness aside, the list itself proves some interesting reading. While some Melbourne and Sydney favourites — Attica, Chin Chin, Momofuku and Rockpool — are regulars to the yearly ranking, 28 of the 50 restaurants included are new additions from last year. Chances are you'll be able to comb the list and find something new near you. However, all that depends on how much money you're willing to fork out. Though they do award a 'Hottest Value' title — Adelaide's nose-to-tail eatery Daniel O'Connell — the rest of the list is bound to set you back a few clams. Maybe save these ones for a special occasion and stick to Concrete Playground's advice for the rest of your trips out. It is The Australian after all. Via The Australian. See the full published list of restaurants here.
Last week, Robert Pattinson popped up on our screens in the trailer for upcoming Netflix movie The Devil All the Time. At present, he's also starring in cinemas in Tenet, which is finally earning a release. And, right this instant, he's stepping into a very well-known character's shoes (and cape and mask) — as seen in the just-dropped first trailer for The Batman. Yes, as well as featuring in a Christopher Nolan-helmed movie, Pattinson is playing a character that Nolan helped bring back to cinemas 15 years ago. This time around, Cloverfield, Let Me In, Dawn of the Planet of the Apes and War for the Planet of the Apes filmmaker Matt Reeves is in the director's chair, overseeing a new take on Batman that actually stands completely apart from the most recent Ben Affleck-starring DC Extended Universe version of the character. Basically, what DC Films and Warner Bros. Pictures did with Joker in 2019 — serving up a grimmer, grittier iteration of the infamous figure that has absolutely nothing to do with the rightfully hated Jared Leto version — they're doing for Batman now, too. Also following the same playbook: enlisting a top-notch star in the lead role. Remember, it was only earlier this year that Joaquin Phoenix won an Oscar for playing the clown prince of crime. The Batman isn't slated to hit cinemas until more than 12 months away — at the end of September 2021 in Australia — however, as this first sneak peek shows, it's shaping up to be a suitably dark and brooding affair. And, as well as Pattison as the titular character and his alter-ego Bruce Wayne, it stars Zoe Kravitz as Catwoman, Paul Dano as the Riddler, Colin Farrell as the Penguin, Jeffrey Wright as Commissioner Gordon and Andy Serkis as Alfred Pennyworth. For those keeping count, Pattinson is the third actor to play the Dark Knight on the big screen in the 21st century, after Christian Bale and Ben Affleck. He also joins a long list of actors who've donned the outfit, including Adam West, Michael Keaton, Val Kilmer and George Clooney. Check out The Batman trailer below: https://www.youtube.com/watch?v=NLOp_6uPccQ The Batman is currently due to release in Australian cinemas on September 30, 2021.
Not all that long ago, the idea of getting cosy on your couch, clicking a few buttons, and having thousands of films and television shows at your fingertips seemed like something out of science fiction. Now, it's just an ordinary night — whether you're virtually gathering the gang to text along, cuddling up to your significant other or shutting the world out for some much needed me-time. Of course, given the wealth of options to choose from, there's nothing ordinary about making a date with your chosen streaming platform. The question isn't "should I watch something?" — it's "what on earth should I choose?". Hundreds of titles are added to Australia's online viewing services each and every month, all vying for a spot on your must-see list. And, so you don't spend 45 minutes scrolling and then being too tired to actually commit to anything, we're here to help. We've spent plenty of couch time watching our way through this month's latest batch — and, from the latest and greatest through to old and recent favourites, here are our picks for your streaming queue from June's haul. BRAND NEW STUFF YOU CAN WATCH IN FULL NOW I'M A VIRGO No one makes social satires like Boots Riley. Late in I'm a Virgo, when a character proclaims that "all art is propaganda", these words may as well be coming from The Coup frontman-turned-filmmaker's very own lips. In only his second screen project after the equally impassioned, intelligent, energetic, anarchic and exceptional 2018 film Sorry to Bother You, Riley doesn't have his latest struggling and striving hero utter this sentiment, however. Rather, it springs from the billionaire technology mogul also known as The Hero (Walton Goggins, George & Tammy), who's gleefully made himself the nemesis of 13-foot-tall series protagonist Cootie (Jharrel Jerome, Spider-Man: Across the Spider-Verse). Knowing that all stories make a statement isn't just the domain of activists fighting for better futures for the masses, as Riley is, and he wants to ensure that his audience knows it. Indeed, I'm a Virgo is a show with something to say, and forcefully. Its creator is angry again, too, and wants everyone giving him their time to be bothered — and he still isn't sorry for a second. With Jerome as well-cast a lead as Atlanta's Lakeith Stanfield was, I'm a Virgo also hinges upon a surreal central detail: instead of a Black telemarketer discovering the impact of his "white voice", it hones in on the oversized Cootie. When it comes to assimilation, consider this series Sorry to Bother You's flipside, because there's no way that a young Black man that's more than double the tallest average height is passing for anyone but himself. Riley knows that Black men are too often seen as threats and targets regardless of their stature anyway. He's read the research showing that white folks can perceive Black boys as older and less innocent. As Cootie wades through these experiences himself, there isn't a single aspect of I'm a Virgo that doesn't convey Riley's ire at the state of the world — that doesn't virtually scream about it, actually — with this series going big and bold over and over. I'm a Virgo streams via Prime Video. Read our full review. BLACK MIRROR When Ron Swanson discovered digital music, the tech-phobic Parks and Recreation favourite was uncharacteristically full of praise. Played by Nick Offerman (The Last of Us) at his most giddily exuberant, he badged the iPod filled with his favourite records an "excellent rectangle". In Black Mirror, the same shape is everywhere. The Netflix series' moniker even stems from the screens and gadgets that we all now filter life through daily and unthinkingly. In Charlie Brooker's (Cunk on Earth) eyes since 2011, however, those ever-present boxes and the technology behind them are far from ace. Instead, befitting a dystopian anthology show that has dripped with existential dread from episode one, and continues to do so in its long-awaited sixth season, those rectangles keep reflecting humanity at its bleakest. Black Mirror as a title has always been devastatingly astute: when we stare at a TV, smartphone, computer or tablet, we access the world yet also reveal ourselves. It might've taken four years to return after 2019's season five, but Brooker's hit still smartly and sharply focuses on the same concern. Indeed, this new must-binge batch of nightmares begins with exactly the satirical hellscape that today's times were bound to inspire. Opening chapter Joan Is Awful, with its AI- and deepfake-fuelled mining of everyday existence for content, almost feels too prescient — a charge a show that's dived into digital resurrections, social scoring systems, killer VR and constant surveillance knows well. Brooker isn't afraid to think bigger and probe deeper in season six, though; to eschew obvious targets like ChatGPT and the pandemic; and to see clearly and unflinchingly that our worst impulses aren't tied to the latest widgets. Black Mirror streams via Netflix. Read our full review. GUY RITCHIE'S THE COVENANT Announcing his cinematic arrival with a pair of slick, witty, twisty and fast-paced British heist flicks, Guy Ritchie achieved at the beginning of his career something that many filmmakers strive for their whole lives: he cemented exactly what his features are in the minds of audiences. Lock, Stock and Two Smoking Barrels and Snatch made "Guy Ritchie movie" an instantly understood term, in fact, as the writer/director has attempted to capitalise on since with differing results (see: Revolver, RocknRolla, The Gentlemen and Operation Fortune: Ruse de Guerre). Ritchie's third film, the Madonna-starring Swept Away, has also proven just as emblematic of his career, however. He loves pumping out stereotypical Guy Ritchie movies — he even adores making them Sherlock Holmes and King Arthur flicks, with mixed fortunes — but he also likes leaving his own conventions behind in The Man From UNCLE, Aladdin, Wrath of Man and now Guy Ritchie's The Covenant. Perhaps Ritchie's name is in the title of this Afghanistan-set action-thriller to remind viewers that the film does indeed boast him behind the lens, and as a cowriter; unlike with fellow 2023 release Operation Fortune: Ruse de Guerre, they wouldn't guess otherwise. Clunky moniker aside, Guy Ritchie's The Covenant is pared down, gripping and intense, and home to two excellent performances by Jake Gyllenhaal (Strange World) as Master Sergeant John Kinley and Dar Salim (Tatort) as his interpreter Ahmed. As the former leads a team that's looking for IED factories, the pair's collaboration is tentative at first. Then a raid goes wrong, Ahmed saves Kinley's life, but the recognition and support that'd be afforded an American solider in the same situation doesn't go the local's way. Where Afghan interpreters who aid US troops are left after their task is complete is a weighty subject, and treated as such in this grounded and moving film. Guy Ritchie's The Covenant streams via Prime Video. FLAMIN' HOT How? In pop culture's current true-crime and murder-mystery trends, that's a key question, with audiences keen to discover how killers are caught — or sometimes aren't. It's also the query at the heart of another on-screen obsession of late: product films. These aren't the movies that turn every favourite character and premise possible into never-ending franchises, as seen in the many various caped-crusader universes. Rather, they're origin stories behind everything from games (Tetris) to shoes (Air) and mobile phones (BlackBerry), and they just keep arriving in 2023. Marking the feature directorial debut of Desperate Housewives actor Eva Longoria, Flamin' Hot is firmly a product film, as Cheetos fans will instantly know. If you've ever wondered how the Frito-Lay-owned brand's spiciest variety came about in the 90s — and became so popular — this likeable, energetically made movie provides the answer while itself rolling out a crowd-pleasing formula. Eating the titular snack while you watch is optional, but expect the hankering to arise either way. This story belongs to Richard Montañez — and it's also an underdog tale, and an account of chasing the American dream, especially when it seems out of reach. Flamin' Hot's pivotal figure (Jesse Garcia, Ambulance) started working at Frito-Lay to support his family, after living the gang life since high school to rebel against his dad, but he wants to be more than a janitor. His attempts to work his way up the company ladder falter not through his lack of trying or willingness to learn everything there is about making junk food, but due to a stratified hierarchy that doesn't reward his efforts. But, as he takes cues about the factory's operation from engineer Clarence (Dennis Haysbert, Lucifer), who also struggles to get promoted, he realises that chilli-flavoured Cheetos would be a smash within the Latino community. His ever-supportive wife Judy (Annie Gonzalez, Vida) is committed to helping, as are his family and friends in general — but if getting Frito-Lay CEO Roger Enrico (Tony Shalhoub, The Marvelous Mrs Maisel) onboard was easy or straightforward, there wouldn't be a film. Flamin' Hot streams via Disney+. BASED ON A TRUE STORY Murder-mystery comedies: everyone's making them, and on screens big (Knives Out and its sequel, See How They Run) and small (Only Murders in the Building, The Afterparty, Dead to Me). In fact, Based on a True Story star Kaley Cuoco has been in one lately thanks to two seasons of dark comedy-slash-whodunnit thriller The Flight Attendant. But the difference with the genre's latest streaming example is befriending a serial killer, which is the choice that Cuoco's pregnant real-estate agent Ava Bartlett and her just-fired tennis-coach husband Nathan (Chris Messina, The Boogeyman) make to chase a lucrative payday. How does palling around with the Westside Ripper, who has been terrorising Los Angeles, benefit the financially struggling couple? By making a podcast with them, as Australian-born creator and writer Craig Rosenberg (The Boys) finds his own way to riff on the Serial-sparked true-crime audio obsession. Ava is a devotee of folks talking about grisly deeds; if Only Murders in the Building existed in the Based on a True Story universe, she'd be its number-one fan. And, after working out that she and Nathan know the killer, it's her idea to hustle that information into what she hopes will be the next big podcast, all by enlisting said criminal to natter on with them. Based on a True Story clearly skews more darkly satirical than the fellow streaming series it most closely resembles — well, that and The Flight Attendant and also country-club comedy Red Oaks. It's messier as well, sometimes feeling like it's throwing in everything it can, and Cuoco could've easily walked out of her last series and straight into this. Still, with its love of twists, willingness to call out how the world's murder fixation is so rarely about the victims, and a well-cast lineup of talent that also includes Tom Bateman (Death on the Nile) and Liana Liberato (Scream VI), it's quickly addictive — yes, like the podcasts it's parodying. Based on a True Story streams via Binge. NEW SHOWS TO CHECK OUT WEEK BY WEEK DEADLOCH Trust Kate McCartney and Kate McLennan, Australia's favourite Kates and funniest double act, to make a killer TV show about chasing a killer that's the perfect sum of two excellent halves. Given their individual and shared backgrounds, including creating and starring in cooking show sendup The Katering Show and morning television spoof Get Krack!n, the pair unsurprisingly add another reason to get chuckling to their resumes; however, with Deadloch, they also turn their attention to crime procedurals. The Kates already know how to make viewers laugh. They've established their talents as brilliant satirists and lovers of the absurd in the process. Now, splashing around those skills in Deadloch's exceptional eight-episode first season lead by Kate Box (Stateless) and Madeleine Sami (The Breaker Upperers), they've also crafted a dead-set stellar murder-mystery series. Taking place in a sleepy small town, commencing with a body on a beach, and following both the local cop trying to solve the case and the gung-ho blow-in from a big city leading the enquiries, Deadloch has all the crime genre basics covered from the get-go. The spot scandalised by the death is a sitcom-esque quirky community, another television staple that McCartney and McLennan nail. Parody requires deep knowledge and understanding; you can't comically rip into and riff on something if you aren't familiar with its every in and out. That said, Deadloch isn't in the business of simply mining well-worn TV setups and their myriad of conventions for giggles, although it does that expertly. With whip-smart writing, the Australian series is intelligent, hilarious, and all-round cracking as a whodunnit-style noir drama and as a comedy alike — and one of the streaming highlights of the year. Deadloch streams via Prime Video. Read our full review. HIJACK Whether Idris Elba will ever get to play James Bond is still yet to be seen, but he resourcefully endeavours to save lives and bring down nefarious folks in Hijack, and adds another prime example of why he'd be excellent as 007 to his resume. This new series is also basically Idris Elba on a Plane, sans slithering snakes — or Idris Elba Cancels the London-Bound Apocalypse. Die Hard with Idris Elba, 24: Idris Elba: they fit as well. Fresh from battling lions in Beast, the Luther star plays Sam Nelson, a seasoned negotiator on his way home to the UK from Dubai, and a man who just wants to try to patch things up with his estranged wife Marsha (Christine Adams, The Mandalorian) and spend time with his teenage son Kai (Jude Cudjoe, Halo). Then fellow Brit Stuart (Neil Maskell, Small Axe) and his gun-toting team take over the aircraft before the first of the journey's seven hours is out, forcing Sam to play hero to try to keep himself and his fellow passengers alive. Unfurling in seven episodes, Hijack gets its audience experiencing the tension, chaos and life-or-death stakes in tandem with Sam, the rest of the flight's hostages, and the people on the ground across several countries that are attempting to work out what's going on. Creators George Kay (Lupin) and Jim Field Smith (Litvinenko) prove masterful with suspense, and at keeping viewers hooked — and, pivotally, at knowing exactly the kind of series this wants to be, the conventions and cliches it's leaning into, what's soared there before, and how to do it well. It can't be underestimated how crucial Elba is, though. Cast the wrong person as Sam, and the ability to get everyone from pilots and crew to agitated flyers, wannabe saviours and air traffic control on his side would seem ludicrous — and, at times, the hijackers as well. Hijack streams via Apple TV+. SECRET INVASION "I've had it with these Marvel tales without Nick Fury as the lead" isn't something that Samuel L Jackson has publicly uttered, with or without expletives — yes, more than a few things have Snakes on a Plane vibes this month (see also: Hijack above) — but viewers might've thought it over the past 15 years. The character that masterminded the Avengers Initiative initially appeared in 2008's very-first Marvel Cinematic Universe movie. When Guardians of the Galaxy Vol. 3 reached cinemas earlier in 2023, the franchise hit 32 cinema outings to-date, many with Fury playing a part. And yet, none have had his name in their moniker. That remains the case now, and on the small screen as well, where the MCU has also been spreading its exploits. Secret Invasion is still exactly what Marvel has needed for over a decade, however: a Fury-centric story. Perhaps Disney realises that, too; as well as bringing back Talos (Ben Mendelsohn, Cyrano), and introducing MI6's Sonya Falsworth (Olivia Colman, Empire of Light), insurrectionist leader Gravik (Kingsley Ben-Adir, One Night in Miami) and fellow revolutionary G'iah (Emilia Clarke, Last Christmas), Secret Invasion's first two episodes feature laments aplenty about Fury's absence. Within the ever-sprawling MCU's interconnected narrative, he's been AWOL lately for two reasons: The Blip, aka Avengers: Infinity War's consequential finger-snapping; and a stint since working in space, which'll get more attention when The Marvels drops on the silver screen in November 2023. Extraterrestrial race the Skrulls has noticed Fury's departure keenly, after he promised to help them find their own planet in Captain Marvel but hasn't followed through so far. Cue two factions of the shapeshifting refugees in Secret Invasion: those still waiting and others now willing to fight to take earth as their own instead. Cue far more Skrulls on Marvel's main base than humans, including Fury, know about as well. Secret Invasion streams via Disney+. Read our full review. THE CROWDED ROOM Since 2016, Tom Holland has been so busy doing whatever a spider can that stints away from his Marvel Cinematic Universe web-slinging have been few and far between. And varied, including the long-delayed (and terrible) Chaos Walking and the entertaining-enough Uncharted movie adaptation, plus straight-to-streaming flicks The Devil All the Time and Cherry. The Crowded Room boasts his best performance yet in his Spider-Man era, and provides a reminder that the star of The Impossible and The Lost City of Z, plus lover of dancing to Rihanna's 'Umbrella', will be absolutely fine when he stops pondering how great power begets great responsibility. His new ten-part series doesn't always meet its hefty ambitions, but it's always thoughtful in its attempts as it heads back to the 70s, spends time with a young man being interrogated about his past, explores mental health and, like most things of late, revels in being a mystery. Holland plays Danny Sullivan, who starts the serious jittering with nerves at New York City's Rockefeller Center. He's with Ariana (Sasha Lane, Conversations with Friends), they have a gun, and opening fire is their aim — but, although Danny doesn't want to shoot, he's swiftly in police custody. Lead cop Matty (Thomas Sadoski, Devotion) thinks that the public incident might just be the latest in a series of incidents. Enter Rya (Amanda Seyfried, The Dropout), who spends lengthy sessions interrogating Danny about his past as he awaits trial. The Crowded Room always remains a crime drama but, as it pieces together its protagonist's complicated story complete with glimpses of his doting mother Candy (Emmy Rossum, Angelyne) and abusive stepfather Marlin (Will Chase, Dopesick), it has much more on its mind. The twist in the premise is teased out, hardly difficult to guess, yet gives Holland ample room to turn in a compellingly pliable performance — in a series the brings 1981 non-fiction novel The Minds of Billy Milligan to the screen, albeit using it as inspiration rather than straight-out adapting it, a task that's been attempted since the 90s. The Crowded Room streams via AppleTV+. RECENT CINEMA RELEASES YOU NEED TO CATCH UP WITH ASAP ALL THE BEAUTY AND THE BLOODSHED With photographer Nan Goldin at its centre, the latest documentary by Citizenfour Oscar-winner Laura Poitras is a film about many things, to deeply stunning and moving effect. In this Oscar-nominated movie's compilation of Goldin's acclaimed snaps, archival footage, current interviews, and past and present activism, a world of stories flicker — all linked to Goldin, but all also linking universally. The artist's bold work, especially chronicling LGBTQIA+ subcultures and the 80s HIV/AIDS crisis, frequently and naturally gets the spotlight. Her complicated family history, which spans heartbreaking loss, haunts the doco as it haunts its subject. The rollercoaster ride that Goldin's life has taken, including in forging her career, supporting her photos, understanding who she is and navigating an array of personal relationships, cascades through, too. And, so do her efforts to counter the opioid epidemic by bringing one of the forces behind it to public justice. Revealing state secrets doesn't sit at the core of the tale here, unlike Citizenfour and Poitras' 2016 film Risk — one about Edward Snowden, the other Julian Assange — but everything leads to the documentary's titular six words: All the Beauty and the Bloodshed. They gain meaning in a report spied late about the mental health of Goldin's older sister Barbara, who committed suicide at the age of 18 when Goldin was 11, and who Goldin contends was just an "angry and sexual" young woman in the 60s with repressed parents. A psychiatrist uses the eponymous phrase to describe what Barbara sees and, tellingly, it could be used to do the same with anyone. All the Beauty and the Bloodshed is, in part, a rebuke of the idea that a teenager with desires and emotions is a problem, and also a statement that that's who we all are, just to varying levels of societal acceptance. The film is also a testament that, for better and for worse, all the beauty and the bloodshed we all witness and endure is what shapes us. All the Beauty and the Bloodshed streams via Docplay. Read our full review. BLAZE In the name of its protagonist, and the pain and fury that threatens to parch her 12-year-old existence, Del Kathryn Barton's first feature scorches and sears. It burns in its own moniker, too, and in the blistering alarm it sounds against an appalling status quo: that experiencing, witnessing and living with the aftermath of violence against women is all too common, heartbreakingly so, including in Australia where one woman a week on average is killed by her current or former partner. Blaze has a perfect title, with the two-time Archibald Prize-winning artist behind it crafting a movie that's alight with anger, that flares with sorrow, and that's so astutely and empathetically observed, styled and acted that it chars. Indeed, it's frequently hard to pick which aspect of the film singes more: the story about surviving what should be unknown horrors for a girl who isn't even yet a teen, the wondrously tactile and immersive way in which Blaze brings its namesake's inner world to the screen, or the stunning performance by young actor Julia Savage (Mr Inbetween) in its central part. There are imagined dragons in Blaze, but Game of Thrones or House of the Dragon, this isn't — although Jake (Josh Lawson, Mortal Kombat), who Blaze spots in an alleyway with Hannah (Yael Stone, Blacklight), has his lawyer (Heather Mitchell, Bosch & Rockit) claim that his accuser knows nothing. With the attack occurring mere minutes into the movie, Barton dedicates the feature's bulk to how her lead character copes, or doesn't. Being questioned about what she saw in court is just one way that the world tries to reduce her to ashes, but the embers of her hurt and determination don't and won't die. Blaze's father Luke (Simon Baker, Limbo), a single parent, understandably worries about the impact of everything blasting his daughter's way. As she retreats then acts out, cycling between both and bobbing in-between, those fears are well-founded. Blaze is a coming-age-film — a robbing-of-innocence movie as well — but it's also a firm message that there's no easy or ideal response to something as awful as its titular figure observes. Blaze streams via Stan and Binge. Read our full review. SHE SAID Questions flow freely in She Said, the powerful and methodical All the President's Men and Spotlight-style newspaper drama from director Maria Schrader (I'm Your Man) and screenwriter Rebecca Lenkiewicz (Small Axe) that tells the story behind the past decade's biggest entertainment story. On-screen, Zoe Kazan (Clickbait) and Carey Mulligan (The Dig) tend to be doing the asking, playing now Pulitzer Prize-winning New York Times journalists Jodi Kantor and Megan Twohey. They query Harvey Weinstein's actions, including his treatment of women. They gently and respectfully press actors and Miramax employees about their traumatic dealings with the Hollywood honcho, and they politely see if some — if any — will go on the record about their experiences. And, they question Weinstein and others at his studio about accusations that'll lead to this famous headline: "Harvey Weinstein Paid Off Sexual Harassment Accusers for Decades". As the entire world read at the time, those nine words were published on October 5, 2017, along with the distressing article that detailed some — but definitely not all — of Weinstein's behaviour. Everyone has witnessed the fallout, too, with Kantor and Twohey's story helping spark the #MeToo movement, electrifying the ongoing fight against sexual assault and gender inequality in the entertainment industry, and shining a spotlight on the gross misuses of authority that have long plagued Tinseltown. The piece also brought about Weinstein's swift downfall. As well as being sentenced to 23 years in prison in New York in 2020, he's currently standing trial for further charges in Los Angeles. Watching She Said, however, more questions spring for the audience. Here's the biggest heartbreaker: how easily could Kantor and Twohey's article never have come to fruition at all, leaving Weinstein free to continue his predatory harassment? She Said streams via Netflix and Binge. Read our full review. Need a few more streaming recommendations? Check out our picks from January, February, March, April and May this year. You can also check out our list of standout must-stream 2022 shows as well — and our best 15 new shows of last year, top 15 returning shows over the same period, 15 shows you might've missed and best 15 straight-to-streaming movies of 2022.
The Apple iPod has been nipped and tucked since its original version to become the compact, nearly paper-thin music-playing masterpiece that it is today. We now have room for thousands of songs and videos on a piece of metal that's smaller than a playing card and lighter than a feather. Just when we thought there was no more improving the little guys, technology went ahead and proved us wrong. Scientists from Georgia University of Technology, lead by Dr. Zhong Lin Wang, are in the experimental stages of developing nanotechnology that will create self-generated energy that could power portable devices like iPods. In presenting their findings to the American Chemical Society, Dr. Wang explained that the devices would have a microchip made of zinc oxide nanowires (500 of them could fit on a human hair) that generate energy at any body movement, even just the beat of a heart. So far the human-powered technology has been used to power LCD screens and store radio signals. These advances may seem small, but Dr. Wang believes that the team's development of the microchip is a significant milestone in the creation of power that isn't battery-operated or plugged into an electrical outlet. "Their potential is only limited by one's imagination," he said. We're certainly looking forward to listening to beats powered by heartbeats. [via The Telegraph]
For those following a vegan diet, plenty of obvious items are off the menu: meat, dairy products and eggs in particular. So is anything made with gelatine, given that the substance is derived from collagen from animal body parts — which rules out many a sweet treat, too. Gummy and jelly lollies are definitely usually made with gelatine; however, with its newest release, The Natural Confectionery Co is giving vegans an animal product-free alternative. Already known for completely avoiding artificial colours, flavours and sweeteners, plus high-fructose corn syrup as well, the company is now launching a gelatine-free, vegan-, vegetarian- and flexitarian-friendly version of its fruity jelly lollies. If that's your next snack taken care of, you'll find packs of Vegan Fruity Flavoured Jellies in supermarkets from mid-August — starting with Coles and independent stores, then hitting Woolworths from mid-September. They'll cost you $4 for a 200-gram packet, which boasts five varieties of lollies inside: apple, blackcurrant, peach, pineapple and raspberry. The new addition to The Natural Confectionery Co's range comes in response to demand. "We couldn't ignore the requests from Aussies asking for a vegan-friendly option," explains Lauren Fildes, the Cadbury-owned company's Marketing Director for Candy, Biscuits and Meals. If you're a fan of the brand's other types of lollies — its snakes, fruity chews and sour worms, for example — you'll have to cross your fingers that they eventually get a vegan version as well. [caption id="attachment_779206" align="aligncenter" width="1920"] Peter O'Connor via Flickr[/caption] Find The Natural Confectionery Co's Vegan Fruity Flavoured Jellies in Coles and independent supermarkets from mid-August, and in Woolworths from mid-September — costing $4 for a 200-gram pack.
If you've ever landed overseas only to be slapped with eye-watering roaming charges, Holafly wants to make your next trip a whole lot easier. The global travel tech company has just launched its unlimited data eSIMs for Australian travellers, offering affordable access across more than 200 destinations. According to Holafly, many Australians still pay up to $10 a day for international roaming. Well, Holafly has done the maths, and that means $70 for a week in Bali or $300 for a month in Europe. Not to mention, this often comes with frustrating data caps and speed restrictions, too. Holafly's digital eSIM helps cut that cost by as much as 60 percent. Travellers can activate a local plan before flying out, connect instantly upon landing and avoid bill shock altogether. No SIM swaps, no surprise charges and unlimited data wherever you go. Founded in 2018, Holafly has already connected more than ten million travellers worldwide. Its eSIMs are delivered instantly by email, with activation taking just a couple of minutes. From there, you've got unlimited data at maximum speeds, plus round-the-clock customer support. Coverage spans more than 200 destinations, including Japan, the United States, Canada, Singapore, South Korea, the UK and much of Europe, with 5G available in select countries. Plans run up to 90 days, making them ideal for long-haul escapes and extended stays. You can grab a plan directly through Holafly's website or mobile app before you fly.
Think you're great at pushing buttons? Okay, not just mashing and smashing them, but timing your touches so perfectly that you manoeuvre pinball flippers like a wizard, and send shiny chrome balls rolling, roaming and sprawling around the machine of your choice? Think your talents could stand up to scrutiny? Want to find out? Now that Brisbane has its own arcade game bar, Netherworld, we're guessing that events like Flip Frenzy are about to become a whole lot more frequent. One of the venue's owners fancies himself as quite the pinball player, after all — and you can try to follow in his footsteps. Here how it works: book in advance, pay $20, arrive at 9.30am, and then prepare to strut your stuff until 1pm. Only 50 competitors are allowed, and they'll be paired up at random, vie for supremacy, and then move on to the next opponent and machine. The games will be fast, but they'll also be fun — and all players of all skill levels are welcome.
Since the release of their dazzling 2011 album Civilian, Baltimore-based duo Jenn Wasner and Andy Stack aka Wye Oak have become one of the most loved modern folk artists of recent times. From their distorted, guitar-heavy brand of melancholic pop to their recent dabblings in synth-drenched, intricate melody stylings, this duo show off as much emotion as skill in their soaring tunes. Now, off the back of their 2014 album Shriek, and two years of nonstop touring, they're arriving in Australia for a handful of shows — primarily stemming from their appearance at Sydney Festival. Widely known and esteemed for their exuberant and thunderous live shows, Wye Oak take that extra mile on stage to let the infiniteness of their melodies and rhythmic innovations flourish. Shriek saw Wasner swap out her domineering guitar for galloping, layered synths, bringing the band to a sound that transcends disorientation and loss to a hopeful, trance-heavy, rhythmic sense of renewal and empowerment. Supported by Major Leagues.
You've obsessed over the series, watched the movie that followed, thought about buying Laura Palmer's house and even read The Secret Diary of Laura Palmer (yes, it really exists). You know that the pattern on the floor inside the Black Lodge also pops up in David Lynch's Eraserhead, and that the actress who played Double R Diner owner Norma, Peggy Lipton, is the real-life mother of Parks and Recreation's Rashida Jones. If you know all this, you're ready for the Twin Peaks Trivia Night — and even if you don't, you should still try your luck. Celebrating the 25th anniversary of the TV series like no other, the folks at Man vs Bear have compiled a very special challenge, covering everything from cherry pie to the Log Lady. Think clues, coffee and a damn fine night of fun, in the latest event to accompany the Gallery of Modern Art's David Lynch: Between Two Worlds exhibition. Teams of two to eight people can enter, and bookings are essential. Note: you can dress up as Agent Dale Cooper if you like, but you can't ask your friend Diane for help with the answers.
What’s your favourite thing about Twin Peaks? Other than the fact that it's coming back in 2016, of course. We know, we know, there’s just too many to choose from. Any list would have to include Kyle MacLachlan as Agent Dale Cooper, cherry pie and damn fine coffee, and David Lynch’s zaniness on screen and off — as well as the haunting music. From those first distinctive notes of composer Angelo Badalamenti’s theme tune, to the ethereal sounds of Julee Cruise’s Falling — a number one hit in Australia at the time — it is the show’s soundtrack that still echoes through our minds. Courtesy of GOMA’s David Lynch: Between Two Worlds exhibition, that isn’t going to change any time soon. In fact, Xiu Xiu will ensure the series’ score gets permanently lodged in your brain. For two nights only, the American experimental group will appear live to interpret the iconic music through their mix of post punk and synth pop. Prepare to amazed, delighted and perhaps even disturbed by this new take on Twin Peaks’ chaos, drama, fear, noise and sidelong leering glances. The performance also comes with a serious warning: BOB will be conducting.
Get the bacon and whisky ready, and prepare your ears for some high-pitched laughter. They're the only things you can do — other than start making your own canoe, and generally squealing with glee — upon hearing the news that Nick Offerman is coming to Australia this week. Although initially slated to appear with partner in crime Megan Mullally to perform their Summer of 69: No Apostrophe, an unforeseen scheduling conflict has seen the show replaced with Offerman's solo show Full Bush. Mullally is no longer able to tour early next year as she starts a major film production overlapping directly with her Australian dates — but, luckily, Offerman is still able to make it. Just take a moment to let that sink in. Ron effing Swanson will be in the country. Described as a veritable smorgasbord of cautionary tales, tunes, and tips for prosperity, Full Bush looks set to make all your dreams come true: you'll get to sing a tune with Offerman while taking in his natural beefy musk. He'll be up on stage at QPAC on Friday, February 5, and for two shows the following night on Saturday, February 6 (at 8pm and 10.30pm). NICK OFFERMAN: FULL BUSH DATES January 28-29 — State Theatre, Sydney January 30 — Theatre Royal, Hobart January 31 & February 9 — Hamer Hall, Melbourne February 2-3 — Astor Theatre, Perth February 4 — Festival Theatre, Adelaide February 5-6 — QPAC Concert Hall, Brisbane
Despite Brisbane being one of Australia's most vibrant art and culture hubs, world music isn't the first thing people seek out on a Friday evening. That's a little shocking, so the Triffid is about to change the situation. A Night of World Music features three of Australia's most exciting, up-and-coming bands who all fall under that super-broad genre of world music, i.e. music produced in developing countries, with occasional western influence. If 'Graceland' just popped into your head, then you're kind of on the right track. The night will be headlined by MZAZA, one of Australia's most individual bands, as lead by acclaimed French-Sephardic vocalist Pauline Maudy and made up of cultural refugees from Bosnia, Latvia, Greece, Turkey, France, Sephardic Spain and Australia. They'll be joined 25-piece street band Unusual Suspects as well as Brazilian bossa nova act Coisa Linda. Get into the spirit of world music and head along to this unique and diverse night at The Triffid. Tickets cost $18.70 and the evening kicks off at 7.30pm.
Settling in for The Martian, you could be forgiven for feeling a little deja vu. Interstellar might be flooding your memory, given that Jessica Chastain and Matt Damon grapple with space again. Alien and Prometheus could also pop into your head, seeing that director Ridley Scott seemingly heads into familiar territory too. Thankfully, their resumes aside, the rehash largely stops there. That’s not to say that The Martian doesn’t recall many other intergalactic efforts such as Gravity, Moon, Sunshine, Contact and Apollo 13, nor that it doesn’t work with themes and narrative components recognisable to anyone who has seen a survivalist film like Castaway or All Is Lost. What this adaptation of Andy Weir's 2011 novel of the same name does do, though, is soar forward with two things in mind: optimism and practicality. Botanist Mark Watney (Damon) is the key. He's residing among a group of astronauts manning the latest mission on Mars — until a storm strikes, he gets knocked out and blown away from his colleagues, and they head back home. When he wakes up to discover he's now the only human left on the planet, he focuses on attempting to remedy his predicament. Finding a way to grow food in the inhospitable environment is his first priority, followed by trying to communicate to NASA that he's alive and ready to return to Earth. Solving problems rather than wallowing in sentiment is the approach Watney takes, as does Scott and screenwriter Drew Goddard (The Cabin in the Woods). As the repercussions of the Watney's situation ripple through those trying to rescue him — be they space agency head (Jeff Daniels), other members of the ground-based team (including Kristen Wiig, Sean Bean, Chiwetel Ejiofor, Benedict Wong and Donald Glover), or Watney's departed crewmates (Chastain, Michael Peña, Kate Mara, Sebastian Stan and Aksel Hennie) — action rather than emotion sits at the film's fore. Accordingly, The Martian favours procedure and process over psychology. It traces the steps needed to bring the stranded man home. It springs from a position of simply believing that resolution is possible. It presents characters using science (or sciencing the shit out of things, as the MacGyver-like Watney puts it in the video logs that comprise much of the storytelling) to make things happen. People, teamwork and ingenuity reign supreme, even over the capably rendered 3D spectacle. Anyone fearing a lack of wonder or feeling in the film can rest assured; they are there, and they spring from the way the cast subtly handle their roles (particularly an empathetic Damon) rather than the script hitting audiences over the head with horror or sappiness. A keen sense of humour is also evident in perhaps the most upbeat survivalist offering for some time, with Lord of the Rings fans likely to have the biggest laugh. There's also the endearing soundtrack, which includes moments of dancing along to disco hits or letting a classic, perfectly chosen David Bowie track (though not the one you think) play out in full. That it all adds up to one of the most enjoyably pragmatic sci-fi stints seen in the cinema is refreshing and perhaps surprising, even given its pedigree. In fact, The Martian doesn't just solidly engage from start to finish — it entertainingly and convincingly colonises its own patch of space movie territory.
It happens at every live gig: the band stop singing, but the crowd keep belting out their favourite tune. You've been in the audience. You've wanted to continue screaming your lungs out. In fact, you've wished you could even jump on stage to do so. Well, now you can at The Foundry Karaoke Extravanza. It's the kind of evening of music-focused fun that can only happen when a couple of local artists and a karaoke machine combine. The Good Sports, Max Chillen and the Kerbside Collective, Emerson Snowe and Simi Lacroix will all be showing off their best cover versions from the stacked list of hits, and you can join them. Just check out the event Facebook page, pick your song and email The Foundry in advance to reserve your place — and you'll be showing off your finest rendition of Daryl Braithwaite's 'The Horses' in no time. Image: The Foundry.
If you care about what you wear, you probably don't just care about how you look. Interested in the future of fashion? Eager to think locally and sustainably about the industry? Keen to pick up a few new textile tricks, meet makers putting the environment and ethical production first, and shop for new and vintage threads? Then you'll care about heading to Fashion Revolution. Held across the three days, this new event brings together a heap of fashion-minded folks for talks, workshops and markets, diving into the sartorial folds in many ways. It all kicks off between 5–9pm on Friday, April 26 with homegrown wares (and drinks and nibbles), then offers the same plus classes and discussions between 9am–4pm on Saturday, April 27, before getting into the pre-loved game between 9am–3pm on Sunday, April 28. Artists Alike in Albion is the place to head, and the list of topics is as hefty. Explore the other side of fast fashion, hear all about the sewing renaissance, get stylist tips, learn how to be sustainable with your outfits and up your mending skills. You can also chat with 12 local creatives, and tuck into Holistic Wholefoods' vegan and gluten-free dishes. Entry is via gold coin donation.
Need an excuse to attend Cloudland's latest themed shindig? We have one for you — because you can can can. With the Fortitude Valley venue paying tribute to all things Moulin Rouge over one decadent night, the end result promises to be spectacular spectacular. From 8pm on Friday, September 28, the Ann Street spot will turn its already decadent digs into the closest approximation of a Parisian music hall that it can manage — complete with live entertainment, burlesque dancers and roaming performers. And, the Moulin Rouge party will span across two levels, taking over both Madame Hedges and the Crystal Palais. No word yet if someone will be swinging from the ceiling and singing 'Diamonds Are a Girl's Best Friend' like Nicole Kidman's Satine. With two levels comes two types of ticket. The good news is that general admission is free and gets you into the ground floor glitz, although tickets are still required. Or go all out for $75, and you'll get access to the upper reaches plus a three-hour drinks package. Come what may, indeed.
Ever had a hankering for a burger, but couldn't decide which joint to visit? Thanks to Brisbane's hefty array of burg-slinging places, we've been there, and often. Trust The Triffid to come up with a solution, courtesy of a day-long dedicated celebration. On October 21, the Newstead music venue is joining forces with Stone & Wood, shutting down Stratton Street and serving up Brisbane's most delayed trend festival: the Brisbane Burger Fest. That's a big call in a year that has seen ice cream, mussels, Japanese culture, espresso martinis and specialty coffee all get their own shindigs. For those wondering about the festival's burger credentials, Ze Pickle, Miss Kay's, Ben's Burgers, Mr Burger, 5 Boroughs, Red Hook, Lucky Egg and The Triffid's own burgers will all be on offer, with each eatery whipping up their usual favourites and coming up with a special Burger Fest creation as well. There'll also be an official burger-eating competition as part of the festivities (of course there will be). If you don't think you can handle taking part, that's okay — everyone at Burger Fest will be seeing how many burgs they can eat in their own way, after all. Making a free burger street party even better, The Triffid's beer garden will be showcasing live music all day, and Stone & Wood will be taking care of the brews. Brisbane Burger Fest takes place from 11am on October 21 at The Triffid, 7-9 Stratton Street, Newstead. For more information, visit the event Facebook page. Image: Lucky Egg.
What's better than one Brisbane store dedicated to all the cakes, pastries, pies and other sweet and savoury baked products your stomach can handle? Two, of course. Yes, Jocelyn's Provisions is finally spreading their delicious wares around town and opening up a second shop. The sibling location will be called Albion Provisions — and, as the name suggests, it'll serve up all the handmade goodies Jocelyn's fans know and love in the northside suburb. Come October, Sandgate Road will be abuzz with Turkish delight cheesecakes, triple choc brownies and poached fruit and almond tarts, plus beef and red wine pies and Cornish pasties. The latest news comes hot on the heels of a few recent changes, including Jocelyn's move just up the road from its original Fortitude Valley site, and the introduction of chocolate and chilli mini bars, four new types of savoury tart and two new sausage roll flavours to their menu. We hope you're hungry, because additional dishes are just going to keep on popping up. With another venue will come even more biscuits, chocolates, nougat, panforte and preserves, just to name a few of their delectable offerings. That's quite the way to mark Jocelyn's twentieth birthday, with Albion's purpose-built bakery certain to be pumping out mouth-watering concoctions in no time, and its test kitchen also opening its doors to on-site cooking classes. It's also the best news we've heard since the woman who initially started the whole endeavour opened up a different venture. Let's be honest, you really can't have too many of these tasty treats. Find Albion Provisions at Sandgate Road, Albion from October. Keep an eye on the Jocelyn's Provisions website and Facebook page for further details.
Gear up for one of the year's most anticipated (and inevitably raved about) national tours. The ever-impressive, ever-epic musical mastermind Ty Segall is currently on Australian shores to kick around on our stages for his biggest headliner tour yet — and set to show Brisbane what San Fran sludge rock is all about. Segall is probably best known for his insane levels of productivity and painstakingly thought-out approach to his garage-rock jams. This year, the 27-year-old Californian released one of the great albums of 2014, glam-rock grail, Manipulator. Over the years, Segall already made significant waves with Sleeper, Twins, Hair, Melted, and Lemons. More EP vending machine than an album-a-year kinda guy, he's already racked up eight albums under his belt, and has a four song EP called Mr Face due out in January. Segall has already hit Melbourne and Meredith Music Festival with full force to rave reviews, selling out his first sideshow and adding another date to keep the people happy. Brisbanites, if you see one show this year, catch this rock savant at The Zoo and thank us later. Supported by The Babe Rainbow and Thigh Master. Image credit: Denee Petracek.
More Neil Perry hamburgers are rolling out in Brisbane, with the announcement of a second venue headed for Edward Street this June. Since opening in Sydney's World Square in October 2014, the celebrity chef's high-end fast food joint Burger Project has become a favourite with Australian foodies, serving up a variation of his iconic Rockpool beef burger at a fraction of the price. The burger joint has since expanded to Melbourne and finally hit Brisbane in February 2017. And now, they're set to open Burger Project Number 12. Rockpool Dining Group and Perry will serve their first burgers at 144 Edward Street in the CBD on Tuesday, June 20 (Perry will be personally manning the kitchen from 11am on launch day). Designed by architect Grant Cheyne, the new 134 pax venue features an outdoor garden terrace overlooking Charlotte Street, takeaway counter for app-ordering customers, an open kitchen and interior murals. It'll be open until 9pm Sunday to Wednesday and until late Thursday to Saturday. So, what exactly do they serve at The Burger Project, anyway? Well, Perry is sticking closely to the winning World Square formula, so you can expect 12 tried-and-tested tasty burgers including the Magic Mushroom, the spicy fried chicken katsu and of course the classic American cheeseburger. Pair these with a classic shake or iced tea, or a cheeky brewski from Urban Craft Brewing Co — you'll find a rotating range of seasonal small batch brews on tap or bottled. For dessert, dive into one of their decadent ice cream creations such as the Blueberry Pie or The Bounty Hunter with vanilla bean ice cream with chocolate sauce, toasted coconut and crushed meringue. The Edward Street store is the twelfth Burger Project to open around the country, and the second in Brisbane. Neil Perry's Rockpool Group was acquired by the Urban Purveyor Group last year, and, as the newly formed Rockpool Dining Group. Burger Project is set to open at Shop 1, 144 Edward Street, Brisbane in Tuesday, June 20. Open Sunday to Wednesday, 11am – 9pm, Thursday to Saturday 11am – late. By Tom Clift and Lauren Vadnjal.
Hosting 24 events is nothing to be sneezed at. Hosting 24 evenings dedicated to the more artistic and experimental side of the music spectrum definitely isn't. Yes, MONO is back for the 24th time, and this time it's celebrating Terre Thaemlitz. From 7pm on April 13, the Institute of Modern Art will play host to the producer, writer, public speaker, educator, audio remixer, DJ, record label owner and more, who is also known by the name DJ Sprinkles. Thaemlitz will continue to take a look at identity politics and the commerce of media — her continued topics of fascination — in one of MONO's most anticipated performances.
Dropping in from the UK to play Groovin' the Moo, Brit singer-songwriter Charli XCX will be 'Boom Clap'ping her way through sideshows in Sydney, Melbourne and Brisbane. In her own words, Ms XCX (AKA Charlotte Emma Aitchison) wants to give you "an hour of sweating and totally losing your mind, no matter what's going on that day or what you're worried about." Aitchison first attracted international attention in 2012, when she co-composed and performed on Icona Pop's hit 'I Love It', which played on Lena Dunham's Girls. In 2013, she released her own debut EP, True Romance, before joining forces with Iggy Azalea in 2014 on 'Fancy'. She and Azalea have since performed together all over the planet. Then, of course, along came 'Boom Clap', of The Fault in our Stars soundtrack, and the bratty 'Break The Rules'; confirming Charli XCX as a popstar in her own right. At the Met, she'll be supported by Adelaide's rising rapper Tkay Maidza, another bright spark changing the rules of pop. Image: Mike Massaro.
When Bonnie Stevens helped establish Mous Magazine, she wanted to start a conversation, not finish it. With co-founder and editor Allie Speers, the creative director and business manager aimed to spark discussions that engaged intellect without repressing creativity. Now, after expanding from online to print, she is trying to bring that chat to life, crafting something more experiential for the publication's readers. A series of workshops and a month-long pop-up shop are the first steps in making her dreams a reality. The events provide an extension of Mous's focus on design and creation, which sits alongside three other categories — live, inform and fornicate — in written form. If the text of their first issue, as well as the articles on their website, uncovers new artists and draws attention to topical subjects, then their physical offshoots dive into the practical side beyond the printed page and the flicker of the computer screen. "I think a lot of the time it’s easy to be focused on engaging with people online, but what people are craving is real-life interaction," says Stevens. Mous's workshops are designed to allow "readers to meet and be taught by some of our favourite artists," while the pop-up store offers "easy access to the artworks, homewares and publications we’ve featured both online and in print." In the workshops, taking place in Mous's headquarters at Bardon Fairy House until October 31, keen Brisbane creatives can learn about everything from calligraphy and loom weaving to macramé and DIY zine making from local experts. Classes are kept small to ensure quality one-on-one time with the facilitator, as well as affordable and open to all skill levels. As Stevens puts it, "You don’t have to be the world’s most incredible artist to be creative." At the pop-up store during the month of October, shoppers will see the publication's pages come to life, offering a range where "most items we stock, particularly the artwork, magazines and zines have an awesome story behind them," says Stevens. "We are also focused on paying homage to the creators of the items we sell, so our store is laid out similarly to a gallery with didactics telling you about the artist or founder and their process." With a new monthly magazine club also about to be added to the mix, it all makes for a hub of activity and dialogue, as well as a showcase of up-and-coming Australian talent — another of Mous's motivations. "Whether it’s through art, furniture design, publishing or numerous other ventures, there are so many young people just excelling in their fields and we want to make sure we tell as many people as we can," advises Stevens. For more information on Mous Magazine, visit their website or Facebook page. Mous's /create/ workshops are held on Saturday afternoons at Bardon Fairy House, 24 Macgregor Terrace, Bardon. Their pop-up store is open from Wednesday to Sunday until October 31.
Remember when the Queensland Government logo looked like a burger and chips? Sure, it was ugly — but it was also prophetic. These days, Brisbanites can't get enough of the good ol' bread, meat and accompanying fries combo. Every burger outlet in town knows what we're talking about, because they're all busy expanding. Take Getta Burger for example, which started out in Carina and has been busy growing ever since. First, Bridgeman Downs, West End and Clayfield stores popped up. Next, Underwood and Ashgrove will get their own Getta Burger eateries — and if their Facebook page is anything to go by, the chain is more than open to suggestions about where they should open next. If you're wondering why you should be excited about yet another place offering up more burger-munching opportunities, then you obviously haven't experienced one of their epic creations yet. With their handmade patties and hefty size, these aren't just your regular burgers. Crafted American style and loaded with everything from fried mozzarella sticks to 12-hour smoked brisket, they're the kind of meal that might take some folks two sittings to devour. Their filthy fries are similarly stacked with toppings, such as brisket, pulled pork, grilled onion and maple bacon. Plus, if the regular 12-option menu doesn't hit the spot, Getta Burger's weekly specials — including pastrami and cheese, mustard potato chips, pepper steak and lamb shank-laden beauties just this month — probably will. And did we mention that they've also just added an apple pie shake to their offerings? With all that to choose from, two new stores really isn't enough. To keep up to date with Getta Burger's new locations, check out their website and Facebook page.
Change is a-coming to Brisbane — and while that statement applies to most parts of the city these days, it's about to prove particularly accurate in Woolloongabba. In fact, the corner of Logan Road and Deshon Street has been earmarked for transformation. You may have already noticed the construction zone, but you might not know just what's about to pop up. That'd be South City Square, an inner-south hub that combines residential, retail, dining and entertainment all into one precinct. If you think that sounds pretty standard, then you haven't heard all the details. Fancy a new neighbourhood that takes inspiration from the former industrial area's past, while adding a marketplace, laneway eateries and a five-star, 144-room hotel? Or the titular centrepiece: a 5,000sqm central square? How about a brand new, eight-screen cinema? Of course you do. While the project has been on the cards for a while, it has just earned the tick of approval from the Brisbane City Council, which means it's full steam ahead from here on in. Just don't go making plans to hang out there just yet. Work might have commenced, with the first residents due to move in next year; however the full development isn't due to be completed until 2022. For more information about South City Square, visit the development's website.
Are you a Thai food lover who spends your days somewhere near Post Office Square? If so, your culinary prayers have been answered. By the end of June, the inner-city space will boast Brisbane's newest Asian street food haven: Phat Elephant. Yep, Pad Thai lovers will have a new CBD... uh... pad to call their own. However, Phat Elephant won't just be serving delicious meals — they also want to become your new drinking spot, too. Sure, making every all-day eatery do double duty as a bar seems to be Brisbane's latest craze, but it's a trend that we're well and truly into. Phat Elephant's menu hasn't yet been revealed, but we think it's safe to assume it'll include versions of the classic Thai dishes you know and love, and possibly add a few new favourites to your must-eat list. And, in good news for anyone that loves sharing meals with a posse of pals, the restaurant will also feature large seating options for big groups. Huge Thai feast dinner with your extended gang of nearest and dearest, anyone? Phat Elephant will open in Post Office Square, 280 Queen Street, Brisbane in the coming weeks. Keep an eye on their website and Facebook page for more information.
If one man's trash is another man's treasure, then a trunk full of junk may as well be a treasure chest. Suitcase Rummage gets that when it comes to shopping, second-hand reaps the best bang for your buck. For years they've been hosting regular events at Brisbane Square, but now they're upgrading and upsizing to the Powerhouse and adding a craft workshop to the mix. The Suitcase Rummage and Crafternoon takes place from 11am to 4pm, and will feature a crowd of open suitcases filled with the type of clothes, knick-knacks and craft you probably don't need but definitely deserve. Plus, join Emily Lush for a workshop on Woven Wallhangings, where you'll learn the basics of tapestry weaving (even how to make your own lap loom from upcycled materials). You can have your own shot at weaving something beautiful, and if you really know how to take advantage of a situation, pop it in an open suitcase and smack a $20 pricetag on it. Entry for Suitcase Rummage and Crafternoon is free, and if you're interested in running a stall, register here.
It's the news no Brisbanite wants to hear: another beloved venue could soon be shutting its doors. If you've been to a gig or seen some standup over the last decade or so, or enjoyed an evening of dinner theatre before that, odds are that you've been to the latest place to grace the endangered species list — and probably more than once. Yes, we're talking about Fortitude Valley's own Tivoli Theatre, the spot where everyone from Bob Dylan to The Dandy Warhols to The Presets has played. Yes, the 99-year-old, art deco-styled building that was once a bakery (!) is up for sale, with the expression of interest period ending on March 10. Current owners and operators, the O'Rourke family, have put the venue on the market before, but this time they're unable to keep the business going for personal reasons. Eager to see the Tiv live on beyond its current calendar of events — which includes Sarah Blasko, Millencolin, Violent Soho and The Rubens between now and September, among others — they're hoping a music-minded buyer will step in and save the day. So are the folks behind the latest public plea to retain a part of the city's cultural landscape. Where there's the threat of one of the city's landmarks disappearing from the map, there's also an online petition to stop it. Key to the change.org letter to the Queensland government is the venue's heritage status, or lack thereof. Without heritage protection, whoever snaps up the building could demolish it. Given the Tiv's prime position right next to the recently redeveloped RNA Showgrounds, no doubt developers will sniffing around. At the time of writing, 2983 people have pledged their support, so here's hoping that the powers that be take notice. Social media certainly is, if the below posts are anything to go by. https://twitter.com/girlgerms/status/702609824190582784 https://twitter.com/LotteNaughton/status/704408546272636929 If you're wondering why everyone is fearing the worst, well, all you have to do is look to the past. Sadly, news of iconic Brisbane cultural venues getting torn down has become all too common in recent years. Two cases in point: Festival Hall was replaced by an apartment tower, and the Regent Cinema has been a construction site for more than half a decade. Here's hoping that the Tivoli doesn't join them. Sign the petition over here. Image: Sherwin Huang, Flickr.
Missed The Preatures on their huge sold-out 'Cruel' tour this spring? How'd you like to catch them live this summer, for free? The Sydney fivesome are gearing up for another national escapade, this time joining forces with Corona Extra for a huge free November tour. Locked in for 20 locations across the country, Corona Sunsets will see the Sydneysiders play unplugged shows everywhere from Bondi Beach's Bucket List to the Portsea Hotel. Kicking off in Yallingup, Western Australia on November 6, the tour will wind through some of The Preatures' favourite bars in WA, NSW and Queensland before finishing up in Victoria on the last weekend in November. Isabella Manfredi, Gideon Bensen, Jack Moffitt, Thomas Champion and Luke Davison will be careening through their 2014 debut album Blue Planet Eyes, from crowd favourite singles like 'Cruel', 'Somebody's Talking' and 'Is This How You Feel?' to lesser known album gems like 'Ordinary' and 'Whatever You Want'. Fingers crossed for a raucous pub singalong to The Preatures' go-to cover, The Angels' 'Am I Ever Gonna See Your Face Again'. All shows are free entry, over-18s only and it's first-in, best-dressed. If Corona Extra's previous free Australian tours, like Cloud Control, are anything to go by, you're going to want to get there pretty damn early. For details head to Corona's website. THE PREATURES' CORONA SUNSETS AUSTRALIAN TOUR DATES: WESTERN AUSTRALIA November 6 Caves House Hotel, Yallingup, 7.30pm November 7 The Leftbank, East Fremantle, 2.30pm The Northshore Tavern, Hillarys, 7.30pm November 8 The Lucky Shag Waterfront Bar, Barrack Square, 2.30pm Ocean Beach Hotel, Cottesloe, 7.30pm NEW SOUTH WALES November 13 Towradgi Beach Hotel, Towradgi, 8.30pm November 14 Watson’s Bay Hotel, Watsons Bay, 3.30pm Manly Wharf, Manly, 7.30pm November 15 The Bucket List, Bondi, 2.30pm Mona Vale Hotel, Mona Vale, 7.30pm November 22 Hotel Brunswick, Brunswick Heads, 8pm QUEENSLAND November 20 Beach House Hotel, Scarness, 8pm November 21 Sandstone Point Hotel, Sandstone Point, 3pm Noosa Heads S.L.S.C, Noosa Heads, 9pm November 22 Coolangatta Hotel, Coolangatta, 3pm VICTORIA November 27 Lambys, Geelong, 9pm November 28 The Deck est 2013, Frankston, 3pm Westernport Hotel, San Remo, 9.30pm November 29 The College Lawn, Prahran, 2.30pm Portsea Hotel, Portsea, 7pm
Just when you thought New York-style nosh had the American food trend covered in Brisbane, along comes a different interstate taste sensation. The latest Brisbane eatery about to open its doors at Portside Wharf is taking inspiration from the flavours of New Orleans. Indeed, NOLA's name says it all — it's an abbreviation of New Orleans, Louisiana, after all. The city's famed blend of Cajun specialities and French influences are certain to feature on a smoky bourbon sauce and chipotle-heavy menu. There'll be ’N’awlins bites’ like naked oysters ($3 each), popcorn shrimp with New Orleans remoulade ($14), Southern wings with bourbon and maple sauce ($12 for eight pieces), Corn cobs with chipotle butter ($6) and shoestring fries with smoky aioli ($8). Our stomachs are already rumbling. In addition to the delicious-sounding tapas, live music and innovatively-themed cocktails will keep things spicy down by the water. With NOLA following in the footsteps of Papa Jack's and Bourbon Street Louisiana Creole, perhaps we'll soon see crab cakes, jambalaya, po boys and gumbo replace burgers and fries as everyone's favourite go-to meal. The new venture from the folks behind The Crosstown Eating House at Woollongabba doesn't open until mid-year, with an exact date yet to be announced and a full menu announce set for June; however there's good news for those who just can't wait that long. Portside's Restaurant Manx is giving diners a sneak peek of the menu to come, courtesy of some aforementioned tapas teasers (available from 3pm Tuesday to Sunday). Who's hungry? NOLA will open in June at 39 Hercules Street, Hamilton. For more details, check out the restaurant's Facebook page.
Prepare to say goodbye to that problematic daily necessity — aka agonising over what to do for dinner. In good news for indecisive people everywhere, and for those just too busy to whip something up, not in the mood to dine out or simply sick of the usual takeaway options, Brisbane is getting a new dinner delivery service. Meet Din Din Club, or your new local personal saviour. The Teneriffe-based business is partnering with a range of local providers to serve up freshly prepared meals of the organic, vegan, vegetarian and paleo variety. Sun and Earth Organics is Din Din's first food partner, which means salads and wholegrain sushi rolls are on the menu. Sounds like Din Din really is trying to make your life easier — right down to their mode of delivery. After ordering online, you'll find their cute Dutch cargo bikes at selected spots such as the Teneriffe Ferry Terminal, waiting for you to collect your tasty wares. To the joy of tastebuds everywhere, this means that snacking on whatever you can grab on your way home — or whatever lurks in the back of your fridge — is no longer the fate awaiting the time-poor. Neither is shopping, cooking and even washing up, too, with Din Din's dishes ready to eat from their containers. Now that's convenient. For more information, check out Din Din's Facebook page, or sign up to their mailing list via their website.
If you missed having your heart broken and lovingly repaired again and again this past winter by Sufjan Stevens, you're in luck. The Michigan-born songwriter is returning to Australia, announcing a huge national tour playing tunes from from his 2015 album, Carrie & Lowell as well as selections across his dreamy, dreamy back catalogue. Bringing a full band and an immersive lighting production, Stevens will be celebrating ten years since Illinois and five from his Age of Adz, so expect quite a few throwbacks between the album that made us cry every last salty, salty tear in our bodies this year, Carrie & Lowell. Tickets are on sale now. If you're not on it, you're probably an emotionless stone. SUFJAN STEVENS 2016 AUSTRALIAN TOUR Monday 22 February — State Theatre, Sydney. Tickets available via www.ticketmaster.com.au. Friday 26 February — Hamer Hall – Melbourne, Tickets available via www.artscentremelbourne.com.au. Wednesday 2 March — Red Hill Auditorium, Perth. Tickets available via www.oztix.com.au. Friday 4 March — QPAC Concert Hall, Brisbane. Tickets available via www.qpac.com.au.
Think buzzy laneways are the inner city's domain? Think again. As Brisbane keeps embracing the Melbourne trend, little nooks and crannies have started popping up everywhere. Woolloongabba's latest alley addition is even going Italian. In the news that hungry east- and south-siders will love, a couple of Trafalgar Lane's first tenants have been announced, with Ristorante La Famiglia and Lola Coffee chief among them. The former will serve up authentic Italian dishes and drinks; think feasts of pasta, sips of limoncello and a family restaurant feel. The latter will cure your caffeine fix and make their steaming hot cuppas — whether made with Coffee Alchemy beans or Zokoko chocolate — a focus. They're not the only eateries gracing the new precinct, which spans the space between Stanley and Trafalgar streets. It was designed by the architects behind Melbourne's Prahran Hotel, and is due to open in May. Anyone with a carnivorous appetite will want to head to Ribs & Burgers, with the James Street meat-lover's paradise opening a second outlet. If the whole laneway sounds like an exciting addition to the area, and all just a hop, skip, jump and footy handball away from the Gabba stadium too, well, that's because it is. And, it's just one of a wave of changes transforming Woollloongabba. Sure, everyone has been heading out for dinner and drinks at the end of Logan Road for years — but with these eateries, and the new South City Square development in the works as well, prepare to drop by much more often. Find Ristorante La Famiglia, Lola Coffee and Ribs & Burgers at Trafalgar Laneway, Woollongabba. Check out the precinct website for more information.
It attracted 2.03 million votes in 2014, is regarded as 'the world's greatest music democracy' and is pretty much the only thing on Australian radios on Australia Day between the odd 'Khe Sanh'. Whether you 'get into it' or not, triple j's Hottest 100 has some serious reach, and this year, they're putting that blanket coverage to bloody good use. As part of this year's Hottest 100, triple j have teamed up with Indigenous school mentoring program AIME, for some hardcore fundraising. Aiming to close the gap between Indigenous and non-Indigenous Australian students, AIME and triple j are encouraging Hottest 100 voters to donate right after they've popped their favourite songs in the voting form — votes open this Thursday, December 10. On Australia Day, you can also use your Hottest 100 rager or hushed barbecue as a fundraiser for AIME. In the lead up to the launch of the 2015 Hottest 100, we're stoked to announce a new partnership with triple j. Posted by AIME on Monday, December 7, 2015 It's all for a damn good cause, and you'll still get to screech about your favourite artist being played too early dammit. By donating in the Hottest 100, you'll be helping the hardworking AIME crew help 10,000 Indigenous kids finish school at the same rate as non-Indigenous students by 2018. Now that's worth getting all flustered about — albeit alongside whether Major Lazer tops the lot or not. It's not the first time triple j has worked with AIME; they've given big love to the crew around events like Homeground and NAIDOC week in the past. Here's hoping it rubs off on their listeners. Kyran Wheatley and Gen Fricker on triple j breakfast for #NAIDOCweek Posted by AIME on Thursday, July 9, 2015 Voting opens this Thursday, December 10. Via triple j.
A wise person once said that you can never have too many brownies. Okay, that was most definitely us, but we're certain I Heart Brownies would agree. They're doing their best to keep Brisbanites devouring their tasty bites, after all. Not content with ranking among the city's must-visit market stalls, and then opening their own bakery and cafe, they're bringing their delicious morsels straight to your mouth. In a move that will make you heart their 100 percent gluten-free brownies even more, the baking wizards now deliver. You know what that means: you no longer have to get off the couch to get your brownie fix, other than to rush to the front door when they arrive, that is. That urge you're feeling — it's the urge to give them a call right now and order all the sweet treats you could dream of. With Turkish delight, Nutella and peanut butter and jelly offerings among their Belgian black cocoa and couverture chocolate-laden range, plus jaffa, cherry coconut and salted caramel as well, that reaction is understandable. In just as excellent news, I Heart Brownies deliver seven days a week, with their fees varying based on your distance away from the CBD. Given that you can also get booze and doughnuts ferried to you, too, it really is a glorious time to be alive. Find the I Heart Brownies Bakery and Café at Shop 7 Bakery Lane, 694 Ann Street, Fortitude Valley, or visit their website and Facebook page for more information.
The Brisbane Asia Pacific Film Festival celebrates the best movies from the region from November 19 to 29; however it seems the folks behind the city-funded showcase just can't wait to share their 2015 brood of cinema treasures. In the lead up to their second year, they're breaking out a few highlights early via a series of screenings prior to the main event. From August 28 to November 6, Brisbane cinephiles can spend four Friday evenings immersing themselves in everything from an insightful statement on modern-day Iran to a glimpse inside short-stay Japanese hotels. Yes, like any good festival program or sneak peek, the films on offer are an eclectic bunch. Tales, directed by Iran's premier female director Rakhshan Banietemad, kicks off the pre-fest season, plunging audiences into the stark reality of the filmmaker's homeland through a series of interconnected vignettes. Next up — and fresh from the Melbourne International Film Festival's opening night — Force of Destiny stays personal in offering a moving take on terminal illness and transplants, with David Wenham in the lead role. They're joined by the affectionate portrait of an eccentric community that is The Postman's White Nights, plus a look at intimacy in the confines of a Tokyo establishment frequented for physical fun in the aptly named Kabukicho Love Hotel. And remember, these are just the precursors to the whole festival. If these four films offer any indication, lovers of diverse, interesting Asia Pacific cinema just might be overwhelmed with excitement when the full BAPFF lineup is revealed in October. The Brisbane Asia Pacific Film Festival pre-festival screenings run from August 28 to November 6. For more information, visit the event's website.
Before craft and microbreweries popped up on every corner of the city, the combination of Brisbane and beer meant one thing: XXXX. The company's Milton brewery loomed large over the inner west, with tours providing a taste of their tipples, and the Alehouse combining yeasty beverages with tasty food. Of course, the building hasn't moved (and taking a tour still features high on local booze-lovers' to-do lists), however the bar and restaurant at the end of the beer-coloured rainbow has recently had a facelift. Prepare to find a completely different Alehouse next time you want to sit back, relax and enjoy the freshest XXXX on tap. Fans of drinking outdoors — i.e. everyone — can flock to the all-new beer garden, while anyone seeking something a little more intimate can hole up in the inside dining room. Thanks to Brisbane-based design firm Elm Interiors, the whole place has been decked out with a rustic meets industrial feel. Think classic feature pieces, plenty of greenery and a vibe that knows how to make you feel welcome. Extended trading hours from Monday to Saturday means that there's now more chances to enjoy the all-day Alehouse experience — and their new menu, too. With pub staples such as beer-battered fish with hand-cut chips, grain-fed beef burgers, sirloin with bearnaise sauce and roasted salmon, perhaps beer won't be the only thing luring patrons to this iconic, 135-year-old brewery. Find the XXXX Brewery Alehouse on the corner of Black and Paten streets, Milton, or check out their website for more information.
Authentic Nordic cuisine isn't easy to come by in Brisbane; however the city's first Norwegian-inspired eatery wants to put an end to that. In fact, Lokal + Co has the market cornered. No, Ikea's Swedish cafeteria food doesn't count as competition. Of course, a sunny spot in West End probably isn't the kind of location you'd expect to serve up gingerbread waffles with chocolate hazelnut sauce, house-cured gravlax with rye soldiers, or Danish open rye sandwiches with sardines. Closing your eyes, biting into anything on the menu, and pretending you're on the other side of the globe is completely acceptable. So is soaking up the minimalist vibe, which brings a Scandinavian look to an airy split Queenslander. Well, that's what the inside looks like, at least. If you're pulling up a chair outdoors on the deck, expect the next best thing to the traditional Aussie backyard (yep, we're talking about astroturf aplenty). The mix of Norwegian and Australian elements stems from the venue's owners, with Helge Olsen hailing from the former, Corey Thom calling the latter home. The chef duo boast seven years cooking up a storm at Cicada before branching out on their own. And when their liquor license is approved, the cafe intends to extend that blend to their booze lineup too. Nordic beer, anyone? Find Lokal + Co at 6 O'Connell Street, West End. Visit their website and Facebook page for more information.
