From high speed car chases across the post-apocalyptic outback to heartbreaking tales of love and loss, 2015 was a pretty great year for Australian cinema. Films like Mad Max and The Dressmaker hit it big at the box-office, while Holding the Man and Last Cab to Darwin had people reaching for their handkerchiefs. Throw in a couple of strong documentaries in the form of Gayby Baby and That Sugar Film, along with crowd-pleasing family fare like Oddball and Paper Planes, and it seems like local audiences are finally coming around to the idea that movies made in Australia can be every bit as good as those made overseas. Of course, in order to keep up that positive perception, the local film industry needs to keep making great films. Luckily, it looks like they're up to the challenge. We've already given you our list of our most anticipated international efforts, but now, here are the ten Australian films you need to see in 2016. https://www.youtube.com/watch?v=pSse2RIapEA THE DAUGHTER The debut film from theatre director Simon Stone (adapted from his own critically acclaimed stage play), The Daughter arrives in cinemas following great reviews at a number of local and international film festivals last year. A reworking of Henrik Ibsen's The Wild Duck, this nuanced family drama concerns a man, played by Paul Schneider, who returns to the small logging town where he grew up, only to uncover a secret that could tear the lives of his friends and family apart. With Geoffrey Rush, Ewen Leslie, Miranda Otto and Sam Neill, it might have the best cast of any Australian film this year. The Daughter is due in cinemas on March 17. https://www.youtube.com/watch?v=Dn2vfS6bbK0 SHERPA Anyone who saw Everest might think they have an idea of what it's like to climb the world's tallest mountain. But as this eye-opening documentary from filmmaker Jennifer Peedom reveals, you only know a fraction of the story. Sherpa shows the efforts of the native mountain guides, who risk life and limb in order to get foreign visitors to the summit. Over the course of a season, tension begins to brew between the locals, the tourists and the companies that facilitate the climbs, before finally boiling over in the wake of a deadly avalanche. A powerful, troubling film — it's of the best things we caught at last year's Sydney Film Festival, and an absolute must see in 2016. Sherpa is due in cinemas on March 24. DOWN UNDER A comedy about the Cronulla race riots? It's safe to say Down Under could either be brilliant or a total disaster. Director Abe Forsythe appears to be deliberately courting controversy — not that there's anything wrong with that, per se. With racism and Islamophobia still major issues in this country, a dark comedy that tears into good old Aussie jingoism could be exactly what the doctor ordered. Of course, satire is a tricky thing — and easy to muck up. Guess we'll just have to wait and see. Down Under is due in cinemas on August 4. 2:22 Between Predestination, The Infinite Man and the recent remake of Patrick, it's been a good few years for homegrown science fiction. Continuing this trend (we hope) is Paul Currie's 2:22, an American-Australian co-production in which a man is forced to relive the same day over and over, always ending when the clock hits — you guessed it — 2.22pm. Game of Thrones actor Michiel Huisman stars alongside Australia's own Teresa Palmer. Imagine Groundhog Day remade as a psychological thriller, and you'd be roughly on the right track. 2:22 is due in cinemas in 2016. https://www.youtube.com/watch?v=-98kUEnkxHM DOWNRIVER Writer-director Grant Scicluna's feature film debut was one of the most buzzed about local films at last year's Melbourne Film Festival. Reef Ireland (Puberty Blues) plays James, a young man recently released from prison after serving time for his involvement in the drowning of a small boy. Looking for redemption, James sets out to recover the boy's body, only to find himself in danger when it becomes clear that his accomplices would rather the past remain buried. Downriver looks grim and compelling in equal measure, and could well mark the emergence of a promising new Australian film talent. Downriver is due in cinemas in 2016. THE FAMILY This upcoming documentary, from director Rosie Jones, promises to pull back the curtain on Australia's most notorious cult. For three decades between the 1960s and 1990s, Anne Hamilton-Byrne led a group of devoted followers as the head of a sect known as The Family. Controlling her disciples, including a host of "adopted" children, through a mix of physical abuse and mind-altering drugs, Hamilton-Byrne convinced cult members she was the reincarnation of Jesus, before their compound was eventually raided by police. It's a story made all the more troubling for having taken place in our own backyard. The Family is due in cinemas in 2016. GOLDSTONE Actor Aaron Pedersen and filmmaker Ivan Sen are reuniting for a sequel/spin-off to their masterful outback thriller Mystery Road. Pederson returns as Indigenous detective Jay Swan, who finds himself in the eponymous town of Goldstone while investigating a missing persons case, only to find himself caught up in a web of crime and corruption. He'll be joined in front of the camera by two-time Oscar nominee Jacki Weaver, veteran Indigenous actors David Gulpilil and Tom E. Lewis, and Hong Kong martial arts star Cheng Pei-pei. If it's half as good as Mystery Road it'll be a contender for best film of the year. Goldstone is due in cinemas in 2016. JASPER JONES The new film from Bran Nue Dae director Rachel Perkins, Jasper Jones is an adaptation of Craig Silvey's award winning novel, described by at least one reviewer as Australia's To Kill a Mockingbird. Set in the fictional WA town of Corrigan in the mid 1960s, the film tells the story of 13-year-old Charlie Bucktin who befriends the eponymous Jasper Jones, a half-white, half-indigenous boy from the wrong side of the tracks. Toni Collette, Hugo Weaving and Dan Wyllie are set to co-star, although it's the younger cast members who will ultimately make or break the film. Jasper Jones is due in cinemas in 2016. LION Adapted from Hobart man Saroo Brierley's best-selling memoir, Lion stars Dev Patel as a young man who was adopted by an Australian couple (Nicole Kidman and David Wenham) as a child, who travels to India to try and track down his biological family. Rooney Mara co-stars, along with a number of high-profile Indian actors, giving this cross-cultural drama a real shot at international success. The film marks director Garth Davis' first feature film, following on from strong work on Top of the Lake. Lion is due in cinemas in 2016. NEST We've got two words for anyone who thinks Australian films are serious and boring: giant bloody spiders. Okay, so that's technically three words, but you get what we're trying to say. A Chinese-Australian co-production directed by Kimble Rendall — the same guy behind the wonderfully schlocky sharks in a supermarket movie Bait — this 3D creature feature stars Kellan Lutz, Kelsey Grammar, Shane Jacobson and Li Bingbing as a group of scientists who become lost in a labyrinth full of enormous, man-eating funnel web spiders. Leave your scaredy-cat friends at home. Nest is due in cinemas in 2016.
Before August 2024, it was normal to spend at least $5 per day to get to and from work via public transport in Queensland. Now, for all trips there and back across a five-day week, no one should be forking out more than $5 in total. As promised during the state's election, the 50-cent fare trial that's been in place since midyear is no longer just a pilot — it's sticking around permanently. What do you have more cash for when each journey on your commute to and from your job only costs 50 cents (and to get to wherever else you might need) via the Sunshine State's Translink public transport? Queensland residents will keep finding out. The bargain fares were introduced as cost-of-living relief measure, discounting tickets to a shiny dodecagonal coin. Unsurprisingly, they've proven so much of a hit that the move is now here to stay. Slashing the price of public transport was always going to be popular. In its first month, the 50-cent fare trial saw more than 15-million trips taken across southeast Queensland alone, increasing patronage by 2.4 percent on pre-COVID-19 levels. Up until the end of October 2024, patronage went up 5.1 percent on the same pre-COVID-19 period. During the election campaign, the then-Labor Queensland Government committed to keeping the reduced price. So did the Liberal party, which won power. Now, the Crisafulli government has locked in cheap public transport on Translink's buses, trains, ferries and trams on an ongoing basis. The price-slashing move is also an effort to reduce traffic congestion, and impacts a hefty range of travel options. Translink, which falls within Queensland's Department of Transport and Main Roads, runs trains, buses, ferries and trams in southeast Queensland, for starters. So for Brisbanites, whether you ride the rails as part of your daily commute, hit the road or hop on a CityCat, you're now scoring a hefty discount, getting there and home for just $1 a day. This is a statewide measure. Translink also runs buses in Bowen, Bundaberg, Cairns, the Fraser Coast, Gladstone and Gympie — and in Innisfail, Kilcoy, Mackay, Rockhampton, Yeppoon, the Sunshine Coast Hinterland, Toowoomba, Townsville, Warwick and The Whitsundays. The 50-cent price applies to everyone, including concession cardholders, but is only available on Translink services. As such, privately operated transport services aren't doing the cheap fares. [caption id="attachment_958247" align="alignnone" width="1920"] John Robert McPherson via Wikimedia Commons[/caption] [caption id="attachment_857365" align="alignnone" width="1920"] Kgbo via Wikimedia Commons[/caption] [caption id="attachment_796727" align="alignnone" width="1920"] Tourism and Events Queensland[/caption] [caption id="attachment_703636" align="alignnone" width="1920"] Philip-Mallis via Flickr[/caption] [caption id="attachment_754201" align="alignnone" width="1920"] Kgbo via Wikimedia Commons[/caption] [caption id="attachment_630654" align="alignnone" width="1920"] Andrew Thomas via Flickr[/caption] [caption id="attachment_749921" align="aligncenter" width="1920"] John via Flickr[/caption] All fares across Translink's Queensland public transport services only cost 50 cents on an ongoing basis. To find out more about Translink's services, head to the company's website.
Now, before you get us all wrong, this is a guide to hotels where you can swing back and forth on actual swings and hammocks. It's not for the other kind of swingers. These hotels have swings on the beach, by the pool, at the bar and in the rooms — on which you can gleefully rock back and forth and take in spectacular views in total comfort. Read on to find our favouriting swinging spots. Recommended reads: The Best Hotels in Sydney The Best Hotels in Melbourne The Best Hotels in Brisbane The Best Pet-Friendly Hotels in Australia SHINTA MANI, CAMBODIA You'll rethink your kitchen chairs after a stay at Shinta Mani, where the streetside Kroya restaurant boasts dreamy swings on a breezy terrace. The idea of swings and food might sound messy, but you'll soon get the hang of things in no time. Plus, these swings are huge — you really shouldn't be falling off them. The excellent Cambodian dining options available will also make practice a pleasure rather than a chore (perhaps only the steady-handed should order crab bouillabaisse). American architect and interiors whizz Bill Bensley styled the hotel and added in all the swinging details. NALADHU PRIVATE ISLAND RESORT, MALDIVES Why doesn't every hotel have beach hammocks and in-room swing chairs? Naladhu Private Island Resort, set between a lagoon and the sea, boasts both. That's not all it has, either: each of the 19 intimate beach houses comes with its own private pool and romantic semi-outdoor glass-sided bath and shower. With all this in your villa, don't be surprised if you never reach the main pool, flanked by inviting sun loungers and overlooking the lagoon. When you want to have both feet planted firmly on the ground, head to the Living Room, a thatched-roof restaurant with an openair hardwood deck, to feast on local seafood as the sun sets over the water. COQUI COQUI COBA, MEXICO This luxury Mexican resort is a swinger's paradise. Within the Coqui Coqui Coba suites and villas, you'll find hammocks hanging in the centre of rooms, wooden swings in the bathrooms and hammocks simply used as decorations on the walls. You can even head down to the pool located by the lagoon and surrounded by Mayan-inspired towers to swing about on one of the outdoor hammocks all day long. Order some food and cocktails from its restaurant and swing here while watching the sun set over the mountains. THE GRAY, ITALY The swinging scene at Milan's The Gray revolves around the lobby, where a giant fuchsia-upholstered swing with lipstick-red cords drops from the ceiling: a memorable first impression, regardless of whether you're bold enough to go and sit on it. If you take the swing as a promise of the unexpected, you won't be let down. The rooms have ivory-silk curtains that whoosh open at the touch of a button; there are Jacuzzis in bathrooms; the restaurant has black-velvet chairs, grass-topped tables and spoons and forks suspended from light fittings. It's all over the top and we love it. SAL SALIS, AUSTRALIA A little closer to home, this swingers accommodation is set right on the Ningaloo Reef, where the desert meets the sea — an extraordinary and unique part of Australia that should be on all travel bucket lists. The 16 off-grid wilderness tents are located right on the beach, surrounded by little else but untamed nature. Swing in your hammock all day long, gazing into your stupid-beautiful views with an ice-cold beer at hand, or get out on a sea kayak to explore the nearby reefs full of colourful sea life. Not only is this one of the best accommodations for swingers, it's also one of the best glamping spots in Australia. COMO COCOA ISLAND, MALDIVES COMO Cocoa Island is your quintessential luxury Maldives resort that's home to villas hovering on stilts above clear blue waters. It's the kind of place you see in honeymoon brochures and would expect to be the next location of The White Lotus. It is pure luxury. It's also where swingers can hop from beachside hammock to beachside hammock throughout a long sunny day. When you grow tired of your own private pool and the waters full of turtles and dolphins, you can hit up some of the swings dotted about the island. Bring a good book and a few beers with you and spend your holiday swinging by the sea. RUSCHMEYER'S, UNITED STATES This grown-up, summer camp-style boutique hotel in the Hamptons is home to 19 detached rooms surrounding a large swath of grass that provides a back-to-basics luxury — with swings, a tepee and lawn chairs aplenty. Swingers will even find hammocks in some of the Ruchmeyer's bedrooms. And come night-time, the lawns host summer parties and outdoor cinemas. This means you can swing here all day and all night long. GAYANA MARINE RESORT, MALAYSIA At Gayana Eco Resort, you can take swinging to whole new heights: this eco-luxe hideaway has jungle paths with a canopy walk and zip line, so you can whoosh through the trees like an over-caffeinated monkey. For calmer moments, there's also an excellent spa with horizon-view rooms and a selection of massages, scrubs, facials and beauty treatments. There's even an on-site marine research centre: a hub devoted to giant-clam breeding and coral restoration programmes, where guests can feed man-sized groupers in floating pens, plant coral, or scoop up starfish and squishy sea cucumbers in the touch tanks. WALDORF ASTORIA LOS CABOS This Los Cabos resort is huge and opulent. The 115 individually decorated guestrooms feature fireplaces, private plunge pools and balconies overlooking the private beach. Swingers won't find any swings in their rooms, but there are plenty dotted about the resort. On the beach, stacks of hammocks line the shores, while the beach bar has swapped out the stools, preferring guess to sip cocktails while sitting on wooden swings. These may get a little dangerous once you've had a few bevs, so you best head to the beachside hammocks or one of the four Waldorf Astoria restaurants soon after. THE KOROWAI, INDONESIA Each of Korowai's wood-framed rooms are carved into the limestone cliff overlooking Bali's famous Impossible Beach (known for surfing, not partying). Marvel at the ridiculous uninterrupted 180-degree views across the ocean from the privacy of your own little balcony adorned with traditional Balinese décor — including many hammocks and crochet nets. It's one of the most romantic places to stay in Bali. The glitz and glam of other Uluwatu resorts doesn't exist here. Instead, you and your partner will feel as if you've found your own hidden oasis. But, when or if you do want to get into town, the hospitable resort staff will rent you a scooter or organise a taxi ride. Plus, there are a few walkable restaurants nearby if you somehow get tired of dining at their restaurant overlooking the beach. Top images: Naladhu Private Island Resort Feeling inspired to book a swinging getaway? Book your next dream holiday with Concrete Playground Trips — with deals on flights, stays and experiences at destinations around the world.
Maybe you hop on the ballot the moment that it opens each year. Perhaps you wait to find out who'll be behind the mic before trying to nab tickets. Either way, Golden Plains dropping its lineup is always big news. In 2025, get ready to see PJ Harvey, Fontaines DC, 2manydjs and Kneecap — and also Wet Kiss, Durand Jones & The Indications, Magdalena Bay, Osees and Thelma Plum. And yes, that's just the beginning. "Something special in the soil this season. In the water, in the manna gum, in the air, the ether, the atmosphere, the troposphere. And it has all landed right here, in a wonderland designed and refined over 30-odd years for the sole purpose of hosting something truly remarkable," said the festival team, announcing the lineup. "Right size, same shape, ample time, abundant space." Come Saturday, March 8–Monday, March 10, 2025, it'll be time to dance among the autumn leaves in regional Victoria again, at the Meredith Supernatural Amphitheatre in the same place that Meredith Music Festival also calls home. And now that the lineup is here, you still have the chance to put your name down to get tickets. This round of Golden Plains will mark the fest's 17th year. The ticket ballot has been a part of the event since its debut — and this year's is now open until 10.17pm AEDT on Monday, October 21, 2024, which means that clicking ASAP is recommended. [caption id="attachment_976058" align="alignnone" width="1920"] Theo Cottle[/caption] Catering to 12,000 punters each year across three days and two nights, the fest has long proven a favourite for its one-stage setup, which skips the need for frantic timetabling. And, like Meredith Music Festival, its sibling, Golden Plains is also known for the Aunty crew's star-studded bills. If you're wondering how the roster of talent has shaped up in past years, 2023's fest boasted Bikini Kill, Carly Rae Jepsen, Soul II Soul and Four Tet, while 2024's featured The Streets, Yussef Dayes, King Stingray and Black Country, New Road — and plenty more. [caption id="attachment_976059" align="alignnone" width="1920"] Kira Puru[/caption] Golden Plains 2025 Lineup PJ Harvey Fontaines DC 2manydjs Wet Kiss Durand Jones & The Indications Magdalena Bay Osees Kneecap Thelma Plum Grace Cummings Bahamadia Hermanos Gutiérrez Ela Minus Bonny Light Horseman Adriana Mulga Bore Hard Rock CCL Teether & Kuya Neil Skeleten Zjoso Jada Weazel Elliot & Vincent Storytelling with Uncle Barry Sun Ra Arkestra Golden Plains returns to the Meredith Supernatural Amphitheatre from Saturday, March 8–Monday, March 10, 2025. Head to the festival's website for further details, or to enter the ticket ballot before 10.17pm AEDT on Monday, October 21, 2024. Golden Plains images: Chip Mooney and Ben Fletcher.
What's the best thing for a rock star to do when celebrating sold-out shows on tour? For Yungblud, that depends. In Sydney, he visited a photography gallery and drew crowds big enough to attract police dispersal — but this weekend in Brisbane, he capped off two sold-out shows at Riverstage by pouring drinks at Crowbar. Getting to work pouring drinks, the Doncaster-born rocker was interacting with fans with every serve, with photos captured by his regular photography collaborator Tom Pallant (the same behind that aforementioned gallery). See them below. [caption id="attachment_1064924" align="aligncenter" width="1920"] Tom Pallant[/caption] Yungblud will round out his Australian tour this Tuesday in Perth. While down under, he took time to appear on the latest episode of the Rolling Stone Uncut podcast. "When people say 'to fit in rock,' that is the most un-rock and roll thing ever," Yungblud said in the chat. "Rock music isn't supposed to be a gate-kept boys club. And it became that. That's why it was being suffocated and boring and so adherent to the past. We have to allow young people to pioneer something, or at least try to give this thing a heartbeat. The worst thing that happened to rock was that you were getting ridiculed for the reference point. From 2005 onwards, Oasis sounded like the Beatles, and they fucking loved that. They wore that as a badge of honour. Kurt Cobain loved John Lennon. It's a beautiful fucking thing, and people ridicule it for it, and it just sucks… "My biggest fear is that they get deterred from pursuing a career in it by some old, bitter cunt on the internet." [caption id="attachment_1064926" align="aligncenter" width="1920"] Tom Pallant[/caption] Rolling Stone AU/NZ attended Yungblud's Sydney show and gave it a four-star rating, calling it "a lesson in audience stewardship". "Yungblud moved fluidly between scale and closeness, repeatedly entering the crowd, locking eyes and urging fans to take care of one another (not to mention letting one Wollongong fan play guitar left-handed on stage!)," the review reads. [caption id="attachment_1064925" align="aligncenter" width="1920"] Tom Pallant[/caption] "Yungblud's newfound level of artistic maturity crystallised on stage as he embodied a rockstar conscious of the space he occupies, aware that leadership, vulnerability and playfulness can coexist without cancelling each other out." This article first appeared on 'Rolling Stone AU/NZ'. Lead image: Tom Pallant
After years of international border closures, and also the shutting down of overseas travel from Australia except for specific approved purposes, seeing the world open back up to tourism country by country is a far more pleasing trend. And, with that in mind, you can now add another destination to your next overseas holiday — yes, that one you've probably spent two years dreaming about now thanks to the pandemic. That location: Bali, which will start welcoming back Australian tourists from Friday, February 4. The Indonesian island will reopen to all international travellers, coinciding with a move to shorten the quarantine period for vaccinated visitors from seven to five days upon arrival. So, if you're now raring for a getaway, you'll still need to factor a stay in isolation into your travels — which likely means spending that time in a bubble hotel. Discussing the reopening, Indonesian Coordinating Minister for Maritime Affairs and Investment Luhut Binsar Pandjaitan said that Bali's quarantine options for international traveler include "bubble quarantine at five hotels for now with a total of 447 rooms, and on live-on-board ships". The move follows an earlier reopening, back in mid-October, but just to some countries — with opening Bali to all tourists now happening to help boost the holiday hotspot's economy. Late in 2021, Virgin started selling flights from Australia to Bali for travel from late March, while Qantas signalled an April date to restart its Bali routes. Australians will obviously need to factor in the various state rules around international travel, too — some helpful, such as Queensland's recent scrapping of quarantine for double-vaccinated international travellers, and some that'll still delay your plans, like Western Australia's decision to indefinitely delay its border reopening. For more information about Bali's reopening plan, head to the Indonesian Government's website.
Under current COVID-19 restrictions in Australia, you can't go on a holiday (locally or overseas). But, you can start dreaming. Bookmark this for when you can explore once again. Among all of the dream jobs that everyone wishes they had, picking the globe's top stretches of sun, surf and sand sits up there with taste-testing new gins and trying out every bar and eatery in Tokyo. That particularly proves true whenever a new list of the world's best beaches is revealed — although, Australians can always pretend by heading to one of the high-ranking spots on our own shores. In FlightNetwork's just-announced 2018 lineup of the planet's best beaches, which ranks 50 idyllic locations, six Aussie spots made the cut. And, in news that will come as no surprise to anyone, the Whitsundays' Whitehaven Beach came in at number two. It's the latest accolade for the picturesque Queensland favourite, which also came in second last year. Blinky Beach on Lord Howe Island also made the list, coming in at number 30, while Hyams Beach in New South Wales' Jervis Bay placed at number 33. Western Australia was responsible for two more of the country's top spots — with Lucky Bay at 35th and Cable Beach at 34th — and Tasmania's Wine Glass Bay rounded out the Aussie offerings at 44. If you're wondering which coastal oasis beat them all to first place, that'd be Shipwreck Beach on Zakynthos. On a Greek island in the Ionian Sea, the picturesque spot has a shipwrecked boat on its sands, crystal clear waters and sunny weather approximately 275 days of the year. Alongside the World's Best Beaches, FlightNetwork released a list of the World's Top 50 Untouched Beaches — featuring Tasmania's Wine Glass Bay at fourth and Binalong Bay at 19th — and the World's Top 50 City Beaches, where Sydney's Bondi Beach got top gong, Surfers Paradise Beach came in at 11 and NSW's Manly Beach at 12. The picks were made by more than 1200 travel journalists, editors, bloggers and agencies, aka folks who work in the travel and beach trade, and therefore know their stuff. Thinking about taking your own trip to Whitehaven Beach? Check out our Outside Guide to the Whitsundays. Image: Damien Dempsey via Wikicommons.
When the ground rumbles in a disaster movie, do you wish that you could feel it too? When everyone's taking a dip in a watery flick, do you get an instant desire to splash around? Or, perhaps you just think that today's big-screen blockbusters need a little extra off-screen magic? When lightning flickers in a Harry Potter movie, for example, you want it to completely fill the room. Enter four-dimensional cinemas. Because 3D wasn't enough, 4D movie-watching is here to add physical sensations and smells to your film-going experience. The specific technology is called 4DX, and it's a bit like a cross between a theme park ride and watching a flick, in a way. As the movie plays, you sit in motion chairs that move to match what's going on on-screen, while environmental effects blast you with wind, snow and different scents. Vibrating seats, water jets, air jets — the list of effects goes on, and also includes bubbles, fog and rain, plus the smell of fresh coffee and other aromas. And it's all coming to Event Cinemas Chermside and Pacific Fair from December. The Queensland spots are opening their new 4DX cinemas just in time for this year's big batch of holiday movies. While the official list of sensory screenings has not been announced just yet, the Sydney 4DX cinema (Australia's first) is set to show Star Wars: The Rise of Skywalker, Jumanji: The Next Level and Dolittle — and we imagine these will be shown in 4D at Chermside and Pacific Fair, too. If it sounds somewhat familiar, that's because the general overall concept isn't particularly new. In fact, it has been floating around in Australia for years thanks to smaller, more gimmicky sites, including 9D versions. But with 4DX specifically — which first launched back in 2009 in South Korea, has been adding new locations over the past decade, and is already operating in Village Cinemas Century City in Victoria — the idea is becoming more established. Plus, 4DX focuses on full-length movies that are coming to the big screen anyway, rather than shorts that are all about ramping up the in-cinema effects. Event Cinemas' new 4DX sessions are launching in December at Event Cinemas Chermside and Pacific Fair.
Unique accommodations are available in abundance on Airbnb. So what makes Aussie Host Quentin Dempster's Table Cape home, which was recently named Australia's Best Unique Airbnb Stay, the most innovative of all? Affectionately named The Winged House, this extraordinary Tasmania property boasts a long list of features that has seen it recognised as one of Australia's best stays. It starts with its ability to stand out — literally — with architecture that sees it cantilevered over a cliff to deliver dramatic 180-degree views of the seascape that surrounds it. Designed by Australian artist Richard Goodwin (and engineered by Harry Partridge), Dempster's abode is a liveable art installation, inspired by the appearance of the wings of an aircraft stretching over a cliff. Guests who drive into the property have also noted its resemblance to a bird poised to take off. However, not content to simply serve breathtaking vistas of waves breaking on rocks to the east and Rocky Cape National Park to the west, changing cloud formations, eagles and even an occasional seal, Dempster's commitment to offering guests an unforgettable experience extends to every room of his house. The bathroom features a traditional Japanese soaking tub, the living room shelves are stocked with best-selling books, the gourmet kitchen is fully equipped and the pantry is packed with premium condiments — including extra virgin olive oil produced by Dempster himself. In addition to complimentary bottles of local wine on arrival, Dempster also offers a unique "call-in" service, where guests can dial-a-massage or dial-a-chef, connecting with the best local suppliers and service providers. Impressed with Dempster's understanding that "it's the hospitality that truly makes all the difference when it comes to helping guests feel like they are living in a place, not just travelling to it," we caught up with him to talk about his Airbnb hosting journey, as well as what he believes makes for a truly unique Airbnb stay. What made you decide to become an Airbnb Host? My wife and I use Airbnb when we travel. We've enjoyed it from a guest perspective so I joined up as a Host and things developed from there. We've attracted people from all over the world. What do you think Hosts can do to make an Airbnb listing outstanding? We provide a stocked larder, breakfast victuals, a complimentary bottle of Josef Chromy chardonnay or Tasmanian pinot noir as well as our own extra virgin olive oil. In addition to the dramatic views, we have found this warm welcome and generosity makes all the difference to the guest experience. What do you love about sharing your unique property? The sense of a special place and guests who love to share it with us. We chat happily with guests from all over the world and give advice on local things to do. What's something you wish you knew when you started hosting? The importance of taking the edge off guest stress about cancellations. During the early stages of the COVID pandemic we quickly adopted a lenient booking policy, one which gave a full refund to people who had to cancel because of lockdowns. Or offered them a credit voucher against a future stay so they were not out of pocket. What are some of the benefits of hosting? The income derived through hosting has allowed us to pay for a cleaner, manager, suppliers and tradies, which all helps to contribute to the local economy. We also pay Tassie land tax which returns some revenue to the Tasmanian taxpayer. So it's a win-win. Want to begin your own hosting journey with Airbnb? If you're feeling inspired, head to the website to find out how to get started. FYI, this story includes some affiliate links. These don't influence any of our recommendations or content, but they may make us a small commission. For more info, see Concrete Playground's editorial policy. Images: Bec Baxter
Muggles, something very magical has landed in Melbourne. While the city has already had a wizarding hotel, a Harry Potter escape room, a magical train trip and a potion-filled rooftop bar, it seems our love for The Boy Who Lived is insatiable — because, the country's biggest Harry Potter shop has today swung open its magical doors and started welcoming in wizards, witches, goblins, centaurs and even mere muggles. Located on the basement level of Myer Melbourne on Bourke Street, the 500-square-metre store is home to a Platform 9 3/4 — so you can finally achieve your dream of heading off to Hogwarts, even if you're much older than 11 — and an Ollivanders with over 20 different wands. As the store is a collaboration between Myer and Warner Bros, it's also home to tonnes of official merchandise, homewares, apparel, stationery, toys and more. We're told there's a heap more 'photo opportunities' from The Wizarding World, and Lego, too — so bring your smartphone and a patient mate. JK Rowling's Harry Potter and the Cursed Child theatre production is still playing at Princess Theatre and you'll be able to snag tickets for that here, too, at a dedicated booth. And to celebrate the Harry Potter at Myer store's opening, the play's cast performed hit track 'Wand Dance' on Bourke Street at midday on Friday, October 18. Of course, the opening of the Harry Potter store coincides with the lead-up to another magical event (which is, mind you, only ten weeks away), so we're sure Myer and Warner Bros are hoping to collect a few galleons from muggles doing their Christmas shopping. But, we're not complaining — the more Harry Potter, the better. The Harry Potter at Myer store will be disappearing — evanesco! — in December 2020, so we suggest if you're located interstate, to book in a trip to Melbourne ASAP. Find Harry Potter at Myer at the basement level, Myer Melbourne, 314–336 Bourke Street. It's open Monday–Thursday 9.30am–7pm, Friday 9.30am–9pm, Saturday 9.30am–7pm and Sunday 10am–7pm. Updated on October 18, 2019.
Brisbane is a river city and always will be — but it's now a rooftop city as well. Only a few years ago, sky-high bars were rare across this town of ours; however, that's been changing. In fact, these days, we're spoiled for choice when it comes to drinks with a lofty view. The latest watering hole that's asking you to look at Brissie from a different vantage: Ooh La La Rooftop, which has made its home in Woolloongabba. It's an upstairs offshoot of beloved French restaurant C'est Bon, and it's serving tipples and bites to eat three days a week — from Friday–Sunday. First, when it comes to a view, you'll be peering over a different part of the city than usual — given that this sky-high spot isn't in the CBD or Fortitude Valley. The Mater Hospital and its carpark will be in your eye line, but so will the rest of this inner-city pocket. When the suburb's revamped Princess Theatre reopens in August, that'll just be around the corner, too. So, you know what you'll be looking at after you climb up the rear steps from C'est Bon, with entry to Ooh La La Rooftop via the rear laneway and carpark. As for what you'll be eating and drinking while you sit at high tables — or in regular chairs — the French theme unsurprisingly travels upstairs. Food-wise, both Siberian and Oscietra caviar is on the menu, including as part of a blini caviar set with potato rye blinis. From the seafood-heavy lineup, you can also tuck into Appellation oysters, Fraser Island crab, mussels, barbecued prawns and kingfish crudo. Or, there's duck liver parfait eclairs, angus tartare and confit suckling pig terrine, as well as a cheese and charcuterie selection for snacking. On the beverage list, the vino hails from either France or Australia — and while there's only four signature cocktails on the menu, Ooh La La is clearly about quality over quantity. Warm up with a hot whisky grog, opt for passionfruit or elderflower-heavy concoctions, or drink your way through a Tasmanian pinot negroni. Whatever you're sipping, you'll be doing so in a spot designed by Brisbane's JDA Co — who looked to open up the space, highlight its views and pay tribute to the building's history. Another key aspect of this makeover: ensuring that the structure's 1900s facade still has pride of place, too.
Humans spend roughly a third of their life sleeping. Aside from the occasional drunken night or camping trip, most of this sleeping is done in a bed. So why, then, are such important objects in our lives often so commonplace and dull? Beds can be used to express our inner self, to represent our deepest loves or simply help us wake up and get going in the morning. Here are 20 of the most creative and eccentric designs that are sure to put a smile on your face. 1. The Stand Up Bed Thanks to this novel bed, which resembles a large vertical bean bag, sleeping while standing is apparently very possible. 2. The Floating Bed This magnetically charged floating bed by Janjaap Ruijssenaars not only looks incredibly chic and contemporary, but also would make it very hard for any monsters to hide underneath it. 3. The Rocking Bed The 'Private Cloud' is a a patented rocking frame designed by Manuel Kloker, which will be sure to lull you into a serene sleep every night. 4. The Sonic Bed Kaffe Matthew's Sonic bed probably isn't exactly designed to provide a good night's sleep, created with 12-channel surround sound speakers encased around the edges to cover every cell of your body with musical beats. 5. The Forest Bed For those who want to have a sense of being out in the wild whilst remaining in the comfort of their own bed, this exotic wooden bed would be the one for you. 6. The Safe Bed This 'Quantum Sleeper' is the ultimate in protection for those paranoid about the threat of natural disasters, terrorist attacks, kidnappers or any variation therein. 7. The Starfish Bed Known as the 'Hold Me Bed', this structure will ensure that you overcome those restless nights of tossing and turning because, well, you won't be able to move a muscle. 8. The Hay Bed Some people have such an affinity for hay they simply want to be surrounded by it when awake and asleep. 9. The Yin and Yang Bed If you believe you've found your absolute soulmate but can't handle sleeping next to them for whatever reason, perhaps this next bed will provide the solution to your problems. 10. The Sandwich Bed You are what you eat, right? 11. The Hammock Bed Everybody loves the tranquil and relaxing sensation induced by the gentle swinging and folding of a hammock. 12. The Pull-Down Bed If you are crammed for space due to a small apartment or want another handy spare bed that doesn't waste the space of a whole room, then this innovative and nifty pull-down bed is the way to go. 13. The Molecular Bed Scientists, sportspeople or ball-lovers will be sure to enjoy this bed made of 120 soft and pleasant balls. 14. The Cinderella Bed Perfectly suited to little princesses with large imaginations and a love for fairytales. 15. The Foetal Position Bed This bed doesn't leave much margin for movement - that is unless you want to end up snuggling up with the floorboards. 16. The Bird Nest Bed This large pit of soft pillows encased in a brown, nest-like structure is a novel way to help kids nod off to sleep. 17. The Geometric Bed If you want to keep the brain cells flowing even when getting some shut-eye, perhaps this bed with a modern geometric structure attached to it is the perfect way to achieve just that. 18. The Brush Bed This bed looks like it would be jabbing uncomfortable protrusions from every angle. 19. The Book Bed Let imaginations soar with this creative life-sized book that also doubles as a bed. 20. The Napping Pod Cure that threethirtyitis by grabbing a quick nap in one of these high-tech napping pods.
Brisbane isn't a seaside city, but it knows how do seafood well. From fine-diners to neighbourhood fish 'n' chipperies, finding a top-notch serving of the ocean's finest isn't hard around town. Add New Farm Seafood to the list of eateries plating up fish, prawns, bugs, oysters, calamari, Japanese sea scallops, mussels and more — to dine in, for takeaway and also to cook at home from its market. Open six days a week, this Merthyr Village spot does double duty as a seafood-focused diner and a spot to pick up fresh catches. Whichever you choose, you'll be getting something sourced from Australian and New Zealand waters by owner Michael Hatzifotis. The eatery's fish is line-caught, while its market is stocked with wares fresh from the trawler. Both for eating on the premises while sitting in the venue's outdoor seating and taking cooked dishes home, options include oysters with rosemary and lemon granita, fish croquettes with saffron aioli, lemon pepper calamari, bug rolls, focaccia baked in-house with taramasalata, caviar and blinis, and fish burgers. The menu also spans a few meals that you can only enjoy if you're dining in, such as the aforementioned Japanese sea scallops (which come with cauliflower cream, macadamia and basil oil), one-kilogram servings of mussels (steamed, and paired with chilli, tomato, feta and garlic) and whole baked fish. Packs and platters are also on offer, such as takeaway-only family and one-person feasts, plus both cooked and fresh platters that come stacked with seafood. Opt for your choice of cod, snapper of flathead crumbed or battered in tempura, and it comes paired with fries. Go with grilled barramundi, ocean trout or blue-eye trevalla instead, and you'll get fennel puree and orange salad as sides. You can also select from non-seafood dishes, some of which reflect Hatzifotis' Greek heritage — which is where the one-kilogram Greek lamb shoulder, Greek beef hamburgers and traditional Greek salad comes in. Among the other choices: rib fillet steak on the bone with onion rings and salsa verde, and creme brûlée for dessert. And to drink? The beverage list features a small lineup of sparkling, rosé, red and white wines, plus beers. Feel like going all out? This is also the kind of place that pours Cristal for $490 a bottle if you're particularly flush with cash. Among the takeaway range, you'll also find heat-and-eat meals and items to stock your pantry, including marinades, sauces and stocks.
When non-Brisbanites visit our river city, they tend to notice three things. First, the combination of humidity and heat always becomes a frequent, obvious and completely warranted topic of conversation. Next, there's the fact that we're definitely not the Gold Coast — or on the coast, for that matter. And finally, there's the unmissable feature that is our snaking central waterway. What out-of-towners don't usually expect, however, is our thriving food scene, which often shows off all of the above. Eating outdoors all year round, without throngs of tourists, while enjoying a river view or finding yourself in walking distance of its banks — well, that's Brisbane in a nutshell. If you're looking for the best examples of that, we've got 'em. With our pals at American Express, we've rounded up some of the most scenic, charming and all-around essential spots this town has to offer — the ones that show off Brisbane's charms and will make your visiting friends want to come back in a hurry. Plus, each of these accepts your American Express® Card so you can boost that points balance of yours for a reciprocal trip to your visitors home. Got yourself in another dining situation and need some guidance? Whatever it is, we know a place. Visit The Shortlist and we'll sort you out.
Luck, be a lady tonight: when Handa Opera on Sydney Harbour's famed floating stage returns for 2025, Guys and Dolls will be sweeping audiences off to 50s-era Manhattan from the city's — and the country's — most-stunning performance venue. As one production does each year, the hit five-time Tony-winning musical will unleash its showgirls and gangsters, as well as its incredibly catchy tunes, against a helluva backdrop. Guys and Dolls will play the unique waterfront opera venue at Mrs Macquaries Point from Friday, March 21–Sunday, April 20, following in the footsteps of West Side Story in 2024, Madama Butterfly in 2023, The Phantom of the Opera in 2022 and La Traviata in 2021 — to name just a few shows that've gotten the Handa Opera on Sydney Harbour treatment over the years. This time, expect a new version of a musical that first premiered on Broadway in 1950, then on West End in 1953, and has enjoyed many a revival in the seven decades since. [caption id="attachment_968000" align="alignnone" width="1920"] Handa Opera on Sydney Harbour 2016 — Turandot, Hamilton Lund.[/caption] The story, as also conveyed in the 1955 Marlon Brando- and Frank Sinatra-starring film — which was nominated for four Oscars — follows Sky Masterson as he endeavours to win big, then crosses paths with missionary Sister Sarah Brown. Also weaved into the narrative: the tale of Nathan and Adelaide, with the former also immersed in gambling and the latter his fiancé. Tunes such as 'Luck Be a Lady', also 'Sit Down You're Rockin' the Boat', 'Adelaide's Lament' and 'I've Never Been in Love Before' will echo across the harbour in the latest take on Guys and Dolls, as directed by Opera Australia's Artistic Director Jo Davies. "Handa Opera on Sydney Harbour is so magical, just the walk through the venue to reach your seat creates such a sense of anticipation. I'm thrilled to be bringing a beloved musical like Guys and Dolls, with its wild ensemble dance numbers and brilliantly sharp comedy, to this incredible stage," said Davies. [caption id="attachment_968002" align="alignnone" width="1920"] Handa Opera on Sydney Harbour 2021 — La Traviata, Hamilton Lund.[/caption] Helping make the season even more of a spectacle is Handa Opera on Sydney Harbour veteran set designer Brian Thomson, who also demonstrated his talents on La Traviata, Carmen and West Side Story. As always, also included in this Guys and Dolls experience is not just the show on the overwater stage, but also fireworks each evening, dazzling Sydney skyline views and hitting up pop-up dining spots that are constructed onsite each year. [caption id="attachment_968003" align="alignnone" width="1920"] Handa Opera on Sydney Harbour 2022 — The Phantom of the Opera, Hamilton Lund.[/caption] [caption id="attachment_968006" align="alignnone" width="1920"] Handa Opera on Sydney Harbour 2024 — West Side Story, Richard Milnes, Alamy Stock Photo.[/caption] [caption id="attachment_968004" align="alignnone" width="1920"] Handa Opera on Sydney Harbour 2019 — West Side Story, Hamilton Lund.[/caption] [caption id="attachment_968001" align="alignnone" width="1920"] Handa Opera on Sydney Harbour 2017 — Carmen, Hamilton Lund.[/caption] Guys and Dolls at Handa Opera on Sydney Harbour will run from Friday, March 21–Sunday, April 20, 2025 — with tickets via Opera Australia subscription packages available and general tickets on offer from Tuesday, August 13, 2024. Top image: Opera Australia's Performance of West Side Story on Sydney Harbour 2019, Hamilton Lund.
Diversity has always been at the heart of Brisbane's MELT Festival, which has celebrated all things LGBTQIA+ since 2015. The same concept sits at the core of Spencer Tunick's work as well. The acclaimed New York-based artist has spent his career staging mass photographs filled with both naked participants and an array of different bodies — and the results, including going to the Whitsundays with almost 100 Aussies in 2019 and briefly turning Bondi into a nude beach in 2022, are always stunning. Tunick initially turned his lens Australia's way in 2001 in Melbourne, when 4500 naked volunteers posed for a pic near Federation Square as part of the 2001 Fringe Festival. Since then, he's also photographed around 5000 nude people in front of the Sydney Opera House during the 2010 Mardi Gras, and returned to Victoria in 2018 shoot over 800 Melburnians in the rooftop carpark of a Prahran Woolworths. Next stop, and before spring 2023 is out: the Queensland capital during this year's Brisbane Powerhouse-run MELT. Brisbanites,or anyone who's keen to disrobe for a new piece of art will want to be in the River City on Saturday, November 18. The destination: numerous spots along the Brisbane River. And the work that's being created? It's fittingly called TIDE and will involve a series of photographic installations. "I love Australia and Australian people. Being able to create works in a new city in the context of an event celebrating LGBTQIA+ arts and culture is a real honour," said Tunick, announcing TIDE. "TIDE will hopefully speak to diverse groups of people, and everyone navigating their way through the difficult challenges of our current world. It is a privilege to be making art that centres around the LGBTQIA+ community with all its beauty and vibrance." Elsewhere, Tunick has photographed the public painted red and gold outside Munich's Bavarian State Opera, covered in veils in the Nevada desert and covered in blue in Hull in the UK. The list goes on, with more than 100 temporary installations on his resume since 1992. Exactly where in Brisbane he'll be training his camera hasn't been announced, but the Brisbane River's landscape will provide the backdrop. If you're keen to take part, Tunick is looking for volunteers. He hopes to have a diverse mix of bodies in the shoot — again, that's both MELT's and his own focus — with participants each getting a print of the photograph and, we're sure, a big boost of body confidence. Regarding the location, specific details of where the photographer's shoots take place are only given to folks who'll be in front of the lens — and, if you're not usually located in Brisbane, you will need to travel at your expense. The number of participants needed hasn't been announced as yet either, but interested parties are advised that there are only limited places — and that successful applicants will be informed via email approximately two weeks prior to the shoot. Also among the highlights on the 2023 MELT lineup from Saturday, November 11–Sunday, November 26: UK-born theatre show Overflow, which is set in nightclub toilets, and hails from British playwright and prominent trans voice Travis Alabanza; live tunes from Kah-Lo, Djanaba, Aluna and KUČKA; Rhys Nicholson on a book tour for Dish; and Paul Yore's BECOME WHAT YOU ARE, The Huxleys' Places of Worship and Multitudes by Tin Nguyen & Edward among the fest's art exhibitions. TIDE will be shot on Saturday, November 18 along the Brisbane River. Head to the installation's website to register to take part. Melt Festival 2023 runs from Saturday, November 11–Sunday, November 26 at Brisbane Powerhouse. For more information or to buy tickets, head to the fest's website now. Images: Spencer Tunick / Drew Lambert.
Anyone can pour orange juice and vodka into a glass and call it a screwdriver. But if you're after a cocktail more sophisticated and complicated than that, that's where top-notch bartenders come in. They're the folks who mix up drinks that you definitely don't feel like you can make at home — or know you have (again, see that OJ and vodka combo) — and they're as crucial a part of hitting a bar as the menu, vibe and company. Australia isn't short on fine folks whipping up brilliant beverages; however, if you're after the best of the best, there's now a rundown naming the country's top 100 bartenders. Consider it your next excuse to work through a boozy list, if you already started 2022 sipping the 100 best brews. Created by global bartending competition Diageo World Class, the Top 100 Australian Bartenders for 2022 list spans every state and territory — with New South Wales particularly well-represented, and Victoria and Queensland as well. Here's another way to think of it: you now have a list of bartenders to seek out on your next few holidays. [caption id="attachment_714471" align="alignnone" width="1920"] Cantina OK![/caption] Standouts include folks from Sydney favourites such as Maybe Sammy and Cantina OK!, Melbourne's Nick and Nora's and Black Pearl, and Brisbane's The Gresham and Agnes. This is just part one of the contest, though. From here, these 100 bartenders will compete by mixing up impressive, boundary-pushing tipples at their venues, which'll be available for patrons to sip from Monday, May 30–Monday, June 13. Then, a top five will be announced — also on Monday, June 13 — before finals in July. The winner will be deemed the Diageo World Class Australian Bartender of the Year for 2022, and fly the flag for Aussies at the comp's global final, which is happening here for the first time, in Sydney, between Monday, September 12–Friday, September 16. [caption id="attachment_795641" align="alignnone" width="1920"] The Gresham, Millie Tang[/caption] Whoever emerges victorious will take over the title from Evan Stroeve from Sydney's no-waste bar Re, 2021's winner. Here's 2022's full top 100 rundown: DIEGO WORLD CLASS TOP 100 AUSTRALIAN BARTENDERS FOR 2022: NEW SOUTH WALES: Alex Gondzioulis, The Rover Behzad Vaziri, The Star Elisa Rodgrigues, Paloma Wine Bar Hunter Gregory, Maybe Sammy Matthew Dale, Re Ryan Bickley, Cantina OK Siôn Roberts, Re Storm Evans, Cantina OK Sanghyun Park, Will's Wen Wang, Maybe Sammy Albert Rust, Eileen's Bar - Four Pillars Andrew McCorquodale, Charlie Parker's Beaux Donelan, Charlie Parker's Ashley Miller, Blue Kahunas Ben Hardy, Bar Planet Brianna Aboud, Ramblin' Rascal Tavern Chloe Natterer, The Lobo Claudio Bedini, Sammy Junior Daniel Hilton, The Lobo Eduardo Conde, NO 92 GPR Dominic Causley-Todd, Dead Ringer Emma Bernardi, Bar Planet Eoin Kenny, Long Chim Hamish Mitchell, Charlie Parker's Harrison Kenney, Bar Planet Helen Yu, The Lobo James Russell, Apollonia Jenna Hemsworth, The Gidley Koby Harris, Dean and Nancy on 22 Krisztian Csigo, Dean and Nancy on 22 Sara Rinaldo, Dean and Nancy on 22 Sarah Proietti, Maybe Sammy Judith Zhu, KittyHawk Kalisha Glover, Apollonia Kat Scibiorski, Long Chim Kate Gale-Re, The Gidley Michal Wowak, The Gidley Kiaran Bryant, Earl's Juke Joint Liam Gavin, Door Knock Marco Rosati, Grain Bar Samuel McWilliams, The Lobo Thomas Opie, Births and Deaths VICTORIA: Aiden Rodriquez, EDV Melbourne Alejandro Archibald, NOMAD Melbourne Kane Smith, Nick and Nora's Melbourne Darren Leaney, Aru Cameron Parish, Gimlet Elisabetta Luppi, LUI Bar Francesca Camilli, Beneath Driver's Lane James Armstrong, The Cloakroom Bar Josephe Kourmouzis, Above Board Julien Wurtlin, LUI Bar Kayla Saito, Black Pearl Nicola Dean, Black Pearl Max Allison, Good Measure Miriam Wahlhütter, LOVER Nick Tesar, Bar Liberty Olivia Devlin, Capitano Tioni Naslund, LUI Bar Taylor Matthews, Frederic Tom McHugh, Hazel Restaurant QUEENSLAND: Dino Francia, Rosella's Bar Jack Connor, Rosella's Bar Aidan Perkins, Agnes Restaurant Daniella Darakis, The Gresham Edward Quartermass, Maker Ellery Low, Maker Jamie Fleming, Alba Bar & Deli Jenny Wang, Sono Japanese Restaurant Joe Steadman, Alba Bar & Deli Kate Bartlett, Cobbler Bar Liam Murphy, Frogs Hollow Saloon Liam Shepherd, Bar Brutus Martin McConnell, Frogs Hollow Saloon Peter Hollands, Frogs Hollow Saloon WESTERN AUSTRALIA: Dyllan Balm, Foxtrot Unicorn Max Guidice, Republic of Fremantle Nicola Herbert, Foxtrot Unicorn Shirley Yeung, Foxtrot Unicorn Samuel Cocks, Bar Rogue SOUTH AUSTRALIA: Al Simmons, Maybe Mae Alfonso Lizana, Maybe Mae Anabel Rowe, Long Story Short Georgia Edmonds, Maybe Mae Grace Rawlins, Memphis Slim's House of Blues Jack Somers, Memphis Slim's House of Blues Talis Heggart, Memphis Slim's House of Blues Michael Keogh, Memphis Slim's House of Blues Lachlan Gunner, Long Story Short Oscar Butler, Maybe Mae TASMANIA: Rachel Mynczywor, Rude Boy Rohan Massie, Rude Boy Hobart Jack Turner, Void Bar at Mona Mateo Ortiz, The Den Salamanca NORTHERN TERRITORY: Anneliese Grazioli, Hanky Panky Lounge Katerina Kosta, Hanky Panky Lounge Matt Zarimis, Smoke and Oak Darwin ACT: Cameron Abercrombie, Zaab Street Food Jack Sandeman, Zaab Street Food Liv Kelly, Bar Rochford For more information about Diego World Class, head to the competition's website. Top image: Maybe Sammy, Paolo Maffietti.
When the team behind iconic Fortitude Valley music haunt The Zoo decided to open another venue, it went with both a new laneway cocktail spot and a tribute. Stranded in Winn Lane takes its name from The Saints' relentlessly catchy punk hit that'll always be a part of Brisbane's history. Obviously, like a snake calling on a phone, you've got no time to be alone at Stranded — which is owned by Shane Chidgzey, Luke Johnston and Cat Clarke, and aims to be a haven for music lovers by also decking out the place in rock and punk memorabilia, plus generally using 70s and 80s alternative culture as its guiding force. As well as moody lighting, exposed rafters, the requisite centrepiece bar sat in front of a booze-lined wall and DJs spinning vinyl, Stranded is mighty fond of creative tipples — but also pairs its boozy concoctions with bites to eat as well. So, it's the kind of place where you can flick through a hefty drinks list while tucking into pumpkin arancini, charcuterie and pizzas. From the drinks lineup, mezcal features prominently, alongside tequila — there's even a separate section on the menu dedicated to the two, plus raicilla and sotol. But you can also sip your way through the Bernard's Delight (Maker's Mark, averna, sweet vermouth, honey and egg white) among the signature cocktails. Beers, pet nats and rosé, and keeping a clear head with five virgin concoctions is all also on Stranded's agenda.
If a cinema date was on your agenda in the later months of 2024 or has been since 2025 began, then you might've seen an Oscar-nominee. When it comes to accolade-worthy flicks hitting screens, the films celebrated by the Academy of Motion Picture Arts and Sciences usually release closer to awards season and during it — and, in Australia, even once the year's official Oscar contenders have been named. Dune: Part Two, the first of duelling Timothée Chalamet movies vying for glory, is an exception among 2025's Academy-anointed picks, as audiences have had over a year to catch up with the spicy sci-fi sequel. A Complete Unknown, with Timmy as Bob Dylan, demonstrates the normal trend perfectly, though — and you'll need to get cosy in your local cinema right now to enjoy it. They're just two of 2025's Oscar-contending features and documentaries that Australians can enjoy this very instant. In total, if you're eager to give nominated flicks the Pokémon catch-them-all approach — whether they will, could or should win — there's 33 currently available in the lead up to Hollywood's night of nights. Ahead of the recipients being revealed on Monday, March 3, here's where to see them. Watching epic dramas on big screen, diving into powerful and haunting docos at home, deciding whether to defy gravity in a crowd or on your own couch: they're all options. On the Big Screen: A Complete Unknown Nominations: Best Picture, Best Director (James Mangold), Best Actor (Timothée Chalamet), Best Supporting Actor (Edward Norton), Best Supporting Actress (Monica Barbaro), Best Adapted Screenplay, Best Costume Design Our thoughts: This Timothée Chalamet (Dune: Part Two) passion project took more than half a decade to come to fruition. With its 60s setting, focusing on the period from Bob Dylan's arrival in New York City to going electric at the Newport Folk Festival, a sense of time is always visible A Complete Unknown; however, that also applies to the years that its star has had to perfect his lead part. Benefiting from such a hefty preparation block, this is as committed a performance as Chalamet has given — and one that director James Mangold (Indiana Jones and the Dial of Destiny) always lets shine as the film explores an icon's talents, ambitions and quest to remain himself. Where to watch: In Australian cinemas. Read our interviews with Timothée Chalamet, Elle Fanning, Monica Barbaro, James Mangold and Boyd Holbrook. The Brutalist Nominations: Best Picture, Best Director (Brady Corbet), Best Actor (Adrien Brody), Best Supporting Actor (Guy Pearce), Best Supporting Actress (Felicity Jones), Best Original Screenplay, Best Cinematography, Best Film Editing, Best Original Score, Best Production Design Our thoughts: Since switching from acting to writing and directing, Brady Corbet hasn't lacked in ambition for a second — but as excellent as both Childhood of a Leader and Vox Lux are, his third feature towers above them. With Adrien Brody (Winning Time: The Rise of the Lakers Dynasty) as Hungarian Jewish architect László Toth, The Brutalist is as epic as a three-and-a-half-hour drama about trying to escape life's horrors, including those of the Holocaust, by chasing the American dream can be. The buildings designed by its protagonist aren't the only things that are monumental here, career-best turns by Guy Pearce and Felicity Jones among them. Where to watch: In Australian cinemas. Read our interview with Adrien Brody, Guy Pearce, Felicity Jones and Brady Corbet. Emilia Pérez Nominations: Best Picture, Best Director (Jacques Audiard), Best Actress (Karla Sofía Gascón), Best Supporting Actress (Zoe Saldaña), Best International Feature Film, Best Adapted Screenplay, Best Cinematography, Best Film Editing, Best Makeup and Hairstyling, Best Original Score, Best Sound, Best Original Song — 'Mi Camino' by Camille and Clément Ducol, Best Original Song — 'El Mal' by Clément Ducol, Camille and Jacques Audiard Our thoughts: As it follows its namesake character's (Karla Sofía Gascón, Harina) journey from cartel leader to trying to live her authentic life, Emilia Pérez isn't just a musical and a crime drama rolled into one. It's also a melodrama — and French filmmaker Jacques Audiard (Paris, 13th District) goes bold in leaning in, and in embracing the juxtapositions of the movie's three main genres as they jostle against each other. That audacity, that willingness to be both spectacular and messy, and the feature's three key performances, including from Zoe Saldaña (Special Ops: Lioness) and Selena Gomez (Only Murders in the Building): they all assist in making this vivid viewing. Where to watch: In Australian cinemas. I'm Still Here Nominations: Best Picture, Best Actress (Fernanda Torres), Best International Feature Film Our thoughts: It came as no surprise when Fernanda Torres (Fim) won a Golden Globe for her portrayal of Eunice Paiva in Walter Salles' (On the Road) deeply moving political and personal drama. Her understated yet also expressive performance as the real-life wife of Rubens Paiva (Selton Mello, Bury Your Dead), who was taken away by Brazil's military dictatorship in 1971 and never seen again, is that powerful. I'm Still Here poignantly charts the task of trying to endure under such heartbreaking circumstances — under oppressive rule, when your existence crumbles, when your family is fraying courtesy of the trauma and when fighting back is the only choice, too. Where to watch: In Australian cinemas. Maria Nominations: Best Cinematography Our thoughts: Chilean filmmaker Pablo Larraín (El Conde). Pivotal women from the 20th century. Phenomenal actors giving their utmost to their parts. That's proven a winning combination three times now, with Maria following Jackie and Spencer. Unlike Natalie Portman (Lady in the Lake) as Jacqueline Kennedy and Kristen Stewart (Love Lies Bleeding) as Princess Diana, Angelina Jolie (Eternals) mightn't have earned a Best Actress Oscar nomination, but she's captivating in every second — in diva mode, but also both soulful and yearning — as opera singer Maria Callas, as the exquisitely shot film (by El Conde's Edward Lachman) charts the week before her death in 1977. Where to watch: In Australian cinemas. The Seed of the Sacred Fig Nominations: Best International Feature Film Our thoughts: Making movies isn't easy; however, there's regular challenges and there's the situation that Mohammad Rasoulof faces. For his art, for documenting the reality of life in Iran today and for showing it to the world, prison sentences and filmmaking bans have come his way. The Seed of the Sacred Fig isn't pivotal viewing just because of what it took to create — in secret, with Rasoulof directing remotely — and how its guiding force is treated by the Iranian regime, though. Observing how a family unravels when an investigating judge's wife and daughters push back amid the country's 2022–23 protests, this is another statement of film from the There Is No Evil helmer. Where to watch: In Australian cinemas. Read our interview with Mohammad Rasoulof. September 5 Nominations: Best Original Screenplay Our thoughts: Before First Cow, Past Lives, The Agency and plenty more, among John Magaro's first on-screen jobs was playing an extra in Munich. Two decades later, he turns in one of September 5's many compelling performances (see also: Presumed Innocent's Peter Sarsgaard, Mrs Davis' Ben Chaplin and The Teachers' Lounge's Leonie Benesch) in another potent drama about the terrorist attack at the 1972 Olympics. Filmmaker Tim Fehlbaum (The Colony) views this chapter of history through the efforts of the ABC Sports crew, whose coverage pivoted and made history — and his tense procedural journalism thriller is both stirring and gripping. Where to watch: In Australian cinemas. Sing Sing Nominations: Best Actor (Colman Domingo), Best Adapted Screenplay, Best Original Song — 'Like a Bird' by Abraham Alexander and Adrian Quesada Our thoughts: In the maximum-security prison that gives Greg Kwedar's (Transpecos) affecting and inspiring second feature its title, the aim of the Rehabilitation Through the Arts program is right there in its own moniker. For the real-life scheme to inspire a new cinema masterpiece, an on-screen masterclass in empathy and a tribute to being moved by art, surely wasn't an initial goal. As Divine G, one of the incarcerated man finding purpose through staging theatre productions with his fellow inmates, Colman Domingo (The Madness) is astonishing — as is Clarence Maclin, a former detainee at the NYC facility who plays himself as the movie mixes actors with amateurs. Where to watch: In Australian cinemas. In Cinemas or at Home: Anora Nominations: Best Picture, Best Director (Sean Baker), Best Actress (Mikey Madison), Best Supporting Actor (Yura Borisov), Best Original Screenplay, Best Editing Our thoughts: Along with playfulness, empathy, and an eagerness to look beyond the usual characters and pockets of America that tend to grace narrative cinema, tenderness is one Sean Baker's special skills, as splashed across his filmography. It's in Tangerine, The Florida Project and Red Rocket, and now Anora. Spotting Cinderella elements and riffs on Pretty Woman aren't hard with this movie about a Brooklyn erotic dancer (Mikey Madison, Lady in the Lake) who liaises with and is soon wed to the son (Mark Eydelshteyn, Zhar-ptitsa) of a Russian oligarch (Aleksey Serebryakov, Lotereya) — but just as Ani is always her own person, the magnificent Anora is always a Baker film. Where to watch: In Australian cinemas, and via Apple TV and Prime Video. A Real Pain Nominations: Best Supporting Actor (Kieran Culkin), Best Original Screenplay Our thoughts: He didn't feature on-screen in his first film as a writer/director, but 2022's When You Finish Saving the World couldn't have sprung from anyone but Jesse Eisenberg. Neither could've 2024's A Real Pain. Both explore the fact that experiencing our own pain, big or small, world-shattering or seemingly trivial, or personal or existential, is never a minor matter. In the latter, the Fleishman Is in Trouble actor plays the anxious part, and literally. His character is a bundle of nerves about and during his pilgrimage to Poland with his cousin (Kieran Culkin, Succession) to honour of their grandmother, who survived the Second World War, then started a new life in the US. Where to watch: In Australian cinemas, and via Disney+, Apple TV and Prime Video. Read our full review and our interview with Jesse Eisenberg. Better Man Nominations: Best Visual Effects Our thoughts: Most music biopics want the figure in its spotlight to remain front and centre. Better Man doesn't stray from the formula there. The bulk of films in the genre also want audiences to always recognise the star in focus, which is where this Australian-made look at Robbie Williams' career makes a huge departure. It's the spirit of the former Take That member that shines through in Jonno Davies' motion-capture performance, as Williams is rendered on-screen as a chimpanzee. For The Greatest Showman director Michael Gracey, it works, so much so that it's now impossible to imagine a feature about the singer done any other way. Let me entertain you indeed. Where to watch: In Australian cinemas, and via Apple TV and Prime Video. Read our interview with Jonno Davies and Michael Gracey. Conclave Nominations: Best Picture, Best Actor (Ralph Fiennes), Best Supporting Actress (Isabella Rossellini), Best Adapted Screenplay, Best Costume Design, Best Film Editing, Best Original Score, Best Production Design Our thoughts: Cardinals, they're just like everyone else seeking power — bickering, gossiping, scheming, fighting and trying to find their way to the top by any means possible, that is. Aided by a stellar cast (including The Return's Ralph Fiennes, Citadel's Stanley Tucci, The Old Man's John Lithgow and Spaceman's Isabella Rossellini) answering viewers' prayers, filmmaker Edward Berger swaps World War I's horrors in All Quiet on the Western Front for a pulpy and twisty but smart page-to-screen papal thriller about electing a new pope. He hasn't completely switched thematically, though: how tradition and modernity butt against each other also remains the director's focus. Where to watch: In Australian cinemas, and via Apple TV and Prime Video. Gladiator II Nominations: Best Costume Design Our thoughts: Swords, sandals, spectacle, scale, sharks in more ways than one — including literally — and Denzel Washington (The Equalizer 3) having a scenery-chewing ball: welcome to Ridley Scott's 24-years-later follow-up to Gladiator. Helming his fourth feature of the 2020s after The Last Duel, House of Gucci and Napoleon, the veteran filmmaker has taken the sequel-as-remake approach with Gladiator II, but sports the style and stars to largely pull it off, with Paul Mescal (All of Us Strangers), Pedro Pascal (The Wild Robot), Connie Nielsen (Origin), Fred Hechinger (Kraven the Hunter) and Joseph Quinn (A Quiet Place: Day One) also great among the latter. Where to watch: In Australian cinemas, and via Apple TV and Prime Video. Read our interview with Paul Mescal, Connie Nielsen and Fred Hechinger. Nosferatu Nominations: Best Cinematography, Best Costume Design, Best Makeup and Hairstyling, Best Production Design Our thoughts: The Witch, The Lighthouse and The Northman filmmaker Robert Eggers turned Nosferatu into a play as a teen. Consider his big-screen remake of FW Murnau's 1922 classic a second bite, then. His fastidious fixation with detail and recreating past eras with painstaking precision is on full and glorious display, as is his way with unnerving eerieness. As Count Orlok in a tale that began as an unauthorised Dracula adaptation a century ago, Bill Skarsgård (Boy Kills World) is commanding, while Renfield's Nicholas Hoult and Shadow of the Vampire's Willem Dafoe make welcome bloodsucker returns, but it's Lily-Rose Depp (The Idol) who truly haunts. Where to watch: In Australian cinemas, and via Apple TV and Prime Video. Read our interview with Willem Dafoe, Emma Corrin, Aaron Taylor-Johnson and Robert Eggers. Wicked Nominations: Best Picture, Best Actress (Cynthia Erivo), Best Supporting Actress (Ariana Grande), Best Costume Design, Best Film Editing, Best Makeup and Hairstyling, Best Original Score, Best Production Design, Best Sound, Best Visual Effects Our thoughts: As a theatre-kid obsession for decades, it was long likely that the big-screen adaptation of Wicked — a movie based on a musical springing from a book that offered a prequel to a film that walked the celluloid road 85 years prior, itself jumping from the page to the screen — would have big theatre-kid energy as it attempted to ensure that its magic enchants across mediums. No one would ever want a muted version, after all. It was true of his take on In the Heights and it's accurate again here: Jon M Chu has a knack as a filmmaker of stage hits reaching cinemas, matching the vibe of the show that he's taking on expertly. Where to watch: In Australian cinemas, and via Apple TV and Prime Video. Read our full review and our interview with Nathan Crowley. Via Streaming: A Different Man Nominations: Best Makeup and Hairstyling Our thoughts: 2024 was the year that Sebastian Stan (Dumb Money) played men chasing a dream that turns out to be a nightmare — and that musing on what it takes to accept yourself and ignore the world's feedback, and whether external change can bring about an internal transformation, was gripping movie viewing more than once. Hailing from writer/director Aaron Schimberg (Chained for Life), A Different Man is an exceptional example of both. When Stan's Edward Lemuel undertakes an experimental treatment for neurofibromatosis, his disfigurement disappears; however, his hopes for stardom and love can't be grasped that easily. Where to watch: Via Binge, Apple TV and Prime Video. Read our full review. Alien: Romulus Nominations: Best Visual Effects Our thoughts: Don't trust your employer. While that isn't the sole takeaway message from 45 years of Alien movies, it's a biting aspect of the sci-fi/horror saga nonetheless. In space, Weylan-Yutani Corp workers keep screaming and the company doesn't simply refuse to hear them; in the battle between killer extra-terrestrial creatures and the outfit's employees, it puts the former first. Under Fede Álvarez's (The Girl in the Spider's Web) direction, watching how that plays out in Alien: Romulus for Rain Carradine (Cailee Spaeny, Civil War), the latest to glean that she doesn't mean anything beyond labour to the source of her paycheque, isn't quite the perfect organism — but it's engaging. Where to watch: Via Disney+, Apple TV and Prime Video. The Apprentice Nominations: Best Actor (Sebastian Stan), Best Supporting Actor (Jeremy Strong) Our thoughts: The Apprentice was always going to be a horror movie. The world already knows its subject, and is familiar with where his path has taken him since the 70s- and 80s-era chapters of his life that are covered by Ali Abbasi's (Holy Spider) compelling film. Sebastian Stan (Dumb Money) and Jeremy Strong (in his first post-Succession role) proving phenomenal in a movie that's unshakeable: that too feels inevitable. The fact that this is a Frankenstein's monster story, too, was perhaps less expected — but by focusing on Donald Trump's (Stan) mentorship by New York City attorney and political fixer Roy Cohn (Strong) when the former was an aspiring real-estate tycoon, it fits. Where to watch: Via Apple TV and Prime Video. Read our interview with Ali Abbasi. Black Box Diaries Nominations: Best Documentary Feature Our thoughts: It's easy to wish for a world where Black Box Diaries didn't need to exist — where its director and subject, journalist Shiori Itō, wasn't sexually assaulted, then forced to investigate the attack herself because the Japanese police declined to pursue the high-profile culprit. The reality, though, is that in a country where only four percent of sexual assaults end up going through the justice system, many women are in the same situation, even if they can't and/or don't pick up a camera. Itō knows that fact as she courageously shares her story, and attempts to ensure that what she went through isn't buried. Filled with vulnerability and determination, this is devastating viewing. Where to watch: Via DocPlay. Dune: Part Two Nominations: Best Picture, Best, Cinematography, Best Production Design, Best Sound, Best Visual Effects Our thoughts: Revenge is a dish best served sandy in Dune: Part Two. On the desert planet of Arrakis, where golden hills as far as the eye can see are shaped from the most-coveted and -psychedelic substance in author Frank Herbert's estimation, there's no other way. Vengeance is just one course on Paul Atreides' (Timothée Chalamet, Wonka) menu, however. Pop culture's supreme spice boy, heir to the stewardship of his adopted realm, has a prophecy to fulfil whether he likes it or not; propaganda to navigate, especially about him being the messiah; and an Indigenous population, the Fremen, to prove himself to. So mines Denis Villeneuve's soaring sequel to 2021's Dune. Where to watch: Via Netflix, Binge, Apple TV and Prime Video. Read our full review and our interview with Greig Fraser. Elton John: Never Too Late Nominations: Best Original Song — 'Never Too Late' by Elton John, Brandi Carlile, Andrew Watt and Bernie Taupin Our thoughts: It started in 2018. It finished in 2023. Across that five-year period, it came to Australia twice. Elton John's Farewell Yellow Brick Road tour, his final string of live shows around the world, saw him say goodbye to hitting the stage after five decades — a decision that documentary Elton John: Never Too Late digs into. This is a celebratory film rather than a deep dive, and somehow not as intimate as viewers should expect of a movie co-directed by the music icon's husband David Furnish (who also helmed 1997's Elton John: Tantrums & Tiaras, and works with Martha and Billie Eilish: The World's a Little Blurry filmmaker RJ Cutler hear), but the music is still a treat. Where to watch: Via Disney+. Inside Out 2 Nominations: Best Animated Feature Film Our thoughts: They're basic: joy, sadness, fear, disgust and anger, that is, the five emotions that swirled inside human heads in Pixar's 2015 hit Inside Out. In Inside Out 2, that quintet of feelings isn't enough to cope with being a teenager, which is where anxiety, envy, ennui and embarrassment come in. The newcomers arrive with the onset of puberty. They have no time for simple happiness; they've levelled up some of the emotions adjacent to sorrow, fright, dismay and fury, too. Inside Out was always an all-ages ode to mindfulness, as is its sequel — and discovering how to accept and acknowledge apprehension, unease and nerves is here, like in life, a complicated balancing act. Where to watch: Via Disney+, Apple TV and Prime Video. Read our full review. Kingdom of the Planet of the Apes Nominations: Best Visual Effects Our thoughts: Since day one, every Planet of the Apes tale has been a mirror. Gazing into the sci-fi series means seeing the power structures and societal struggles of our reality staring back — discrimination, authoritarianism and even the impact of a world-ravaging virus should ring a bell — but with humans no longer atop the pecking order. These are allegorical stories and, at their best, thoughtful ones, probing the responsibilities of being the planet's dominant force and the ramifications of taking that mantle for granted. Not every instalment has handled the task as well as it should've, but those, that do like Kingdom of the Planet of the Apes, leave a paw print. Where to watch: Via Disney+, Apple TV and Prime Video. Read our full review. Memoir of a Snail Nominations: Best Animated Feature Film Our thoughts: Fifteen years is a long time between features. Films by Australian stop-motion animator Adam Elliot — movies that he calls "clayographies" — also aren't quick to make. But Memoir of a Snail rewards the wait, with the Mary and Max writer/director again using his preferred medium to process life's heartbreaks, struggles, joys and delights in stunning fashion. Sarah Snook (Succession) voices Grace Pudel, twin to Gilbert (Kodi Smit-McPhee, Disclaimer) and later friend to the elderly Pinky (Jacki Weaver, Hello Tomorrow!). Grace reflects upon her existence from childhood onwards, and her journey towards living for herself, to share this immensely affecting story. Where to watch: Via Apple TV and Prime Video. Read our interview with Adam Elliot. Nickel Boys Nominations: Best Picture, Best Adapted Screenplay Our thoughts: Cinema's function as an empathy machine places viewers into someone else's shoes for 90 or so minutes at a time. Adapting Colson Whitehead's Pulitzer Prize-winning novel, director RaMell Ross (Hale County This Morning, This Evening) doesn't leave that sensation to chance in this impressionistic standout. As shot by Jomo Fray (All Dirt Roads Taste of Salt), Nickel Boys' extraordinary cinematography adopts a first-person perspective, ensuring that the audience sees and hears the world as Elwood (Ethan Herisse, The American Society of Magical Negroes) and Turner (Brandon Wilson, Murmur) do when they're sent to an abusive reform school. Where to watch: Via Prime Video. No Other Land Nominations: Best Documentary Feature Our thoughts: In No Other Land, Basel Adra films what he knows but wishes that he doesn't — and what he knows that the world needs to see. Co-directing with Israeli investigative journalist Yuval Abraham, plus farmer and photographer Hamdan Ballal and cinematographer Rachel Szor, the Palestinian activist chronicles the takeover of the West Bank region of Masafer Yatta for an Israeli military base. As a result, families with centuries of ties to the land are forced to live in caves, battle soldiers and fight to survive. Making this documentary is an act of bravery of the highest order. Watching it, and bearing witness as Adra demands, couldn't be more essential. Where to watch: Via DocPlay. Porcelain War Nominations: Best Documentary Feature Our thoughts: Art can be a radical act — a fight, a show of defiance, a countering to oppression and devastation — and this truth can be baked into a documentary's very existence (see: Black Box Diaries and No Other Land for just two recent examples). The moving and powerful Porcelain War also shows this idea in action in Ukraine, against the backdrop of its devastated landscape under the current Russian occupation. In this Sundance 2024 US Documentary Grand Jury Prize-winner, filmmakers Brendan Bellomo and Slava Leontyev capture the latter's efforts with Anya Stasenko to craft porcelain figurines while they're part of the Ukrainian defense. Where to watch: Via DocPlay. The Six Triple Eight Nominations: Best Original Song — 'The Journey' by Diane Warren Our thoughts: The ever-prolific Tyler Perry directed not one, not two, but three films in 2024: thrillers Mea Culpa and Divorce in the Black, plus the World War II-set The Six Triple Eight. The last of the otherwise-unrelated trio brings the story of the 6888th Central Postal Directory Battalion to the screen — the only all-Black US Women's Army Corps dispatched overseas during the conflict. In the lead, Kerry Washington (Unprisoned) is a highlight. Perry helms with great intentions, honouring women who history shouldn't be permitted to forget. But none of that translates to an impressive feature, even with Oprah Winfrey (A Wrinkle in Time) adding to her acting resume. Where to watch: Via Netflix. Soundtrack to a Coup d'Etat Nominations: Best Documentary Feature Our thoughts: The Cold War. Jazz greats, including Louis Armstrong, Nina Simone, Duke Ellington, Dizzy Gillespie and Melba Liston. America's operations through the CIA in the Democratic Republic of the Congo when it was newly independent from Belgium. Across two-and-a-half hours in essay style, Belgian filmmaker Johan Grimonprez's (Blue Orchids) inventive and engaging — and thorough and dense — documentary Soundtrack to a Coup d'Etat explains how they're all connected, plus the 1961 murder of Patrice Lumumba and much more as well. It has the soundtrack, of course, as well as smarts, pace, thrills and a probing look both backwards and forward. Where to watch: Via DocPlay. The Substance Nominations: Best Picture, Best Director (Coralie Fargeat), Best Actress (Demi Moore), Best Original Screenplay, Best Makeup and Hairstyling Our thoughts: If you suddenly looked like society's ideal, how would it change your life? The Substance asks this. With Revenge's Coralie Fargeat leading the charge on her long-awaited sophomore feature and earning Cannes' Best Screenplay Award for her troubles, the result is a new body-horror masterpiece. Pump it up: the sci-fi concept; the stunning command of sound, vision and tone; the savagery and smarts; the gonzo willingness to keep pushing and parodying; the gore (and there's gore); and the career-reviving performance from Demi Moore (Landman), who'll now always be remembered as newly 50-year-old actor and TV host Elisabeth Sparkle. Where to watch: Via Stan, Apple TV and Prime Video. Read our full review. Sugarcane Nominations: Best Documentary Feature Our thoughts: In 1981, more than a century after it was founded, the Catholic Church-run St Joseph's Mission residential school in British Columbia, Canada closed its doors. Reports of abuse swirled long before its shuttering, in some cases backed up by investigations and trials. Four decades afterwards, unmarked graves were discovered — and more distressing stories emerged, including of pregnancies resulting from sexual assaults and covered up. This is personal for Julian Brave NoiseCat, who co-directs the sensitively, potently, astutely and movingly told Sugarcane with fellow feature-length first-timer Emily Kassie: his father and grandmother are both part of this tale. Where to watch: Via Disney+. Wallace & Gromit: Vengeance Most Fowl Nominations: Best Animated Feature Film Our thoughts: Break out the Wensleydale cheese: Wallace & Gromit is back. The first film, short or feature-length, about the kind-hearted inventor (Ben Whitehead) and his beagle since 2008's A Matter of Loaf and Death — TV's Wallace & Gromit's World of Invention did pop up for six episodes in 2010, though — sees its namesakes targeted by penguin Feather McGraw on a quest for revenge. Despite the long break between screen outings, Aardman Animation's main duo have lost none of their charm. A delight of an all-ages flick, it's both humorous and heartfelt, nails its slapstick silliness, and even makes clever use of a robotic garden gnome. Where to watch: Via Netflix. The Wild Robot Nominations: Best Animated Feature Film, Best Original Score, Best Sound Our thoughts: A favourite on the page first, The Wild Robot is now an all-time gem on the screen. Boasting extraordinarily emotive voicework from Lupita Nyong'o (A Quiet Place: Day One), beautiful hand-painted forest imagery inspired by Studio Ghibli, assured direction from How to Train Your Dragon and The Croods' Chris Sanders, and a rousing score by Kris Bowers (Bridgerton) will do that. Story-wise, it spends time with Roz, aka ROZZUM unit 7134, after the android ends up on an animal-filled island and learns that there's more to existence than following your programming — and, in the process, The Wild Robot proves tender, warm and enchanting. Where to watch: Via Apple TV and Prime Video. Read our interview with Lupita Nyong'o and Chris Sanders. The winners of the 2025 Oscars will be announced on Monday, March 3, Australian time. For further details, head to the awards' website. Wondering what will, should and could win? Check out our predictions in 11 key categories.
Just because you're cooped at home doesn't mean you have to sink into a monotonous existence of spaghetti and canned tuna. You can, in face, add a bit of flair to your cooking repertoire without leaving the house, thanks to a new series of free virtual cooking classes from one of the world's greatest chefs. Massimo Bottura — the Michelin-starred chef behind Italy's famed Osteria Francescana (which is temporarily closed during Italy's nationwide lockdown) and Gucci's glam new LA eatery — is keeping his quarantined spirits high by sharing his culinary secrets with the masses via nightly tutorials live streamed on Instagram. The fittingly titled Kitchen Quarantine is designed to help spread feelings of connectivity, curb boredom and teach a few new tricks, at a time when an increasing chunk of the world's population is in lockdown (as Italy is), self-isolation or self distancing. And of course, with Bottura's famously cheery personality, the guy's just a total joy to watch. https://www.instagram.com/tv/B9zQFp3JbJM/?utm_source=ig_web_copy_link Handily enough, the videos are in English, and they've so far covered dishes like a vegetable thai curry and cream tortellini. The show's live on Instagram nightly at 8pm CET, which is 6am AEDT, 5am in Brisbane and 8am NZDT. But if that's a little early, you can also catch the videos screened later on San Pellegrino's Fine Dining Lovers YouTube channel. Bottura's Instagram also has a series of Q&A's with the chef, which you can catch any time.
There aren't many ways to improve a trip to a bathhouse, but when Gold Coast-born chain Soak opens up its first Brisbane location, it'll dial things up a level. Set to launch sometime in the first half of 2022, the new West Village spot will move your blissful spa days upwards literally, in fact; opening on a rooftop will do that. Get ready for dips, steams and massages with a sweeping view of the city, and for hanging out on sky-high sundecks as well. West End's first rooftop bathhouse, it'll boast seven spas, as well as infrared saunas, mineral pools and relaxation gardens. And, the range of other services will expand to LED facials. Those pools are meant to be shared, so you'll be able to book in for a soak with your mates and use the occasion to treat yo'selves over a catch up. The whole vibe at Soak Bathhouse West Village is about being social, after owners Alexis Dyson and Niki Dean realised that the industry isn't currently big on wellness sessions that double as group hangouts. "A lot of social activities rely on going out for food and drinks, so we wanted to present an offering that focused on wellness and relaxation while still being a social experience to be enjoyed with friends," explains Dyson. "This is also how Soak sets itself apart from other spas, as many only cater to pairs by offering couple massages and treatments." Based on its Gold Coast setup, Soak does both casual pricing and memberships, and it'll start selling the latter for its West Village outpost at the beginning of 2022, prior to opening. While gathering the gang and soaking in everything the bathhouse has to offer will be part of the new West End spot's daily offerings, you'll also be able to book in for special occasions — which is great to keep in mind if you have some milestones to celebrate next year, or just feel like a relaxing birthday shindig. Soak Bathhouse will open its first Brisbane outpost at West Village, 45 Mollison Street, West End, sometime in the first half of 2022 — we'll update you with further details when they're announced. Images: Soak Bathhouse Mermaid Beach.
For the first time ever, the Art Gallery of New South Wales brings to Sydney masterpieces from the golden age of Dutch painting — a culturally confident, powerful era when the art of painting flourished. It was during this time that artists including Rembrandt van Rijn and Johannes Vermeer produced vivid works depicting the world around them, with subjects ranging from intense portraits and dramatic seascapes to tranquil scenes of domestic life and careful studies of fruit and flowers. Exclusive to Sydney, the exhibition features 76 artworks sourced from Amsterdam's Rijksmuseum, including seven pivotal paintings and 16 etchings by Rembrandt presented in a room dedicated solely to the celebrated artist. The exhibition also brings a rare and celebrated piece by Vermeer, Woman reading a letter (1663). Jacob van Ruisdael, recognised as one of the most important landscapists of the era, and Jan Davidsz de Heem, the revered flower painter, also take their place among many other masters of this golden age. Meticulously painted, these artworks remain as vital and fresh as they were 400 years ago. What's more, to celebrate the launch of the exhibition — and help reduce the strain the return of summer puts on your wallet — we're giving away ten double passes to the exhibition so you can enter the world of rich paintings and celebrated works for yourself. To enter, see details below. [competition]641676[/competition]
If you've ever watched a David Attenborough documentary about the planet and wished it was sillier and stupider, to the point of being entertainingly ridiculous and ridiculously entertaining alike, then Netflix comes bearing wonderful news. Actually, the BBC got there first, airing history-of-the-world mockumentary Cunk on Earth back in September 2022. Glorious things come to waiting viewers Down Under now, however — and this gleefully, delightfully absurd take on human civilisation from its earliest days till now, spanning cave paintings, Roman empires, Star Wars' empire, 1989 Belgian techno anthem 'Pump Up the Jam' and more, is one of the best shows to join Netflix in Australia and New Zealand in 2023 so far. This sometimes Technotronic-soundtracked five-part series' beat? Surveying how humanity came to its present state, stretching back through species' origins and evolution, and pondering everything from whether the Egyptian pyramids were built from the top down to the Cold War bringing about the "Soviet onion". The audience's guide across this condensed and comic history is the tweed-wearing Philomena Cunk, who has the steady voice of seasoned doco presenter down pat, plus the solemn gaze, but is firmly a fictional — and satirical — character. Comedian Diane Morgan first started playing the misinformed interviewer in 2013, in Charlie Brooker's Weekly Wipe, with Black Mirror creator Brooker behind Cunk on Earth as well. Over the past decade, Cunk has brought her odd questions to 2016's one-off Cunk on Shakespeare and Cunk on Christmas, and 2018's also five-instalment Cunk on Britain. Then, in Brooker's Death to 2020 and Death to 2021, two annual looks back at life during the pandemic, Morgan played Cunk-like everywoman Gemma Nerrick — aka the spoof specials' average person among its comic experts. That's Cunk's remit as well. She poses enquiries and makes observations that academics on various branches of history, plus archaeologists, biologists, engineers and others, wouldn't expect to be asked by their peers or serious interviewers. In fact, they wouldn't anticipate being asked Cunk's questions by anyone, really, except perhaps very young children. "If you want to talk about Russian Soviet vegetables, we can," is one response that Cunk's incorrect queries garner, this one after accusations of mansplaining when she's told she likely means the Soviet Union. When she isn't uttering outlandish questions, she's often simply demanding OTT statements that'll help the show go viral, such as an exchange with another boffin where she requests a pithy soundbite stating that Jesus Christ was "the first celebrity victim of cancel culture". Or, in classic history doco style, Cunk is walking and talking, her eyes trained on the camera and scenic and/or important locales stretching out behind her — and, elsewhere, narrating while remaining unseen over the same type of images. Much of Cunk on Earth's hilarity comes from its take on the past, and on humanity, as well as the series' love of the ludicrous — as delivered with Cunk's dry, droll and unflappable demeanour (unless she's learning that Laika, the first dog in space, didn't make it home). She posits with the straightest of faces that the human brain is made of pipes, and that Beethoven's 'Symphony No 5' has lyrics that just repeat the word "dumb" over and over. She has thoughts on the worst Romans, in ancient times and now; connects hieroglyphics to emojis and likens mummification to Gwyneth Paltrow's spa treatments; and asks "was early man made out of the same sort of meat as us?" while then wondering if human flesh ever had a pork- or beef-like moniker. Morgan's performance is a marvel, and a perceptive portrait of couldn't-care-less arrogance, ignorance and certainty that plays as an easy-but-still-smart caricature of a growing attitude prevalent online today. With one character, she's as much of a canny and cutting comedic force as Sacha Baron Cohen has proven with Ali G, Borat, Bruno and the various figures in 2018 mockumentary series Who Is America?. Cunk, in all of her on-screen appearances, adopts the same basic format as Baron Cohen's alter egos — proposing the absurd to both parody and interrogate. Her throwaway comment about the pyramids being designed the way they are to "stop homeless people from sleeping on them" says plenty about society's treatment of folks doing it tough, and she skewers the overuse and misattribution of quotes by stating that Aristotle said "dance like no one is watching". As brilliant as Morgan's deadpan turn is, and as committed as the Inside No 9, Motherland and Mandy actor is, Cunk on Earth is equally reliant upon its interviewees. They each take their task seriously — the real-life experts aren't here to court laughs — but they're also willing to use Cunk's silly queries and comments as a jumping-off point. The question about the brain's pipes inspires a considered and accessible explanation of two different schools of philosophical thought, for instance. Often, Cunk's naive musings spark tidbits and corrections that do exactly what an Attenborough-style show like this sincerely and earnestly would: inform. Of course, for every enlightening answer offered — whether recounting something that's common knowledge anyway or diving deeper — Cunk on Earth has Cunk being Cunk. She asks about ancient Greeks before declaring she couldn't give a shit, segues off on tangents about her ex-boyfriend Paul to counter her panel of experts, and pronounces words incorrectly to humorous effect (even if nothing beats her butchering of Camelot in Cunk on Britain, which begets questions about King Arthur's semen production). A series like this is a masterclass in juggling, with everything from a Black Mirror-leaning skit about Beethoven resurrected inside a smart speaker to a recreation of a Dark Ages fray purely through sound also thrown in. Here, this very series is flat-out masterful — and tremendously funny. Check out the trailer for Cunk on Earth below: Cunk on Earth streams via Netflix. Images: Jonathan Browning.
Some gift guides are aspirational. This one is personal — a tight edit of what the Concrete Playground team is actually giving this year, plus the upgrades we're quietly hoping to unwrap ourselves. Expect a mix of design-forward homewares, beauty and wellness tech, kitchen heroes, audio gear and a few well-earned splurges — the kinds of gifts that get used long after the wrapping paper's binned. If your shopping list leans more aesthetic than practical, head to our design and fashion gift guide for beautiful pieces by Australian brands. SKYWALK Experience Gift Voucher, Sydney Tower Eye For those who favour adrenaline over advent calendars, this breath-taking SKYWALK experience delivers open-air views and city stories from the tallest building in Sydney. Step onto the outdoor platform with the CBD directly beneath your feet for a seriously memorable gift. In partnership with Merlin Entertainments. Shop now. Pressurised Mini Keg, TANKY For anyone who loves hosting without playing bartender all night, TANKY keeps cocktails, mocktails or spritzes perfectly chilled and freshly poured from first glass to last. It's a reusable, pressurised mini keg that looks good on the table and cuts down on bottles, mixers and mid-party mess. Shop now. Gelati Bookshelf Speakers, Encel Designed and voiced in Melbourne, these compact speakers deliver rich, engaging sound wrapped in playful, design-forward finishes. With swappable magnetic grilles and serious audio credentials, they're equal parts listening device and interior statement. Shop now. Hatch Restore, Hatch A bedside essential for anyone trying to fix their sleep without doomscrolling, Hatch Restore replaces alarms with gentle sunrise light and phone-free wind-down routines. It's the kind of gift that quietly improves mornings — and nights — without feeling overly techy. Shop now. Classic Dutch Oven, Crumble A true kitchen workhorse, this cast-iron Dutch oven handles everything from slow braises to bakery-worthy sourdough with ease. Durable, non-toxic and genuinely beautiful, it's made to move seamlessly from stovetop to table. Shop now. Dyson Airwrap Co-anda 2x™ Multi-Styler and Dryer, Dyson Dyson's most powerful Airwrap yet, this upgraded multi-styler uses enhanced Co-anda airflow and intelligent attachments to dry, curl, smooth and straighten — all without extreme heat. A luxe, all-in-one pick for anyone who wants salon-level results at home, minus the learning curve. Shop now. Luxe Café Premier Espresso Machine, Ninja This all-in-one machine takes the guesswork out of espresso, cold brew and filter coffee with guided brewing and hands-free milk frothing. Ideal for coffee lovers who want café-quality results without turning their kitchen into a science lab. Shop now. Cotton Robe, Hommey Crafted from soft, breathable cotton, Hommey's robe turns everyday lounging into a considered ritual. It's the kind of gift that gets worn daily — and feels quietly luxurious every time. Shop now. ŌURA Ring 4, ŌURA A sleek alternative to bulky wearables, the ŌURA Ring tracks sleep, recovery, activity and stress in a discreet design. It's wellness tech for people who care about insights, not notifications. Shop now. DRx SpectraLite™ FaceWare Pro, Dr Dennis Gross This clinic-grade LED mask delivers red and blue light therapy in a three-minute daily treatment designed to target breakouts, fine lines and uneven tone. A serious investment, but one backed by real results and dermatologist-level tech. Shop now. Fine Jewellery, Lindelli Designed and handcrafted in Sydney, Lindelli's pieces balance timeless silhouettes with contemporary restraint. Made with lab-grown diamonds and precious metals, they're heirloom-worthy without the traditional baggage. Shop now. Public Possession 6-Panel Cap, MAAP A collaboration that blends cycling culture with graphic design, this cotton cap is understated but distinctive. Easy to wear, well made and finished with subtle embroidered details. Shop now. La Grande Dame Artist Gift Box 2012, Veuve Clicquot Veuve Clicquot's flagship cuvée comes presented in an artist-designed gift box that celebrates creativity as much as craftsmanship. A special-occasion champagne with depth, finesse and undeniable presence. Shop now. ART Sparkling Water Maker, SodaStream With its retro silhouette and hands-on carbonation lever, this SodaStream makes everyday sparkling water feel a little more intentional. A practical gift that reduces waste while keeping bubbles exactly how you like them. Shop now. Pearl Letter Bracelet, Saint Valentine A delicate chain finished with a single initial and freshwater pearls, this bracelet makes a personal gift without being overly sentimental. Designed for everyday wear, it's subtle, meaningful and easy to layer. Shop now. Gift Card, HÜD For anyone who values great skin but prefers choice, a HÜD gift card unlocks access to one of Melbourne's most respected skin clinics. It's an experience-led gift that prioritises long-term results over quick fixes. Shop now. Super Milk Body Spray, Lush A cult-favourite scent spun out from Lush's viral hair product, this biscuity, lemony body spray settles into a creamy vanilla warmth that's surprisingly grown-up. Sweet without tipping cloying, it's an easy, feel-good fragrance you can mist from head to toe — and one that reliably earns compliments on the road. Shop now. FYI, this story includes some affiliate links. These don't influence any of our recommendations or content, but they may make us a small commission. For more info, see Concrete Playground's editorial policy.
The Charming Squire, James Squire and Mantle Group's industrial-chic brew bar, commands a central, stoic yet warmly welcoming position in South Brisbane's entertainment and cultural precinct. The venue is truly like no other in our fair city. Stepping inside, one is immediately treated to a "have I died and gone to Sophisticated Beer Barn Heaven?" moment. High ceilings, exposed kegs, a shiny timber and stainless steel fit-out and a copper-covered main bar replete with the rogues gallery of Squire beers and ciders on tap adorn the plush ground floor. Stairs lead to a mezzanine level, the River Bar, complete with another bar and old-timey memorabilia. All of this is a fitting ode to the eponymous roguish-convict-turned-brewer himself, James Squire. For too long, the scoundrels, playboys and affable scamps of Brisbane have lacked a true mecca, but we think they may finally have one at the Squire. And fear not – tweed jackets are not compulsory for entry, but are always encouraged. The first frothy cab off the rank is summer ale A Close Shave, brewed on-site by maestro craft hopster Anthony Clem. Since opening, all of The Charming Squire's house-tap brews have been hugely popular with punters and have seen a high turnover with some very busy brewing: the ultimate "good problem" for a new venue. Made from the rare El Dorado hop, A Close Shave is a crisp, slightly fruity and refreshing ale fit for the sun-struck months. During our visit we also got our mitts all over other Squire staples The Chancer golden ale and One Fifty Lashes pale. Non-beer-drinkers are not forgotten; a hearty wine, spirit and cocktail list is on hand, too. And if you're looking to really party, the Squire is also host to five different function spaces, including the private River Room upstairs, with space for more than 100 revellers. Alas, time constraints thwarted our desire to explore the culinary delights served up by Charming Squire head chef and certified paddock-to-plate magician Deniz Coskun. With a sizeable selection of share plates, woodfired steaks and pizzas, the venue looks more than able to sate hunger as well as thirst. Located within a short stroll of South Brisbane train and busway stations (Concrete Playground encourages safe drink-travel) — as well as QPAC, the Convention and Exhibition Centre and GOMA, among others — The Charming Squire is also the beer-lover's ideal place to start or nightcap an evening of theatre or an exhibition (why yes, southerners, we do have some; it's just in a concrete box). Of course, you may just prefer to stay at the Squire the whole time, and there'd be nothing wrong with that. Images: Grace Smith.
What'd happen if the Hulk was a teenage girl, and turned into a giant, fuzzy, super-cute red panda instead of going green and getting ultra-muscular? Or, finding a different riff on the ol' werewolf situation, if emotions rather than full moons inspired a case of not-quite-lycanthropy? These mightn't be questions that most folks have ever even thought of, but writer/director Domee Shi certainly has — and they're at the core of Pixar's Turning Red, her debut feature after winning an Oscar for gorgeous 2018 short Bao. As many of the acclaimed animation studio's movies do (see also: Finding Nemo, Up, Brave and the Cars franchise, for instance), Turning Red takes its title literally. But, for the second time in the past year following 2021's Luca, it sees Pixar ask a question that isn't simply "what if toys/bugs/monsters/vehicles/fish/superheroes/rats/robots/dinosaurs/elves had feelings?" (or even if feelings had feelings themselves, or if souls did as well). It still ponders a spin on that notion, wondering what'd happen if red pandas sported human-style emotions; however, the Disney-owned company has also been musing on people becoming other kinds of critters of late, with particularly astute and endearing results here. Now streaming on Disney+ after bypassing cinemas completely, Turning Red spends its time with 13-year-old Chinese Canadian high-schooler Meilin Lee (Rosalie Chiang, also making her movie debut). The year is 2002, and she loves three things: meeting her strict but doting mum Ming's (Sandra Oh, The Chair) expectations; hanging out with her pals Miriam (Ava Morse, Ron's Gone Wrong), Priya (Maitreyi Ramakrishnan, Never Have I Ever) and Abby (Hyein Park, also Bao's story artist); and ridiculously popular boy band 4*Town. And while her mother doesn't approve of her friends or her taste in music, and would prefer for her to either be at school or helping out at the family's temple at all times, Mei has become quite accustomed to juggling everything that's important to her. Then, after a boy-related mishap — Mei realises that she has a crush on a 17-year-old convenience store clerk, but Ming finds out and embarrasses her in public — the red panda appears. Mei goes to bed feeling normal, albeit angsty and upset, then wakes up looking like a cuddly creature. Like werewolf tales about teenage boys tend to be, Turning Red is all about puberty and doesn't hide it, with Mei forced to face the new version of herself that's awakened overnight. This is both Pixar's 25th full-length flick and its first solely directed by a woman, and the result is one of the studio's instant classics; when the company isn't throwing love towards childhood obsessions such as toys, monsters and cars, it also adores exploring what it feels like to be a kid — and Turning Red fits the mould perfectly. Of course, while it's easy to spy commonalities among Pixar's 27 years of movies so far, it rarely makes blandly formulaic fare. That's one of its key skills, after all: throwing around familiar parts, premises and patterns, but almost always making whichever movie eventuates feel new, thoughtful and specific. That remains the case with Turning Red, which is as savvy and delightful as the very best entries on the studio's resume. A charming coming-of-age effort, it flows with warmth and insight as Mei navigates an array of hugely recognisable high-school antics — being certain that you stand out, getting teased, wanting to go to concerts, developing your own interests, growing away from your parents and forging your own identity all included — while also grappling with sometimes being a red panda. Indeed, as struggles and pressures mount, and their protagonist yearns for the space to work out who she really is and what she truly wants, Shi and her co-scribe Julia Cho (Halt and Catch Fire) have also penned a tale of teen rebellion. The movie's heavy use of crimson hues represents many things, from its chosen animal to raging hormones, and a feisty can-do temperament sits high on the list. This is a Pixar movie that asks "has the red peony blossomed?" when Ming thinks that Mei has gotten her period, rather than turned into a red panda, for instance — if there was any doubt on how eagerly and openly it embraces everything that growing up means for teenage girls. It's a film that finds the relatable in the specific in a cultural sense, too, giving Toronto's Chinese community a hefty embrace, pondering generational trauma, and also creating an on-screen world that both looks and feels lived-in. And, it's as joyous about boy bands and their status as an object of obsession for adolescent hearts and minds as the wonderful Aussie documentary I Used to Be Normal: A Boyband Fangirl Story was as well. Bright, perky but never generic animation brings Shi's vision to life, and a soundtrack peppered with boy band-style songs by Billie Eilish and Finneas O'Connell (the latter also voicing one of 4*Town's members) helps set an upbeat tone. But don't mistake all that gloss, those earworm tunes and that endearing red panda for fluff, though: Turning Red has sweetness, soul and smarts, and it's another of Pixar's gems. Check out the trailer below: Turning Red is available to stream via Disney+ from Friday, March 11. Top image: © 2022 Disney/Pixar. All Rights Reserved.
If you've always thought that Brisbane could use a twice-yearly food market that doubles as a pop-up arts and culture festival, rejoice — you're in luck. Taking place at Brisbane Powerhouse, Night Feast is that event, debuting from Wednesday, March 1–Sunday, March 26 with a neon-lit riverside setup. First, the food. Longrain's Martin Boetz, e'cco Bistro's Philip Johnson, Lyndon Tyers at Donna Chang and Tuan Nguyen at Ngon, plus Lek Senee from Lek's Thai and Patricio Sarno from Mary Mae's Kitchen & Bar are all on the bill — and City Winery's vino thanks to winemaker Dave Cush. You can also look forward to dishes from Taro's Ramen and Ham on Rye, as well as from Saison Salumi and Wine & Dine Em. Plus, chef Anchalee Kasurin is whipping up poffertjes pancakes. Operating 4.30–9.30pm from Wednesday–Sunday in its first two weeks — then starting at 2pm on Saturdays and Sundays from Saturday, March 18 — all at the Powerhouse forecourt and its surrounding parks, Night Feast's first-ever run will survey Thai, Vietnamese, Japanese, Middle Eastern, Italian, Greek, modern Australian cuisine and more across 20-plus gourmet food stalls. Communal feasting is one of Night Feast's big focuses — and getting the restaurants taking part in Night Feast to dish up the absolute top thing on their menus is another. That means tucking into their signature dishes, but by the river in New Farm. Night Feast will also feature an open fire pit for roasting and a dedicated dessert bar, plus cocktails and a top-notch wine list to wash it all down with. But, the food side of the program is just one of the highlights. The arts and music program looks just as ace, giant illuminated humanoids and laser beams that look like intergalactic events included. Those towering glowing figures come courtesy of Amanda Parer's Fantastic Planet, which has been to Brisbane before alongside other the artist's past works such as Intrude, What's That and Lost. And those lasers are the product of Australian audiovisual artist Robin Fox. His site-specific Brisbane Constellation is all sound and light, as aided by a matrix of crystal refractors. The aim: to make you hear what you see and feel. Attendees will also enjoy Zimoun's symphony made with everyday materials; Rising Lotus, a series of large triangular sculptures that'll loom over the venue; the refracted sunlight-focused Tower; Theatre of Thunder's Succulenticca, aka costumed creatures roving around; and an old-school gaming den courtesy of Netherworld. Or, via Swiss site-performance designer and fog artist Tom Mùller, Steam Works will deploy four large industrial fog generators to pump out steam twice a day, in a piece that responds to Brisbane Powerhouse's industrial past. The music roster features Akala Newman, GLVES, Lucy Francesca Dron, Mark Crotti and Nicole McKinney on different dates, plus Paris Irwin, Paulina and the QUIVR DJS. Images: Markus Ravik / Lachlan Douglas.
"Are people born wicked? Or do they have wickedness thrust upon them?" They're the questions that the full trailer for Wicked poses in its first moments. The rest of the sneak peek, the film it's for, and both the musical and the book that it's based on all explore those queries through the tale of Glinda (Ariana Grande, Don't Look Up) and Elphaba (Cynthia Erivo, Pinocchio). Film lovers, you're going off to see the witches, the powerful witches of Oz, when Wicked soars from the page and the stage to the screen in 2024. The famous and beloved theatre musical adapts a book that takes inspiration from The Wizard of Oz, and has been a show-going favourite for more than two decades thanks to composer Stephen Schwartz and playwright Winnie Holzman. Now, it's heading to cinemas as a two-part movie. The first instalment, now just called Wicked rather than Wicked: Part One, arrives in November with director Jon M Chu (In the Heights, Crazy Rich Asians) behind the lens. Grande dons pink and Erivo sports the requisite green in both the first teaser trailer for the movie — which arrived amid the annual Super Bowl sneak-peek frenzy (see also: Deadpool & Wolverine) — and also for the just-dropped complete sneak peek. Haven't caught the stage show on its current Australian run, including in Sydney since 2023 and in Melbourne from March 2024 , with Brisbane to come? Defy gravity in your local picture palace before the year is out instead. In the two trailers for the film, Glinda tells Elphaba "don't be afraid". "I'm not afraid," is the fellow witch's response. "It's the Wizard who should be afraid of me." As for why, the second trailer steps through more of the plot — complete with renditions of 'Popular' and, yes, 'Defying Gravity'; Elphaba getting her black witch hat; flying monkeys; hues of pink and green aplenty; and meeting the Wizard of Oz (Jeff Goldblum, Asteroid City) in Emerald City. Wicked follows the Land of Oz's witches, with telling their untold tale the musical's whole angle. On the stage, the show has notched up more awards than you can fit in a hefty cauldron over the years. That includes three Tonys from ten nominations, a Grammy, an Olivier Award and six Drama Desk Awards. Joining Grande and Erivo in bringing Wicked to the cinemas is quite the who's who-style cast. Alongside Goldblum, Michelle Yeoh (A Haunting in Venice), Jonathan Bailey (Bridgerton), Ethan Slater (The Marvellous Mrs Maisel) and Bowen Yang (Saturday Night Live) also feature. As for when the second Wicked movie will also get flickering, it's due in November 2025. Check out the full trailer for Wicked below: Wicked releases in cinemas Down Under on November 28, 2024.
There are sushi trains, and then there are sushi trains. Located on level one of the Wintergarden, Hanaichi Sushi Bar + Dining takes things up a few notches. There's no tiny locomotive here — just top-notch dishes delivered via a conveyor belt, all in a place that feels far removed from your usual quick bite-style eatery. And if you hadn't already guessed, no it doesn't feature the same menu as the other Hanaichi in the food court. In fact, Hanaichi Sushi Bar + Dining boasts something particularly special: all-you-can-eat sushi every night of the week. Stop by from 5pm and expect an unlimited feast that also includes shabu shabu. On the menu: various sushi plates, wagyu beef, pork, wombok, tofu, noodles, fish balls and more, all for $32 per person. If you'd like to up the ante, a $50 version is also available, complete with sashimi, sand crab, oysters and prawns on top of the usual buffet.
UK singer-songwriter Olivia Dean will make her ARIA Awards debut in Sydney this November, performing live just one day before a special headline show. ARIA confirmed the news today, announcing that Dean will take the stage at the Hordern Pavilion on Wednesday, November 19. The London-born artist will stick around for a one-off Sydney gig the following evening, before returning in 2026 for a full arena tour. "I love Australia and I'm so excited to perform at the 2025 ARIA Awards," Dean said in a statement. "This will be my first time at the awards ceremony, it's going to be lots of fun!" The announcement follows the release of Dean's sophomore album The Art of Loving, which dropped last week and is already climbing the ARIA charts. Its third single, 'Man I Need,' is sitting at #2 on the Singles chart and is tipped to go Platinum within a fortnight. This year's ARIA Awards are shaping up to be a big one, with Ninajirachi, Dom Dolla and RÜFÜS DU SOL among the top nominees. The ceremony will stream live on Paramount+ and air on Channel 10. Check out the full list of ARIA Award nominees. Images: Getty
Peer around Azteca and shades of green await, hanging from the ceiling, painted across walls and spotted from its prime riverside position. The latest addition to Brisbane's Queen's Wharf, and also the newest opening from Potentia Solutions Leisure, the team behind Lina Rooftop, Soko Rooftop, Carmen Tequileria, and Claw BBQ in both Bowen Hills and Carindale, takes inspiration from Latin America. It goes luxe with its fitout, too, befitting its location in the River City's latest waterfront precinct. Plants are suspended from above, fill planters placed around the restaurant's indoor seating and can be found dotted acrpss its outdoor terrace. The lines of bottles backdropping Azteca's bar sit against a striking emerald wall. And gazing over at South Bank means spying a canopy of foliage, as diners have been able to enjoy since mid-October 2024. Celebrating greenery inside and out is an apt touch for an eatery that sprawls between the two spaces itself. Another choice in the same manner: the fact that water features are built into Azteca's walls, complementing its views of the Brisbane River. Also key to the design and decor in the 126-seat venue: mosaic tiles, Aztec artwork and custom-made brass tables, as well as a secret private dining room featuring custom ceramics that's located behind a handcrafted wooden door. Latin America might influence Azteca's name and aesthetic, but its menu under Head Chef Zac Sykes (ex-Merivale and Rockpool groups) also takes cues from Asian cuisine. The listing of dishes dubs the restaurant's fare "a culinary bridge between two continents" — and this is the type of place where raw scallop tostadas with shiso powder, yellowfin tuna tacos with kimchi, chicken liver parfait and truffle churros, and kangaroo tartare with hot sauce are just some of the options. Other standout bites include Elgin Valley free-range chicken covered in dark chocolate mole sauce; pork chops paired with grilled pineapple and fermented jalapeño; wagyu short ribs featuring sake, mirin, soy and asian leaves; and pot-roasted South Australian lobster with chipotle. The dessert range starts with alfajores with dulce de leche, coconut, macadamia and tonka bean ice cream, then serves up popcorn cheesecake with salted caramel ice cream, liquid nitrogen tres leche with white chocolate mousse, and cinnamon tostones with pineapple jam and star anise plant cream. Banquets are also a feature, giving customers a choice between an $89 seven-dish spread, a nine-dish option for $129 and a ten-dish feast for $149 — each with wine pairings available for an extra cost. To sip in general, the 16-page beverage menu spotlights the São Paulo-born Brazilian cocktail caipirinha, which is made with sugarcane hard liquor cachaça — and gives patrons a choice between types of cachaça, and also flavour blends (think: pineapple sage, watermelon jalapeño, pomegranate hibiscus, lychee dragonfruit and vanilla passionfruit). Or, try an old fashioned crafted with banana rum and chocolate bitters from the 12-strong signature cocktail list; opt for a house-made zero-proof limonata for something booze-free; or peruse the beer, wine and spirits — including agave — picks. Find Azteca at Queen's Wharf, Level 4/33 William Street, Brisbane City — open from 12pm–late daily. Head to the restaurant's website for further details.
You can see Oprah, and you can see Oprah, and you can see Oprah: Oprah Winfrey has announced a December 2025 trip Down Under, bringing in-conversation events to five cities across Australia and New Zealand. If you're in Sydney, Melbourne, Brisbane, Adelaide and Auckland, you'll be able to see the famed talk-show host get chatting — in intimate sessions rather than on TV, where The Oprah Winfrey Show ran for 25 years. This is Winfrey's first jaunt this way in a decade — and that tour sold out, so expect this one to be popular as well. Authenticity and resilience will be among the topics of conversation, in what's designed to be a series of inspirational sessions. "One of the things I have always enjoyed is sitting down for real, honest, enlightening conversations, and this experience is all about that," said Winfrey, announcing the tour. "The energy, warmth and spirit I feel in Australia and New Zealand have stayed with me, and returning will be an opportunity to reconnect, reflect, and be reinspired — together. I look forward to sharing stories, ideas, and meaningful connection about what's possible in our lives moving forward." Added Paul Dainty of tour promoter DAINTY: "Oprah Winfrey is a cultural icon whose influence spans generations. Her ability to engage, uplift and empower audiences is unparalleled. We're honoured to bring this extraordinary event to Australia and New Zealand — it's not just a conversation, it's a moment that will resonate with people from all walks of life." The media figure, actor, author, producer and philanthropist's visit Down Under will kick off at the ICC Sydney Theatre, then head to Adelaide Entertainment Centre, Brisbane Entertainment Centre, Melbourne Convention and Exhibition Centre and Spark Arena. Oprah in Conversation Australia and New Zealand 2025 Dates Thursday, December 4 — ICC Sydney Theatre, Sydney Saturday, December 6 — Adelaide Entertainment Centre, Adelaide Monday, December 8 — Brisbane Entertainment Centre, Brisbane Thursday, December 11 — Plenary, Melbourne Convention and Exhibition Centre, Melbourne Sunday, December 14 — Spark Arena, Auckland Oprah Winfrey in Conversation is touring Australia and New Zealand in December 2025, with ticket presales from 10am on Wednesday, August 6 in New Zealand and from 10am on Friday, August 8 in Australia — and general ticket sales from Friday, August 8 in NZ and Tuesday, August 12 in Australia. Head to the tour website for more details. Top image: Disney/Eric McCandless.
When 2019 rolls to a close, more than 550 films will have screened in Australasian cinemas across the entire year. That's a huge amount of movies — enough to send you to your favourite picture palace almost twice a day. But unless watching films is your actual job, you probably don't have the time (or stamina, willpower or eagerness to basically live in a darkened room) to see anywhere near that many flicks. So, you prioritise. And, based on 2019's box office tallies, that means that most folks see all the big titles. This year, it seems that absolutely everyone caught a session of Avengers: Endgame, The Lion King, Captain Marvel, Joker and Aladdin. Plenty of cinemagoers spent some time with Once Upon a Time in Hollywood, John Wick: Chapter 3 — Parabellum, Yesterday and Alita: Battle Angel, too. Excellent movies such as Us and Hustlers also found a crowd. Terrible flicks like Men in Black: International and The Angry Birds Movie 2 did as well. And, although it actually first hit cinemas at the beginning of November 2018 (and ranked fourth in last year's box office), Bohemian Rhapsody still currently sits 15th in terms of ticket sales in 2019. While you were watching all of the above flicks (or watching Bohemian Rhapsody again, apparently), you might've missed some of 2019's smaller gems. They're the movies that weren't plastered all over billboards, didn't spend weeks and months on every screen around town, and you could've blinked and missed them. Thankfully, they all still exist — and we've compiled a rundown of the films that rank among the year's best, but you might not have seen. https://www.youtube.com/watch?v=QMs28A1s1OA BORDER Rarely has a movie felt as unique, engrossing and electrifying as Swedish film Border, the sophomore feature from Iranian-Danish writer/director Ali Abbasi. Based on a short story by Let the Right One In author John Ajvide Lindqvist, this constantly surprising horror- and fantasy-tinged drama sifts through the life of customs agent Tina (a phenomenal Eva Melander), who is especially suited to her job thanks to her special ability: due to a chromosome flaw, she can smell what people are feeling. When the mysterious Vore (Eero Milonoff) passes through her checkpoint, his scent sets her nostrils ablaze with curiousity. This isn't an unconventional meet-cute in a quirky rom-com, though. In a film that saunters into dark genre territory with a purpose, Border savvily draws on myth, sci-fi and body horror to explore societal limits, the concept of otherness and the search for identity that plagues us all. https://www.youtube.com/watch?v=nwJ5LDOl2Tc ACUTE MISFORTUNE If Adam Cullen had been any other artist and Erik Jensen any other journalist, Acute Misfortune may not exist. In 2008, the former invited the latter to stay with him, see him at his best and worst, and channel his life story into a biography — and, as dramatised by actor-turned-filmmaker Thomas M. Wright, the results are blistering. Just as Jensen didn't shy away from Cullen's erratic, frequently controversial nature, nor does this stunning drama, which could never be accused of being a straightforward biopic of the Archibald-winning painter. Aided by stellar performances by Daniel Henshall as Cullen and Toby Wallace as Jensen, as well as a script by co-written by the real-life Jensen, this is a warts-and-all portrait that lays bare not only its subject, but Australia's fascination with festering masculinity, and it's a lively and compelling watch from start to finish. https://www.youtube.com/watch?v=1VTFLvLtdYw SKATE KITCHEN Crystal Moselle's first and second films shouldn't share as much in common as they do. With documentary The Wolfpack, the American filmmaker stepped inside a Manhattan apartment inhabited by a homeschooled family, who learned about the wider world by watching and re-enacting movies. With the fictional Skate Kitchen, she glides across New York's streets with the titular all-female skate crew — and it still feels like she's entering a rarely seen realm. That's partly this equally expressive and naturalistic drama's point, as it conveys through the story of 18-year-old Camille (Rachelle Vinberg), a Long Island teen who finds the part of herself she's been missing when she joins Skate Kitchen. A flame-haired Jaden Smith also pops up as one of the boys in the crew's orbit, but this film belongs to its fantastic real-life skater cast, and to the fiercely female perspective it champions. Read our full review. https://www.youtube.com/watch?v=amB2Ol6wihg HAIL SATAN? Hail Satan? isn't trying to recruit new members to the Satanic Temple, but that might happen anyway. Exploring satanism beyond the usual horror movie trappings, filmmaker Penny Lane crafts engaging and amusing documentary about a controversial group endeavouring to subvert the societal status quo in a broader sense. Yes, goat horns, fetish outfits and heavy metal all feature, but this is primarily a chronicle of concerned citizens speaking out against the the current political climate. They're fighting for true freedom of belief, which doesn't just mean enshrining discriminatory and oppressive conservative Christian values — a topic of particular relevance in Australia at present. They're also battling religious-motivated hate, championing equality and rallying against injustice in general, like any other social activist group. As seen in this sympathetic but illuminating film, that's the kind of satanic panic that many could get onboard with. Read our full review. https://www.youtube.com/watch?v=XTh4uTFWPeg THE THIRD WIFE For her impressive directorial debut, Vietnamese-born filmmaker Ash Mayfair delves into her ancestry. The story: the arranged marriage of a 14-year-old girl to an already twice-wed wealthy landowner, with the late-19th century-set tale drawing its details from Mayfair's own family history. In rural Vietnam, and in the life and experiences of May (Nguyen Phuong Tra My), The Third Wife unpacks the minutiae of a patriarchal system that treats women like property — all as its protagonist is told she must bear her husband a son, and strives to find what little contentment she can in her new life. Favouring lush imagery over dialogue, this is a moving and ravishing film not only aesthetically, but in the simmering emotions clearly felt by May and the other languishing ladies around her. https://www.youtube.com/watch?v=TslErMXUBp4 HAPPY AS LAZZARO At first, Happy As Lazzaro seems straightforward — venturing to a traditional Italian estate, following the interplay between its tobacco farm workers and the arrogant aristocracy who decide their fates, and doing so in both a poetic and naturalistic manner. The film's eponymous figure, the kindly and caring Lazzaro (Adriano Tardiolo), stands out from his agitated rural brethren by virtue of his good-natured demeanour; however writer/director Alice Rohrwacher appears content to watch him navigate the sometimes ordinary, sometimes exaggerated struggles of feudal life. Then, in a twist that needs to be seen to be believed, this Cannes Best Screenplay winner changes. Making a connection with modern-day life, the wry film cements its status as a parable. Equally surreal and astute, the end product is one of the most distinctive films of this and many other years. https://www.youtube.com/watch?v=Zch4VPKGBwU ISLAND OF THE HUNGRY GHOSTS Despite its festive name, Christmas Island has been splashed across Australia's news headlines for all the wrong reasons. For much of the 21st century, it has been one of the places where those fleeing hostilities and seeking asylum have been housed — amid protests, controversies, closures and, this year, the re-opening of its Immigration Reception and Processing Centre. In a potent, haunting blend of fact and recreation that proves far more effective than a straightforward documentary, Australian filmmaker Gabrielle Brady ponders the impact of the site and its purpose on those who call it home. Trauma counsellor Poh Lin Lee draws the film's focus, with her discussions with detained refugees, her daily life, her family, the island's migrating crabs and its history all playing a part in this compassionate, deservedly acclaimed movie. https://www.youtube.com/watch?v=mwgUesU1pz4 UNDER THE SILVER LAKE After working horror fans into a frenzy with It Follows, David Robert Mitchell opted for a neo-noir black comedy for his next film. A thematic companion piece to similarly sprawling, spiralling, slacker-focused California-set fare such as Inherent Vice and The Big Lebowski, Under the Silver Lake hones in on aimless 33-year-old Sam (Andrew Garfield), who stumbles upon several mysteries. Murdered pets, his alluring new neighbour (Riley Keough), a missing billionaire and an underground zine series about local neighbourhood legends all rate a mention in this deliriously labyrinthine movie, as do Hollywood history and ominous conspiracies. Mitchell's technical game is pitch-perfect, as evidenced in both the film's vibrant images and intoxicating score, with every element inviting audiences along for a wild and rewarding ride. https://www.youtube.com/watch?v=xLIQABWm2mg FINKE: THERE AND BACK The past few years have been memorable for Dylan River. The Alice Springs filmmaker directed Robbie Hood, the delightful SBS web series; was the cinematographer on rousing Adam Goodes documentary The Australian Dream; and worked as the second unit director on Sweet Country, which was helmed by his father Warwick Thornton. He also wrote, directed and shot Finke: There and Back. While the iconic Finke Desert Race is the kind of event that you're either into or you're not — it's a rough, tough, two-day off-terrain trek through central Australia's dust and dirt via motorbike and car, and it's been known to cause casualties — this insightful documentary is for everyone. Through intimate interviews and striking on-the-ground footage, River follows the competitors before and during the race, telling their tales while exploring a difficult feat from the inside. https://www.youtube.com/watch?v=322NzXR3n4o LORDS OF CHAOS According to Euronymous (Rory Culkin), Norway is known for "seal clubbing and a very high suicide rate". If that sounds far from cheery, then this simultaneously dramatic and comic true crime tale won't be for you. Fictionalising a spate of murders and church burnings in the early 90s, Lords of Chaos spends time with the bleak-minded guitarist and his bandmates as they scream and thrash their way through the Norwegian black metal scene, shaping its early days as they go along. History dictates that this is an incredibly dark story, and director Jonas Åkerlund — an ex-Swedish black metal rocker himself — doesn't shy away from its violence. That said, he firmly recognises that he's following wannabe rebels looking for any cause they can find. Åkerlund also made the abysmal straight-to-Netflix John Wick clone Polar, but with Lords of Chaos, he tackles a grim story with both brutal style and weight.
When it came to naming Range Brewing's latest beer-drinking venue, inspiration arrived from an easy source. As its moniker makes plain, Patio is all about enjoying a drink while sitting out on its namesake. And to help, it comes complete with a leafy, sunny beer garden that makes the most of Brisbane's usually warm weather. Range's latest venture has settled into the Rosalie space that Moga Izakaya & Sushi previously called home, giving it a revamp and leaning on Aussie pub vibes. On Baroona Road in the former suburb-turned-Paddington locality, the neighbourhood craft beer, wine and cocktail bar has turned an eye-catching brick building into an Aussie pub-influenced watering hole. And yes, to make the most of the weather, the focus is on al fresco experiences — including in that beer garden, which also features a fairy light-lit tree in the middle of the courtyard. Thanks to Myers Ellyett Architects, patrons will find both a layout and fitout that pays tribute to the corner bar and the front bar of old pubs, with Melbourne drinking spots an influence. Inside, the venue features the bar, cosy booths and window tables, plus burgundy hues and dark oak amid the rustic brick. The mood: warm, welcoming and relaxed, a feeling that is designed to fill the whole place. Range's beers pour through the ten beer taps, naturally, with the lineup set to rotate. Upon launch, brews include Jam Mixed Berry double-fruited sour ale, the chocolate- and coffee-heavy Early Morning Ritual pastry stout, and the peaches-and-cream esque Name of the Game oat cream IPA. Two other taps are devoted to wines that the Range team has made with LATTA Vino, too, while cocktail highlights span Patio's own take on the old fashioned, a mandarin spritz and the Red Rosalie, which is made on spearmint-infused vodka and strawberry and rose syrup. And, after launching Jacopo's Pizzeria in Newstead, Patio slings its Roman-style sourdough slices, snacks and sweets. Seven types of pizza are on the menu, plus gildas, radish sardine toast, cheese and meat boards, and the Patio sub with beef and 'nduja meatballs. Down the line, there's plans to broaden the culinary range with a focus on fresh Italian options.
"The thing about acting is that you're not on every day. It's not go, go, go. You get a lot of time off, especially because my very favourite thing to do is to play supporting roles. So I'm not in there every single day. I get a lot of downtime." If you've ever wondered how Rachel House manages to pop up in nearly every film and TV show out of New Zealand, and sometimes from Australia as well, that's her secret: she's spent more than a quarter of a century on-screen, including 22 years since Whale Rider marked her first movie credit, and she loves her supporting niche. House's resume as a performer has been exploding since the 2010s, but the 18 months since the beginning of 2023 have been particularly busy. Audiences have seen the Auckland-born talent in Creamerie, Bay of Fires, Foundation, Our Flag Means Death and Heartbreak High on TV and streaming. They've heard her voice echoing from Koala Man, What If…?, Pinecone & Pony and 100% Wolf: Book of Hath, too. The cinema side of her acting resume also hasn't been neglected thanks to The Portable Door, Next Goal Wins, The Moon Is Upside Down and Godzilla x Kong: The New Empire. But it's The Mountain, her debut feature as a director, that defines the past couple of years for House. "It felt like a really big year last year because it was all about The Mountain, to be honest," House also tells Concrete Playground. "When all these things come out and you go 'oh, wow, did Rachel have a break?' — yes, I had many breaks. But last year I didn't. Last year was all about The Mountain. The pre-pre-production was the year before, going all the way through Christmas. And then pre-production and then production, and then post-production. It just went on and on and on, and it was good, hard, solid work. And somewhere in there I got to do a few weeks here and there doing some acting." Although The Mountain is House's initial stint behind the lens of a full-length movie, she has helming 2010 short The Winter Boy to draw on, alongside a wealth of experience on film sets. The latter has spanned not only notching up more and more supporting parts, but also working as an acting coach on projects by compatriots Jane Campion and Taika Waititi. For the first of the two Oscar-winners, she loaned her skills beyond the camera to the second season of Top of the Lake and The Power of the Dog. For the second, she built upon her appearances in Waititi's Eagle vs Shark, Boy, Hunt for the Wilderpeople, Thor: Ragnarok and Next Goal Wins. Combine decades carving out a screen career as an actor — something that House was actually told she'd never have, she explains — with helping guide performances out of other thespians, including kids, and the scene was always going to be set for an impressive first run as a feature director. With Taranaki Maunga on Aotearoa's North Island as its namesake, The Mountain tells of three children on a journey. In hospital undergoing treatment for cancer, Sam (newcomer Elizabeth Atkinson) hasn't grown up with her Māori heritage, but feels connected to it through the landmass that she's determined to climb: her mountain. Conversely, with ample time on his hands thanks to his busy dad, Bronco (fellow first-timer Terrence Daniel) considers himself a guardian of his culture. Mallory (Reuben Francis, another debutant) is the new kid initially tagging along, but appreciating more than just the chance to make friends along the way. Following its date with NZ's big screens in March, The Mountain enjoyed its Australian premiere during 2024's Sydney Film Festival, then hit Aussie cinemas in general release at the end of June. When House was showing her film to Sydney's audiences — "we got a really big crowd, and not only a big crowd, but a really receptive crowd who all really wanted to be there. So we were very, very grateful, and it was a lovely feeling in in the theatre," she shares — we spoke with her about it. Always wanting to direct a movie, what appealed about Tom Furniss' (7 Days) original script and how she reworked it, making the kind of picture out of New Zealand that she's always wanted to see, scaling mountains in multiple ways, giving Taranaki Maunga credit as a character and producer, learning from her past directors: House chatted us through all of the above and more. On Directing a Movie Always Being the Dream Back When House First Started Acting "Yes, yes — but I think it's interesting getting older. You do want to really pursue your dreams, and you want challenge yourself and all this. But, I suppose I feel — it's not less ambitious, but if I didn't direct a feature film, I would have been okay about it. I love storytelling, but I think it's because I'm in the the storytelling industry, and so I just feel very grateful to continue to tell stories in whatever way that means. I made a short film ages ago and it was a script given to me, and it was a really great lesson — because although I really loved the script and loved making the short film, it wasn't my a story that I was really connected to. And I think that was the lesson. So I've actually been sent scripts for maybe over ten years now to consider to direct, feature film scripts, and nothing appealed to me, nothing resonated to me in the same way that this this film did." On House's Initial Response to The Mountain's Original Script "Three young kids on a mission, and the possibility of the magic of that. I keep saying it but this was a real gift, actually, because the mountain, Tom [Furniss, the original screenwriter] hadn't named the mountain for whatever reason. I think his reasoning was he understands the process of filmmaking and didn't want anyone to feel locked into a location. But for me to read it, it was like 'but where are we? Where is the mountain?'. You name your mountain — you name the mountain because the mountain is going to be part of that story. It's really important. So it was a wonderful gift. And I got to talk about our Māori worldview because of being able to rework it." On the Starting Point When House Started Tinkering with the Story "To share with our country, in particular, the strength and beauty of our Indigenous knowledge. That was my intention. And to have a conversation with our country about how we see our mountains and how they shape and form us, and how they should be revered and protected." On Making the Kind of Movie That House Has Always Wanted to See Come Out of New Zealand "100%. And I think, as well, I'd love to inspire an Indigenous conversation all over the world. Mountains here in this country [Australia] all are all named and they all have beautiful, resonant, incredible stories. So let's start that conversation, let's share that Indigenous knowledge, because it's everywhere." On the Film Taking Audiences on a Journey of Finding Identity and Belonging — and Healing — in a Number of Ways "In Tom's original script, it was about three little boys and they wanted to conquer a mountain. I think that's something that seems to be so important universally, conquering — and it's gotten us all in a lot of trouble, conquering. So I wanted to really share with everybody the possibility of wanting to connect rather than conquer. It was all tied up in Sam not being raised in her culture but understanding that she was from that culture and, in the best way that she knew possible — which is Google, looking information up — she had this very, very strong belief that, even though she didn't have any evidence, that this mountain was one she belonged to. I wanted to show Bronco being from the absolute polar opposite, someone who was completely strong in in the world of Māori and really understood Sam's plight. Then I wanted to really embrace Mallory, who not only didn't understand it, but didn't believe it. I just wanted to somehow make that conversation between these three beautiful kids, and share it." On Climbing Not Only Literal But Internal Mountains in the Movie's Narrative "I was talking to somebody the other day and she described it as 'three kids who run away for different reasons but are all brought together by the power of Taranaki Maunga'. They've all got pretty clear mountainous arcs, so that was a definite intention. I suppose what I love — and maybe I would love it, I would say this — but I do love that it's Mallory who understands what's going on, that the mountain is saying 'go away. This is not good for you. This is too dangerous. I'm going to cover you in cloud. You've remembered the story of the two friends who stopped Taranaki from going into the sea and having an unhappy end.' So I love that it's Mallory who understands that it's the mountain communicating with them, and he's the one who says 'stop, we've got to stop'." On Crediting Taranaki Maunga as a Character and a Producer to Pay Tribute to Its Importance "Me and the producers and the team, we're quite a diverse bunch, the ones who make the decisions — and it just wasn't even a doubt. I don't think anyone thought that we wouldn't credit the mountain in the way that we've created the mountain. We also have made the mountain one of the producers as well, so if this film does well and we miraculously make some money, some of that money will go to the mountain, and the wellbeing and upkeep of our mountain. Otherwise, why would we make this film if we didn't believe it? But I will say that I'm so proud of our team, who, as I say, are very diverse — and it just wasn't even much of a conversation, it was just a decision that was made very easily." [caption id="attachment_965113" align="alignnone" width="1917"] Lisa Tomasetti, Netflix[/caption] On What House Makes of Her Career So Far Both On-Screen and Behind the Camera "I will say that back in the day, I'm really glad I didn't listen to some of the people who told me I couldn't do stuff, that I wouldn't be on screen. When I was at drama school, I was told I probably wouldn't do any screen work because of the way I looked. I was told by a director that directing was probably a bit beyond me. There is a kind of tall-poppy thing that we have, I think particularly with women. There is a fear of women taking up space and shining. I am of that generation that had all those beliefs — or disbeliefs, I suppose, is a better way of describing it. So I feel like my age group and up — women, I'm just talking about — I feel like we're late bloomers because of the conditioning that we had when we were younger, particularly in our country. So I suppose it's taking me a long time to enjoy it and not feel so overwhelmed by gratitude, that it puts me in a sort of constant thank you, scarcity sort of vibe. I guess I feel good about it, but I don't feel up myself about it. I just feel grateful and empowered that I didn't listen to any of those voices." On How Working with Other Filmmakers Across House's Career, Including as an Acting Coach, Helped Prepare Her for Directing Her First Feature "I've told the story a couple of times now, but I think it's a really fantastic story for anyone who's going to be working with kids, and in fact adults, all actors. Something that I learned working on Whale Rider — there's an iconic moment in Whale Rider where Keisha Castle-Hughes gets up on stage and and does this extraordinary speech to Koro, her granddad. And I was in that scene, I got to sit there in the audience and watch her over and over — and watching Niki [Caro, Whale Rider's director] and the way that Niki was going through exactly what Keisha was going through. I don't think Keisha ever felt alone. I feel like as a director, you've got to go through it with your actors emotionally. It's something that I definitely witnessed between those two. I'd see them in-between and they'd be talking, they'd be really close and talking to each other, and Niki would be crying and Keisha would be crying — and it was extraordinary to watch. And you could see that Keisha didn't feel alone. And I've seen that with Jane [Campion], with adult actors as well, actually. I just feel like she goes through it with her actors. So that was an extraordinary learning. With Taika [Waititi], he really creates a lot of fun on set, and that's incredibly important, too. I mean, you can have fun and when you need to have focus, you have focus. I feel like that's how we went about things as we were shooting The Mountain. Although, I do have to say, we were in such incredible and sometimes difficult terrain on the daily — and because we're an independent New Zealand film, we were on the move, man. So we had to go into these incredible places that took quite a lot to get there, and then we had to get out in three hours. But it was a wonderful family dynamic that we had. And that's something that I've learned throughout my whole career: the importance of family in regards to the people that you're working with." The Mountain opened in Australian cinemas on Thursday, June 27, 2024 and in New Zealand cinemas on Thursday, March 28, 2024.
Beau was afraid. In Ari Aster's third feature — another excellent and unforgettable film after Hereditary and Midsommar — Beau was anxious and unsettled and agitated and knocked off-kilter, too. Sheriff Joe Cross is all of these things also, with Joaquin Phoenix (Joker: Folie à Deux) again taking on a key role for a writer/director responsible for some of the best movies, and viewing experiences, of the 21st century. Along with the filmmaker's initial two pictures, Beau Is Afraid earns that description, as does Eddington, Aster and Phoenix's mid-2020-set, COVID-era-probing, brilliant and chilling and equally very amusing latest collaboration. Its focus: a small New Mexico spot struggling when normality as everyone knew it just months prior has vanished and seems as if it might never return. The Sevilla County official at Eddington's centre is as much a man interrupted, as his community is — but the Cross way of coping is to flout and defy anything that doesn't match his preferred status quo. His dislike of incumbent Mayor Ted Garcia's (Pedro Pascal, The Fantastic Four: First Steps) way of handling the pandemic, aka respecting social-distancing restrictions and mask mandates, inspires the Sheriff to take action, entering the race to lead the town (population: 2345) himself. Eddington is a western, as well as being an unnerving thriller and a hilarious dark comedy; Aster has Cross and Garcia headed for showdowns and standoffs more than once. With a Best Actor Oscar for Joker to prove it, Phoenix has been enjoying a recent stint of playing characters who are fixated, obsessed, unyieldingly determined and driven to act of late — since before the outstanding You Were Never Really Here, but that's firmly a recent example prior to his time as Arthur Fleck and now Joe Cross. He hasn't necessarily noticed that trend, he tells Concrete Playground, or recognised that anything particularly draws him in that direction. "I've never thought of it that way, but you say that and I go 'I don't even know what the last two movies I made are'," Phoenix advises. "But maybe you're right. I don't know why. I think I'm always just — it is an instinct. I either react to something that I'm reading it or I don't. And I don't really analyse why." Eddington is easy to spot trends and parallels in and around. Given that it peers into very recent history, to a period forever seared and scarred into memories — and has the era's paranoia and polarisation in its sights, spotting how neither have subsided since — that's by design. Another piece of mirroring comes via Aster's filmography. Chatting with Concrete Playground in 2018 when Hereditary released, he described his debut as "a family tragedy that curdles into a nightmare". Grief over a mother and grandmother begets worse in the feature that won Toni Collette (Mickey 17) a deserved Best Actress Gotham Award — in a movie, too, that cemented itself as an instant horror great. That "curdling into a nightmare" idea resides in each of his features, Eddington included. "I think that could be one way of describing this film," Aster tells us. "I would say that this is a film about a bunch of people who are all very paranoid, and who have very clear but kind of oppositional ideas of what is happening. And everybody's picture of the world is pretty sinister. Then, by the end of the film, the film itself becomes gripped by this paranoia — and so the movie too becomes paranoid." He continues: "and in that way, the film goes off the rails in a way that I like. It's got a long, sustained climax, which I like, especially in a genre film. It's easy to make this film, in an interview like this, sound like eating your vegetables — but it's supposed to be fun, even though what it's talking about is no laughing matter. But the film is about the circus of America, and the tilt-a-whirl goes faster and faster until the teacups start flying off." Cross' blatant and inescapable acrimony for Garcia, Joe's depressed wife Louise (Emma Stone, Kinds of Kindness) embracing online conspiracy theorists and becoming particularly enthralled by the charismatic Vernon Jefferson Peak (Austin Butler, The Bikeriders), local teens staging Black Lives Matter rallies to share their anger over the death of George Floyd, tech company SolidGoldMagikarp's plans to build a data centre on Eddington's outskirts, doomscrolling feeding the pervasive sense of distance between townsfolk: these all help that rotating ride spin. As the whirring of conflicting attitudes and opinions that's unbalancing its setting gains speed, Aster's film digs into America's contradictions, patently, as well as conservative-versus-liberal clashes. Internet hokum's easy spread, our immensely tech-reliant lives and AI earn attention; giving up power to the powerful without realising it, too. Anti-fascist activism, performative bandwagon-jumping, ignoring health-protection rules when folks are dying, not knowing how to cope with this chaos: they're also among the swirl. Aster doesn't see it as a horror movie; however, Eddington is as perceptive a portrait of 2020 and the times since as had reached screens so far, and as disquieting yet clear-eyed. The path to the feature started with an old idea predating the pandemic, which also came up while talking to the director, as did piecing the narrative together, living in a world where no one agrees on what's true anymore, reteaming with Phoenix and more — alongside chatting with Phoenix about that repeat collaboration and reuniting with filmmakers of late, interrogating fear and anxiety with Aster, what he recognised in the script, and bringing humanity and humour to Cross. On How Aster Following His Instincts in the Early Days of the Pandemic, and Picking Up an Old New Mexico-Set Idea, Lead to Eddington Ari: "Well, I feel like we're living in a very, very weird time. And the human capacity for adaptation is amazing, and everything becomes normal very quickly, and things that might be obvious become less so once they become ambient. And I just found that I wanted to pull back as far as I could, and try to describe this new reality that we're living in as well as I could — which is that everybody is living in a different version of reality, and we totally distrust anybody and anything that falls outside of our little bubble of certainty. And we've become unreachable to each other. So I wanted to make a film about that. And I'm from New Mexico — and that's really what the project was that had already been there waiting for me, which is that I have just been wanting to make my New Mexico movie. And I wanted to make a western. And it felt like the right framework for this." On Whether Returning Collaborations with Directors, Such as Ari Aster Here, Todd Phillips on Joker: Folie à Deux and Ridley Scott on Napoleon, Help Phoenix Challenge and Extend Himself as an Actor Joaquin: "I think that's what you would hope for, right, because it's almost like a long relationship, just the value of growing with somebody and changing — and somebody that learns to read you better after time. We all put our best foot forward when we first meet people and are working with them, and I think after some time we start really showing ourselves and there's real value in mining that. With Ari, it's weird, because I had one of those experiences where when I first met him, when I first just talked to him on the phone, I instantly knew that he was — I don't know, a friend just doesn't even sound like it's enough. I just knew that we were going to be working together closely, and I knew that he was somebody that I loved the way that he talked. And I understood him, like I felt like I really understood. And I think he understood me. And so there's real value in that — and I hope, I think, that he did and does challenge me in ways that are really beneficial to me and helpful." On When Aster Realised That He Wanted to Reteam with Phoenix on Eddington Ari: "After working with Joaquin on Beau Is Afraid, I really wanted to work with him again. Before Beau, he was one of my favourite actors and somebody that I very seriously wanted to work with. But when I was writing Eddington, at least the first pass of it, I hadn't worked with Joaquin yet, didn't know him yet, and so I didn't really have anybody in mind. But after we shot Beau, then I rewrote Eddington and spent a lot of time in New Mexico, travelling around, going to different small towns and meeting different people, public officials, Sheriffs of different counties, police chiefs, Mayors — went to different pueblos — and tried to get as broad a picture of the political climate of New Mexico as possible. And then once I had incorporated all of that and I had a script, it was clear to me that I wanted to at least try Joaquin again and see if he was interested. And happily he was, and I really think he does something really special with this character, Joe Cross, the sheriff of Eddington — or the sheriff of Sevilla County. Eddington is a town in Sevilla County. These are made-up places. But I think what he does here is really wonderful. He brings so much humour and humanity to this character. And I think part of the trick of the film — or I don't know if it's a trick, or if it's just something that is important to the film working — is that you have to kind of like this guy, whether you have his politics or not. There's something winning about him. And then, of course, as the film goes on that should get more complicated — our relationship to him should change." On Whether There's Something Unique to Digging Into Fear and Anxiety with Aster Joaquin: "I don't think he's exploring these traits because they're good for a character, for a movie, but it feels like it's a genuine curiosity for him. And maybe it's part of his experience, or maybe it's the experience of people that he knows. I don't know why he has that curiosity — or I don't know if it's an obsession — but definitely it's a curiosity to explore those feelings, and I don't know where it comes from. I've never asked him 'is that your personal experience, or ... ?'. I think oftentimes writers obviously observe things in others and become fascinated by it. So there's definitely a real drive and curiosity. And so I think when you're — there's not a standard way of playing that for Ari, right? It always has to be something very detailed and specific. And I'm struggling with trying to come up with an example, probably because there's so many and they're all running together. But I wish we could come up with an example of a scene. Like even in the scene where I'm — it's such a brief moment, you may not even remember — but I go back to the police station and somebody that was in the police station that was locked up is no longer there. It was really this very quick scene that's in the midst of the most-manic moment. And it was a long process for us that went throughout the day, as we discussed all the possibilities of what would be going through the character's mind and then how that is translated to somebody else as he speaks or whatever actions he takes. And so I think with Ari, it always feels that we are trying to find something that feels very specific and unique to that character in that moment — versus a blanket approach to anxiety or fear." On the Crucial Elements to Create a Film About Living in a World Where No One Can Agree on What's Real Anymore Ari: "For me, the most-important thing was to pull back as far as I could, because what I wanted to talk about was the environment, right — and I feel like we've become so atomised, and things have become so complicated and so intensely partisan, that it felt very important to move back and just try to get a picture of the landscape. And to see just how many of those particles were floating around not actually meeting each other. And then it's a genre film, and so it's built on conflict. And so the question then became 'well, what happens when these atoms start bumping up against each other? What comes out of that?'. And the answer is almost always violence, because there's nothing in the ether to hold anybody together anymore. And so that was, I guess, the challenge, but also the thing that felt necessary." On Phoenix Seeing Himself and Reality in Eddington When Aster First Sent the Script His Way Joaquin: "My first reaction was 'I recognise so much of myself and my family and my friends and my neighbours in all of these characters, and that makes me uncomfortable at times. But I'm laughing and I can't stop laughing'. That was my first reaction. And then I think I was like 'oh yeah, it's us'. And as ridiculous as we were, we were scared. Like, everyone was scared. Whether they should have been scared or whether we overreacted, it doesn't really matter. In that moment, it was kind of like waking up from a nightmare and they're like 'yeah, in the moment, it really felt like that monster was going to get me and I was scared. And all the things I did in that that moment, it was just how I reacted. I couldn't help it.' And I think in some ways, it made me just have a lot of forgiveness and understanding for how we behaved." On Putting the Pieces of Eddington Together — Including the Societal Landscape, America and Western Society's Pervasive Polarisation, and COVID-19 — in a Western-Meets-Thriller That's Also Darkly Humorous Ari: "First of all, the film is set in 2020. It's a period piece, set in June 2020, and so it helps to have something as specific as that, right, because then you're asking 'okay, what is happening right now? Who are the players here?'. And of course, I would have liked to have included far more characters, but I jammed as many people as I could into the film without sacrificing coherence or narrative clarity. But it all felt pretty intuitive that we begin with the arguments of the day, the most popular ones, which had a lot to do with masking and personal freedom versus public safety and health. And from there, things start unraveling and spinning out. And then you have these more fringe figures coming in. And I think what's interesting about this moment, even right now in 2025, is that this counterculture had been building up in America for a long time that the prevailing culture at the moment wasn't aware of. And that counterculture meanwhile was being fed and agitated, and was growing. And now that counterculture has kind of taken over. And it's all become very, very distorted and strange. It's so interesting that the right kind of adopted the language of 1960s–70s radicalism. Everything has become — I want to use the word farcical, but none of this is any laughing matter. It's feels pretty catastrophic, what's happening. And it's also why the western felt right, because it is about the building of America and forging new societies. And it feels like right now we're living through the collapse of something — we're on the cusp of something, something new. And I think everybody's feeling it and there's a lot of anxiety and a lot of fear. And for some people, a lot of excitement. I wrote this film in a state of anxiety and fear." On Whether Trying to Convey the Humanity of Joe and Also Bringing Humour to the Part Helped in Stepping Into His Shoes Joaquin: "Nothing ever feels easy. You just feel that — yeah, it doesn't feel easy, but it seemed like very much from the beginning, I could not create any separation between me and Joe. Like, that if I at any point stood above him in judgment, I would lose it, I would lose him. And so it just felt important to humanise him as much as possible. I wanted to surprise anybody that might have a preconceived idea of what conservative Sheriff in a small town might be like, and so that definitely felt like my directive. But what helped me, probably most of all, was meeting with real Sheriffs. Ari and I went on a trip together in New Mexico and spent some time, and there were a few people that I met that I really connected with that seemed like great examples of who Joe could be. So it felt to me that as much as there's something very humorous and absurd about so much of this film, I wanted to make sure that Joe was really grounded and that he was recognisable to people that actually know a Sheriff like Joe." On Whether Aster Considers Eddington to Be a Horror Film — and What's at the Heart of the Film That Scares Him, Be It Humanity's Embrace of Existential Risks, Including Not Just Health But Also AI, or Stopping Questioning the Powerful Ari: "No, I don't consider it a horror film. No. But, I do think it's talking about something that scares me. There's a lot that scares me. I'm scared that the people who are leading us don't seem to believe in the future. You mentioned AI, and I would say if you asked me to say in one sentence what this film was about, I might tell you it's about a data centre being built. And that's happening on the periphery of the film, but it's really pretty central. And all these stories are really just data for this giant wooden wheel — to churn into what? What is coming? The film is about people navigating a crisis, but all the while, there's this other crisis that's incubating in a lab over here. And who knows, the utopian dream of what this thing could bring might be true. It might come to pass. But we really don't know what's coming. And yeah, I think that what's happening all over the world — and it's happening in the United States, but it's happening everywhere — it's something that's already happened to us, which is that we've been fortressed off. And I think that's very scary that we're completely unable to reach each other, and we're living out an experiment that has already failed badly. And it doesn't seem like anybody at the levers has any interest in slowing this thing down. It feels like, on the contrary, it's only accelerating." Eddington released in cinemas Down Under on Thursday, August 21, 2025.
There are plenty of ways to pretend that it's the 80s, you live in Hawkins, Indiana and vanquishing a demogorgon is your life's mission. Listening solely to eerie synth tunes, devouring pop culture from the era, playing Dungeons & Dragons — they all fit, and so does binging Stranger Things, of course. But for one morning only, if you happen to be in the vicinity of Bondi Beach, you can go a step further. Always wanted to have an encounter with the Upside Down (well, since 2016, when the hit Netflix series first appeared)? Until 12pm today, Friday, May 27 — aka right now — you can. An IRL Upside Down rift (not to be confused with a Fast and Furious drift) has taken over the famed stretch of sand in front of the skate park, but only for a few hours. Of course, when we say real, we all know that it's a Netflix promotional stunt and not really an opening to a terrifying, monster-filled alternate dimension — but hey, if you've been counting down the years between Stranger Things' third and fourth seasons, you'll be happy to go along with it. Glowing red in its centre — naturally — and filled with branch-like vines that stick out from that luminous void, this rift isn't small. It measures 20 metres by 16 metres in size, in fact. So, again, if you're in the area, you really can't miss it. And if you're a Sydneysider who now wants to take a detour to work, or a mid-morning trip, that's understandable. If you follow the Netflix Australia and New Zealand Twitter account, you might've already made the journey — yesterday, on Thursday, May 26, it teased that something spooky was coming between 7am–12pm today, complete with coordinates (written upside down, of course). That means you may have already seen the scientists patrolling the area in hazmat suits, too, and lifeguards setting up a perimeter. The reason for the Upside Down arriving Down Under: the return of Stranger Things after a three-year gap, with the first seven episodes in the show's fourth and penultimate season hitting Netflix today, at 5pm AEST, as well. Bondi is one of 15 sites in 14 countries getting a taste of the Upside Down — alongside the Empire State Building in New York City, Duomo Square in Milan, Malecon Barranquilla in Colombia, the Gateway of India in Mumbai, Menara Kuala Lumpur in Malaysia, Al-'Ula National Monument in Saudi Arabia, Cologne Media Park in Germany, XBox Plaza in Downtown Los Angeles, Wawel Castle in Krakow, Medborgarplatsen in Stockholm, the Guggenheim Museum, Bilbao; and the Telefónica building and Plaza del Callao in Madrid. London and Tokyo are also on the list. It's been a big few years for pop culture-themed pop-ups in Australia, with the Upside Down following in Borat, Nicole Kidman, Homer Simpson and the creepy Red Light, Green Light doll from Squid Game 's footsteps in Sydney. Homer Simpson's huge head made its way to Queensland, too, while Melbourne scored an Everything Everywhere All At Once-style multidimensional laundromat and a massive Timothée Chalamet mural to promote Dune. Find the Stranger Things Upside Down rift at Bondi Beach until 12pm on Friday, May 27. You can also watch the first seven episodes of Stranger Things season four via Netflix from 5pm AEST on Friday, May 27 — and read our full review. Images: courtesy of Netflix and Aquabumps.
If clothes make the man, the beard defines the attitude. Whether it's a sharp stubble, a neat fade or a bold statement moustache, the right grooming routine can elevate your whole look. That's where the Philips OneBlade 360 comes in. This all-in-one tool is built to trim, edge and shave any length of hair with precision and ease, thanks to a flexible 360-degree blade that follows the contours of your face, a five-in-one adjustable comb and a fast-moving cutter that can deal with hair of any length. To show what it can do, we've teamed up with Joe Kurdyla from Melbourne barbershop Kings Domain to walk us through four trending facial hair styles that you can nail at home with the Philips OneBlade 360. Short stubble Effortless and universally flattering, a tidy five o'clock shadow is an easy way to look put-together without appearing as though you've tried too hard. Keep it sharp by using the adjustable guard to maintain your preferred length, and let the 360-degree blade do the heavy lifting. Neat beard A short-to-medium beard with faded sides and defined edges is a low-maintenance way to enhance your face shape and jawline while still looking professional. No fuzz, no fuss. The OneBlade's precision trimmer lets you clean up the neckline and cheeks in seconds, keeping things fresh between barber visits. Full beard Bold, rugged and full of character, a full-length beard is a surefire way to make a statement. Use the OneBlade to shape and edge around the beard, especially around the cheeks and neckline, so it stays strong rather than scruffy. Retro moustache Throwback alert: whether you're going for the retro Tom Selleck look or prefer a neater, cleaner look (think: Nathan Cleary), the OneBlade's dual-sided blade helps you define edges with total control. Ditch the guard, tidy the stubble around your mo and let the whiskers take centre stage. For more information on the Philips OneBlade 360, head to the brand's website.
That age-old act of verbalising frustration, anger or in some instances passion, in the form of a swear word is generally seen as a crass act. But artist Theo Olesen has turned this everyday language into illustrations that prove even the most profane words can be beautified with good design. When Olesen was in kindergarten learning four-letter words, he recalls suggesting 'fuck' as a four-letter word beginning with 'F'. Since then, his fascination with profanity has evolved into finely illustrated graphics that he posts on his online blog, Beautiful Swear Words. Barely two months old, his blog has already attracted over 2,000 followers. Not bad for a 17-year-old who cites "fun" as his motivation for illustrating profanities. Olesen updates his blog daily with hand drawn illustrations of swear words ranging from 'boobs' to 'gonads' and has begun making his illustrations available for purchase on t-shirts. Why say it when you can wear it?
Plan a trip to South Australia, and spending time surrounded by grapes is probably on your agenda. This year, you can pair all those winery visits with plenty of pumpkins, too, because Yayoi Kusama's pumpkin-focused infinity room The Spirits of the Pumpkins Descended into the Heavens will display at the Art Gallery of South Australia from Friday, April 1. Australia just keeps going dotty for Kusama. Brisbane's Gallery of Modern Art's hosted a kaleidoscopic exhibition dedicated to the Japanese artist back in 2017, her Obliteration Room has proven a hit in the Sunshine State several times and, going one better, Canberra's National Gallery of Australia acquired The Spirits of the Pumpkins Descended into the Heavens back in 2018. While the latter is a permanent addition to the NGA's collection, it's also going on the road on — which is why Adelaide is your next place to see oh-so-many dots. The piece was first exhibited in 2015. Comprised of a mirrored cube filled with yellow, dot-covered pumpkins, it's a quintessential Kusama work. Whether you're a devoted fan who considers visiting the artist's own Tokyo museum a bucket-list moment, or someone who has simply placed stickers around one of her obliteration rooms, you would've noticed that dots and the concept of infinity are crucial to her art — "our earth is only one polka dot among a million stars in the cosmos," she says. Inside the cube, the bulbous vegetables appear to create an endless field thanks to the shiny surface. On the outside of the cube, the structure's mirrored exterior reflects the yellow-and-black walls in the surrounding installation room — again, making it appear as though the pattern stretches on forever. The NGA's acquisition was made possible via a gift from Andrew and Hiroko Gwinnett, which is also supporting the infinity room's tour. AGSA hasn't revealed how long it'll be on display, but entry will be free — and it's obviously a must-visit addition to any Adelaide itinerary. Images: Installation view, THE SPIRITS OF THE PUMPKINS DESCENDED INTO THE HEAVENS by Yayoi Kusama, 2017, National Gallery of Australia, Canberra. © Yayoi Kusama, courtesy of Ota Fine Arts, Tokyo/Singapore/Shanghai.
With apologies to the many worthy winners at the 2024 Oscars, this year's ceremony will always be known for one thing. When the lights went pink, Ryan Gosling started singing from his seat in the crowd (with Margot Robbie and Billie Eilish giggling around him) and the words "doesn't seem to matter what I do…" rang out, the world began to witness Academy Awards history. His rendition of 'I'm Just Ken' from Barbie was a musical number for the ages. When he made it up to the stage to keep crooning about Kenergy, the man behind the tan and blonde fragility, it wasn't the only time that Gosling stepped up onto the platform that night. He also delivered a tribute to stunts with Oppenheimer's Emily Blunt — and the two couldn't have been better candidates to make the presentation, which doubled as a reminder that their new film was on the way. In The Fall Guy, Gosling blends his action and comedy modes to play a seasoned stunt performer. Blunt co-stars as the director of the latest flick he's working on, and also his ex-girlfriend. The picture is helmed by David Leitch, who famously was in the stunt game himself, including doubling for Brad Pitt on movies such as Fight Club and Ocean's Eleven, and also for Matt Damon, then jumping behind the camera on John Wick, Atomic Blonde, Deadpool 2, Fast & Furious Presents: Hobbs and Shaw, Bullet Train and now this. Gosling and Blunt's shared portion of the Oscars ceremony was also a call to arms: stunts, despite being so crucial to the film industry, are not currently recognised by the Academy Awards. They absolutely should be. Ask Leitch if he sees The Fall Guy as helping to advance the case to recognise the field at Hollywood's night of nights and he tells Concrete Playground "that's the hope". He continues: "I think it is definitely a celebration of the stunt industry, and hopefully it continues to shine a light on how much these unsung heroes contribute to the films you guys love and we all love. You just can't separate the history of action from the history of cinema, and stunt performers have been there since the beginning." Loosely based on the 80s TV series of the same name, The Fall Guy tasks Gosling with playing Colt Seavers, who has spent much of his career making actor Tom Ryder (Aaron Taylor-Johnson, reteaming with Leitch after Bullet Train) look good. He's been out of the business after a workplace accident when he's enlisted to help out on a big-budget sci-fi blockbuster — not just to double for Tom, but to work out why the flick's star has gone missing in Sydney. Making the gig even more chaotic: plenty of nefarious folks on his tail, complete with a chase across the Sydney Harbour Bridge. Plus, there's the fact that his ex Jody Moreno (Blunt) is directing, and it's her first stint in the role. Cue an action-comedy from Leitch, plus Kelly McCormick as his regular producer, that doesn't just showcase stunts but is firmly about stunts as well. [caption id="attachment_952101" align="alignnone" width="1920"] Caroline McCredie[/caption] When The Fall Guy's shoot shut down one of Sydney's most-famous landmarks, everyone in Australia knew. It isn't every day that Gosling brings the Harbour City to a halt, after all. The bridge isn't the only part of the New South Wales capital that can be spotted in the movie, however, because this is a film that takes place in Sydney and makes the most of it. The Fall Guy is a love letter to stunts, of course, but McCormick — who also co-founded production and action design company 87North with Leitch — also considers it a love letter to its setting. Using the Sydney Opera House as the backdrop for a sci-fi shoot also isn't forgotten quickly. ("It's still so sci-fi. It's still beyond its time. It's an amazing, amazing building," says McCormick.) Leitch and McCormick returned to Sydney in early April to give The Fall Guy a big local premiere at the State Theatre. While they were in Australia, the pair also chatted with us. Leitch living the dream as a former stunt performer-turned-filmmaker now making a movie about stunts, the challenges on such a stunt-heavy film, ensuring that the movie is a mix not just of action and comedy but also mystery and romance, casting Gosling and Blunt, shooting in Sydney: we asked the duo about all of the above and more. On Living the Dream by Being a Former Stunt Performer Now Directing a Movie About Stunt Performers David: "Absolutely — I mean, the 80s TV show was one of those shows that lit the fuse of me wanting to be a stunt performer. There's a lot of wish-fulfilment in that show as a teenage kid. So it was exciting that this property would come [my way] — and obviously having 20-plus years as a stunt performer and the anecdotes and the real life experiences to go with it, I had a lot to be able to put into it. And I felt I could really talk with the authentic voice and actually give Ryan some notes from a real place." On Whether Making a Movie Like The Fall Guy Was the Plan when Leitch Was Still Doubling David: "I don't know if that was the actual aim, although I did early on get the film bug and really want to tell stories beyond the stories I was telling in the action. So, I really did lean into spending my time on set observing and learning everything I could about filmmaking process so I could move to the director chair. I was excited about directing." On the Challenges of Making a Movie That Isn't Just Stunt-Heavy, But Is Constantly Calling Attention to Stunts Because It's About Stunts Kelly: "I think every movie has its own challenges, action or otherwise. I think safety is obviously something that comes to mind that we are particularly sensitive to. When we're doing an action sequence, bringing a team together that is top of class is essential to make sure that it's as safe as possible and as creative as possible at the same time. That's always the goal. I think that's maybe a bit of extra pressure, but it's exciting in the sense that stunt performers get into the business to do stunts — so the last thing we want to do is not do stuff. It's making their dreams come true and making them viable in the film business. So it's this tricky balance of just trying to make sure that you know you're as safe as possible and you've got excellence around them, and in them, to make sure that you can give them the opportunities." David: "I think it was fun to be on the other side of it. I was a stunt coordinator for so many years that it was fun to challenge the team to do these things. I knew what they were going to have to go through to achieve them. But to be like 'good luck, guys' and just run in there and throw down the gauntlet — 'I need you to recreate some of these classic stunts from history, but just make them bigger' — that was fun for me. So I didn't feel the pressure. I made the stunt team feel the pressure and, again, I felt that for many years as a coordinator, when I've been asked to deliver things. And I certainly didn't have to feel the producorial pressures like Kelly had to feel as well. So I was just telling people what to do." On Making It an Aim to Create a Fun Vibe on Leitch and McCormick's Sets Kelly: "I have this theory that the set atmosphere flows through the film to the audience. And we actively try to keep a happy, congenial family environment on our sets, as big as they are. That's what we're always striving for and hopefully achieving. We work with a lot of our heads of departments again and again and again, and part of that is because we like their energy, we like their creativity and we like to have a family kind of atmosphere around our films." On Balancing the Mix of Action, Comedy, Romance and Mystery in The Fall Guy Kelly: It was like problem-opportunity in a sense. I consider David an atonal director — and that used to be such a dirty word, but I actually think it's such a positive thing because you never know what energy you're feeling or you're going to be having in a David Leitch film. You may be crying one moment and laughing the next, and feeling the stakes in one moment and thinking it's ridiculous another moment later. When you have three movies in the one movie, that is the bigger challenge — to strike that tone and to get all of that right. And so it was a way to challenge David in his filmmaking." David: "I loved it. I loved taking the audience on a ride. I liked what Kelly just said, laughing at one moment, being awed by spectacle the next, then pulling at the heartstrings few minutes later. And to have an a property, an IP, where we could do that and have two actors that can pull it off with you is was really, really fun to do." On Casting Ryan Gosling — and Only Approaching Ryan Gosling for the Part David: "Ryan is obviously an incredible actor. He's great at comedy. He's great at romance. And our early conversations — he was the only person we went to, and we were crossing our fingers and toes that we would get him. It was even before we had a script. But I think he saw the potential in the property and the potential in this underdog hero, and that we could create an action, hopefully, franchise where he could use all those skill sets. I think that's what he was excited about — where he could use romance and comedy, and his new action chops that he had on The Gray Man. So a lot of the DNA of the tone stems from also what Ryan was excited about doing and we all leaned in as well, and it was fun." On Casting Emily Blunt — and Shaping the Role to Suit Her Kelly: "To be honest, we just feel so lucky that we got her. Right before we went to her, we switched the role from a makeup artist to a first-time director, thinking that it raised the stakes for that character and allowed for her to be in a place where she was dealing with some really serious stuff, like the weight of her dream on her shoulders and getting that to take over directing for the first time — and then this person who basically broke her heart and she thought she was over coming in, and the last thing she ever wanted to see, and the one thing that could probably disrupt this big opportunity for her. We went to Emily right after we had come up with that idea with a very, very rough draft and felt so lucky that she saw her way into it, so that she could add so many layers. And so, in a sense, it was really tailored to her as well to like Colt was to Ryan." On Shooting in Sydney, Including on the Sydney Harbour Bridge and at Sydney Opera House Kelly: "It was really exciting, actually, to get the access to both of those two super-iconic locations. I was amazed at how much time we got at the Opera House. And we chose a scene that we could really exhibit the Opera House as something other than the Opera House — Jody Moreno is using it as the sci-fi backdrop of her epic sci-fi love story. That they allowed for us to put a bunch of sand on the beautiful stairs, and bring in waterworks so that we could make it rain, even though the sun was shining that day — and let us yank and pull and show the beauty of what a ratchet looks like in an action sequence — that stuff you don't get to see when you're normally looking at just the film, instead of the movie being made. It was really, really exciting and we just kept pinching ourselves. 'Can you believe we're just at the stairs with the Opera House here and they're letting us do this? This is a thing.' It was amazing. The whole city just really opened their arms, and wanted to solve the problems and give us access and show the town. And we just hope that everyone's really as happy with it as we are in showcasing Sydney. We really consider it a love letter to to this town." The Fall Guy releases in cinemas Down Under on Wednesday, April 24, 2024. Read our review.
A coffee roaster opening its own cafe is the caffeinated equivalent of a beloved movie or TV character scoring their own spinoff. This version sparks a different kind of buzz, though. Australian favourite Single O is no stranger to slinging its own brews, thanks to cafes in both Sydney and Tokyo — but finally launching in Brisbane is a new and welcome leap. If you're a fan of the 20-year-old brand, then you might be familiar with its self-serve tap system in its cafes elsewhere. In more excellent news, that's now in place in the River City as well. Single O is currently pouring — and getting customers to — on Austin Street in Newstead, where it opened at the end of August. Since 2019, coffee lovers nabbing their caffeinated brews from Single O's Surry Hills cafe in Sydney have been getting their cuppas themselves — basically, it's the coffee you make when you're not actually making the coffee — which Brisbanites can also enjoy at the first coffee-on-tap setup in the Sunshine State. The filter brews on offer will rotate through single-origin batch options. Crucially, Single O's beloved oat iced latte has earned the tap treatment, too. Also among the standout sips made on La Marzocco machines, then drunk from Malcolm Greenwood's ceramic cups: Single O's Reservoir signature blend for espresso fiends, which customers can pair with either dairy or plant milks. With local gelato makers Allora Black, the roaster has also brought its Affogato Project to town. The Brisbane version starts with coffee-infused-gelato — favouring Kenyan and Costa Rican beans — then pours on a shot of the same brew. Teaming up with Newmarket's Allora Black is just one of Single O's local collaborations. Working with Agnes Bakery is another, in an excellent development for pastry fiends. Plates come from Noosa's Kim Wallace Ceramics, while Brisbane-born artist Gemma O'Brien has given the Austin Street spot its bespoke artwork, including her first-ever hometown large-scale mural. For bites to pair with your caffeine fix, Single O owner Dion Cohen has tapped into nostalgia. Sandwiches and toasties might sound rather standard, but Cohen has taken cues from his time spent as the chef at Single O's OG location in 2003. From Surry Hills, banana bread with espresso butter makes the jump north, as has the brunch favourite that is the Avo Show (yes, it's avocado on toast, but Single O's eye-catching version). While you're eating and drinking, you'll be sat in space that heroes eco-conscious practices both in making its coffee and in decking out its cafes. Design-wise, think: raw materials aplenty, and Defy Design whipping up bar tops and stools made from recycled plastic. The venue is also Single O's new distribution and training facility for its wholesalers, aka the places you've been drinking its coffee at before now.
Halloween has been and gone for 2024, but Australia isn't done with peering at pumpkins yet. One of the most stunning sights to see in the country right now, and on an ongoing basis, is a giant gourd that stands five metres tall. The fact that it's yellow and black, and also covered in polka dots, explains why this is such a spectacular piece of art: it's one of Yayoi Kusama's famous pumpkin sculptures. Back in April, Melbourne's NGV International promised that the end of 2024 and beginning of 2025 would be filled with spots and gourds when it announced Yayoi Kusama, its big summer blockbuster exhibition. Featuring 180-plus works from the Japanese artist, the retrospective opens on Sunday, December 15, displaying until Monday, April 21. Ahead of that launch, however, Dancing Pumpkin has already arrived — and been unveiled for gallery visitors to enjoy. Open to the public since Saturday, November 8, 2024 in NGV International's Federation Court, the 2020 piece is making its Australian debut. Until now, only two editions of it had been seen anywhere on the planet, initially in 2021 at the New York Botanical Garden and then in 2022–3 at the Museum of Islamic Art in Qatar. Yayoi Kusama itself is also a first, as a world-premiere that Aussie art lovers can only check out in the Victorian capital. Gourds and dots are among Kusama's trademarks, with Dancing Pumpkin combining the two in one of her biggest pumpkin sculptures of her career. Its towering height and legs in various poses — hence the name — means that visitors literally look up at the artwork. You can also wander beneath it. While checking out not just Dancing Pumpkin but the Yayoi Kusama exhibition overall is a summer must, the former is sticking around, with the piece acquired by the NGV. "We're delighted to unveil Yayoi Kusama's breathtaking Dancing Pumpkin sculpture ahead of our major exhibition surveying the artist's groundbreaking career. The newly acquired work, supported through the generosity of the Loti & Victor Smorgon Fund, will leave a defining impact on the NGV Collection and will be available for all Victorians to enjoy for many years to come," said NGV Director Tony Ellwood AM. When we say that this Kusama showcase, is big, we mean it. While the Japanese artist's work is no stranger to Aussie shores — and was the focus of a comprehensive showcase at Brisbane's Gallery of Modern Art back in 2017–18 — NGV International's ode to the iconic talent is the largest that the country has ever seen. Among its highlights is another of Kusama's usual fascinations: kaleidoscopic reflections. Visitors will also be able to scope out the world-premiere showing of a brand-new infinity mirror. The NGV has curated Yayoi Kusama with input from Kusama, with the end result stepping through the 95-year-old artist's eight decades of making art via a thematic chronology. Some pieces hail from her childhood. Some are recent. Her output in her hometown of Matsumoto from the late 30s–50s; the results of relocating to America in 1957; archival materials covering her performances and activities in her studios, especially with a political charge, in the 60s and 70s: they'll all appear. Half of the exhibition is devoted to the past four decades — so, pumpkins galore; giant paintings; and an impressive and expansive range of room installations, complete with her very first infinity room from 1965, plus creative interpretations since from the 80s onwards. Again, this is a hefty exhibition. It's one of the most-comprehensive Kusama retrospectives ever staged globally (and the closest that you'll get to experiencing her Tokyo museum without leaving Australia). Basically, wherever you look across NGV International's ground level, Kusama works will be waiting, spanning paintings, installations, sketches, drawings, collages and sculptures, as well as videos and clothing. For the first time in the country, 2019's THE HOPE OF THE POLKA DOTS BURIED IN INFINITY WILL ETERNALLY COVER THE UNIVERSE will unleash its six-metre-high tentacles — as also speckled with yellow-and-black polka dots. One section of the gallery will replicate Kusama's New York studio. Over 20 experimental fashion designs by the artist will also demand attention. Infinity Net paintings from the 50s and 60s, Accumulation sculptures and textiles from the 60s and 70s, and a Kusama for Kids offshoot with all-ages interactivity (fingers crossed for an obliteration room) are also on their way. Almost six decades since first debuting at 1966's Venice Biennale — unofficially — Narcissus Garden will be a part of Yayoi Kusama, too, in a new version made of 1400 30-centimetre-diameter stainless silver balls. Now that's how you open an exhibition, as this will. NGV's Waterwall is also scoring a Kusama artwork specific to the space, while the Great Hall will be filled with the giant balloons of Dots Obsession floating overhead. [caption id="attachment_950480" align="alignnone" width="1920"] Yayoi Kusama, 2022 © YAYOI KUSAMA[/caption] Dancing Pumpkin is on display at NGV International, St Kilda Road, Melbourne until Monday, April 21, 2025. Yayoi Kusama runs from Sunday, December 15, 2024–Monday, April 21, 2025. Head to the NGV website for more details and tickets. Images: Yayoi Kusama's Dancing Pumpkin 2020 now on display for the Yayoi Kusama exhibition at NGV International, Melbourne until 21 April 2025. © YAYOI KUSAMA. Photo: Sean Fennessy.
Not all moviegoing experiences are created equal. At-home viewing will always be trumped by the silver screen and, once you're out of the house to see a flick, different picture palaces offer different vibes, seats, snacks and beverages. Care more about the film than the surroundings? There are venues for that. Keeping an eye on your bank balance but still want to see the latest and greatest features? There are spots for that, too. Fancy grabbing a drink from a glam new bar, enjoying privacy shrouds in Gold Class and, in the future, settling into a next-level boutique cinema? That's all on the menu at Event Cinemas Chermside. The northside shopping centre mainstay has been undergoing a massive revamp, with its first stage unveiled late in 2022. So, if you stopped by to see a Boxing Day flick — or box-office behemoth Avatar: The Way of Water — you will have noticed a few changes. If you're a Brisbanite who hasn't been in that part of town for a while, or even just that section of Westfield Chermside, big differences await. When it comes to actually catching a movie, the venue has upgraded its Gold Class cinemas. That means new whole-body reclining seats with those privacy barriers — so no one will interrupt your viewing — and far more seats Before you get comfy in Gold Class' treat yo'self setup, however, you'll spot Event Cinemas' new lounge and bar. It's where you grab a drink, of course, and pairs timber, blue hues and geometric designs, plus twinkling lighting above. Nab your tipple of choice — including a sizeable spirits range behind the bar — then relax in velvety, jewel-toned booths. Just remember to go see your movie when it starts (or save your trip here for a post-flick chat). The Chermside cinema has also gained a marketplace-style food offering and beverage centre for your flick-viewing snacks, which serves up freshly made flavoured popcorn, nachos and churros. And, there's a lolly tree stacked with movie confectionary favourites. As exciting as all of the above is, perhaps the best part is still on its way: Queensland's first next-level Event Boutique cinema. Already operating down south, and hailing from the same minds behind Gold Class, V-Max and the multi-sensory 4DX cinema, this addition to the chain's offering takes an existing theatre, decks it out with unique theming and turns the decor into a huge drawcard. Within the intimate but roomy spaces, movie buffs will also find luxurious recliner chairs and state-of-the-art sound technology, too, plus a levelled-up food and drink menu. Exactly what Chermside's boutique addition will look like hasn't yet been revealed, and neither has an opening date. Design-wise, it'll have a similar layout to Sydney's versions, but no two Event Boutique spaces look the same. Still, if you're wondering, the New South Wales capital's George Street cinema has two boutique theatres: the 'Paparazzi' auditorium, which is inspired by red carpet glamour; and 'The Library', which is all about the art of storytelling. Also yet-to-be-announced: Chermside's Event Boutique culinary and beverage range. As a guide, Sydney's iteration launched with cheese and charcuterie, smashed avo, croissants, banana loaf, wagyu beef burgers, braised brisket pies, reuben sandwiches, goat's cheese mini pizzas, fried-to-order cinnamon doughnuts, pints of Magnum ice cream and popcorn-topped chocolate brownies — and waiter service. [caption id="attachment_725805" align="alignnone" width="1920"] Event Boutique George Street, Sydney[/caption] Find Event Cinemas Chermside at Chermside Shopping Centre, 38 Hamilton Road, Chermside. We'll update you with further details about the venue's new Event Boutique setup, including a launch date, when they're announced.
When Otto Ristorante launched in Brisbane back in 2016, it set up shop in one of Queen Street's newest developments. But at the start of 2021, the Italian-focused eatery made another move — reopening over at South Bank in the striking, ultra-scenic riverfront space that was previously home to Stokehouse. Since Otto Ristorante moved in, Brisbane's waterside spot has had a big revamp, but it still boasts one of the best views in the city. And Otto Brisbane is putting it to great use. You can now peer out over the water from the venue's three different ventures: Otto Ristorante, the al fresco bar called Otto Osteria and Otto's own event space. At Otto Ristorante, head chef Will Cowper still leads the charge. His menu heroes Italian meals made with regional produce, as inspired by the European nation's southern regions. So, you can head by for lunch and dinner from Wednesday–Sunday to tuck into a daily-changing raw seafood dish, Western Australian scallops with muscatels, spaghettini paired with Champagne lobster, and a spatchcock, pancetta and cavolo nero combination. There's also a cheese selection to finish things off, plus affogatos among the dessert offerings. Brisbanites keen to check out Otto Osteria will munch through a menu inspired by northern Italy, with the walk-in-only joint serving up cured meat boards, fresh oysters with lemon, mini focaccias, fried artichokes and beef carpaccio. Given the outdoor setup, it's a great place for a few drinks with a killer vantage from midday until late between Wednesday–Sunday — so get ready to sip wines from the same area of Italy, plus a selection of cocktails. For events, three spaces are available for private and semi-private bookings, so you can choose between a spot above the main dining room, or two berths on the ground level. Otto first started out in Sydney, and still boasts a restaurant at Woolloomooloo — which is also located by the water with an impressive backdrop. Appears in: The Best Restaurants in Brisbane
Goodbye Birdees, hello The Beaumont Beer Garden: that's the new setup on Gipps Street in Fortitude Valley. A fresh name isn't the only change, following a hefty revamp and a switch of focus. Brisbane's latest rooftop bar takes inspiration from Australia, and The Great Dividing Range in particular. Among the drinks highlights: boozy Milos, a margarita made with bush tomato and chilli-infused agave syrup, and a gin and green chartreuse concoction garnished with lemon myrtle and pepperberry caviar. Announced in March and open since Monday, April 7, 2025, The Beaumont Beer Garden aims to be the River City's new destination for sky-high sips. From its berth above the road that Wickham and Ann streets, it's splashing its love for Aussie flora, fauna, flavours and colours across its food and beverage range, and also its decor. Equally an influence: classic Aussie pubs, although most aren't found even a few levels about the ground. To get inside, you'll be entering via BUNK's entrance at 21 Gipps Street, not on Ann Street. After heading up, expect eucalyptus plants, vintage signage, timber and iron accents aplenty — including wooden tables and benches — plus festoon lighting beneath the open sky. Outside, you'll also be located next to BUNK's pool. If you're most excited about the drinks, they're all courtesy of Bar Manager Tiwene Kaimoana. Expect the Milo Flip made with spiced rum, Licor 43, Milo syrup, condensed milk and fresh egg to be a hit. The Outback Blaze Marg — crafted on tequila, cointreau, bush tomato and chilli-infused agave syrup and lime, with a chilli salt rim — is sure to become a favourite as well. So is The Last Cheers, which is where that mix of gin, maraschino, green chartreuse, lime juice, lemon myrtle and pepper berry syrup, with lemon myrtle and pepperberry caviar as a garnish, comes in. Another cocktail to try is the Aussie Sunrise, as fashioned with vodka, amaretto, finger lime, lime, Kakadu plum syrup and lemonade. Or, the classics range spans everything from espresso martinis and negronis to old fashioneds and mojitos. Five types of spritzes are also on offer, alongside two-and-a-half pages of spirits, plus a range of vino and craft brews. If the Milo Flip doesn't get you feeling nostalgic, the Vegemite fries among Head Chef Joshua Kelly's food options will. They're skin-on chips dusted in Vegemite salt, and they're ready to pair with a heap of other dishes. So, the Byron Bay burrata comes with chargrilled mango and witlof salad, the spring rolls feature crocodile and lemon myrtle, and the Mooloolaba king prawns are coated with red gum and garlic butter. There's a wagyu rib fillet with Granite Belt red wine jus, and the venue's hot dog is made with grilled kangaroo sirloin and bush chutney. If you'd rather a pizza, topping combinations span chilli, chargrilled pineapple and prawns; grilled peaches and prosciutto; and lemon myrtle kangaroo with a Kakadu plum glaze. Or, head by early for breakfast, where bacon, egg and hashbrown brekkie wraps sit beside Nutella croissants, smashed avo on sourdough, cinnamon raisin toast and more. "The Beaumont Beer Garden pays homage to these 'beautiful mountains' through our menu and cocktail list, and our design aesthetic and colourings. We borrowed the earthy tones (burnt orange, eucalyptus green and navy) with playful pastel accents of Australian flora from these ancient mountains," says Danny Webster-Clamp, Group General Manager. "The menu at The Beaumont Beer Garden shines the flavour light on Australia's rich culinary heritage, blending traditional flavours with modern twists," he continues. "We have a commitment real to local and will showcase high-quality, locally-sourced ingredients and unique native produce. From grilled barramundi with finger lime and macadamia crumble to slow-cooked eucalyptus lamb, our mains have bold flavours." Find The Beaumont Beer Garden at 21 Gipps Street, Fortitude Valley — open 12pm–late Monday–Friday and 11am–late Saturday–Sunday. Head to the venue's website for more details.
At Suntory, the spirit of "Yatte Minahare" — "You never know until you try" — remains as strong now, as it did 126 years ago. It has led to the creation of Japan's first whisky distillery, the reimagining of classic cocktails like the highball, and it now houses some of the world's finest brands –Yamazaki, Hakushu, Toki Whisky, Roku Gin, Haku Vodka, Maker's Mark, Jim Beam, -196 and BOSS Coffee to name a few. As Suntory looks to the future, let's travel back 126 years to the very beginning, when Shinjiro Torii, Suntory's first Master Blender, saw an opportunity and "went for it." Where it All Started Over a century ago, in a small store in Osaka, Japan, Shinjiro Torii had a dream: to create an authentic whisky in Japan. Having saved enough from his early Akadama Port Wine successes, Torii, with much resistance from family and colleagues, invested his whole fortune into the establishment of the Yamazaki Distillery in 1923. He didn't know it then, but this uncharted move transformed the spirits industry in Japan and changed the whisky-drinking world. Since then – despite some challenges along the way – the brand has grown into a global leader of drinks, with products found in countless venues across Australia and the world. Shaping how Japan drinks and what the global community knows about flavour and innovation. Successive leaders have carried forward Torii's legacy, future-proofing Torii's vision while staying true to the company's founding values of Yatte Minahare: Giving Back to Society and Growing for Good. The Recipe for Success Suntory's ability to innovate while staying grounded in its Japanese roots is a testament to the brand's vision. Take Suntory Whisky Kabukin, for example. Launched in 1937, it was Japan's first big foray into the whisky business, helping to cement Suntory's reputation as a trailblazer in the industry. The whisky's signature square bottle (Kakubin means "square bottle") became an enduring icon, and today, it remains a beloved part of Japanese drinking culture — particularly in the form of the highball, a whisky-soda cocktail that Suntory helped popularise. But Suntory's innovation continued beyond whisky. In 1992, the brand launched BOSS Coffee, a flash-brewed cold coffee in a can designed to keep Japan's workforce fuelled. This product quickly became a hit, and even today, BOSS Coffee remains a go-to drink for coffee lovers (and tradies) seeking convenience without sacrificing quality. The company's relentless pursuit of innovation led to another groundbreaking product with -196 — a vodka based ready-to-drink beverage that's taken the world by storm with its flavour and the bold process by which it's made. The 'Freeze Crush Technology' involves freezing and pulverising whole fruits in liquid nitrogen at a temperature of -196°C. While Suntory has a significant global presence, its inspiration remains true to its founding philosophy: to inspire the brilliance of life. From the pristine water used at its distilleries to the careful selection of ingredients for its products, Suntory's emphasis on nature and tradition flows through everything it creates. The House of Suntory line, which includes celebrated names like Suntory Whisky, Toki, Roku Gin, and Haku Vodka, exemplifies this approach and its connection to nature. Each product in the collection pays homage to something unique from Japan's rich cultural heritage. For Roku Gin, this is done by using six carefully selected Japanese botanicals, while Haku Vodka is crafted from 100 percent Japanese white rice for an exceptionally smooth finish. [caption id="attachment_1017676" align="aligncenter" width="1920"] Jiwon Kim[/caption] The Spirit of Suntory in a Glass If you've walked down the bar-lined streets of Japan or even visited one of Australia's top whisky bars, you would have encountered the highball cocktail. A balanced combination of whisky and soda (and a wedge of lemon), it has long been a fixture of Japanese drinking culture, and Suntory has played a vital role in its revival. While the highball originated in the UK, Suntory perfected the drink, rolling out Tory's Bars in the 1950s, where patrons could sip highballs after a long day at work. Today, the highball is trending. Sipped by young folk in bars, paired and reimagined by the best bartenders in the world. Celebrating 126 Years As Suntory celebrates its 126th anniversary, it remains deeply rooted in the values that Shinjiro Torii instilled over a century ago. "We have grown from our roots in Japan to become a truly global company," says Greg Hughes, president and CEO of Suntory Global Spirits. [caption id="attachment_1017677" align="aligncenter" width="1920"] Jiwon Kim[/caption] From the first drops of Akadama Port Wine to the pioneering Japanese whisky and beyond, Suntory's history is marked by a continuous drive to innovate. Whether perfecting the highball or creating products like Minus 196, the company's story is one of bold experimentation, guided by a deep respect for tradition. As Suntory moves into the future, one thing is clear: it will continue to shape how the world drinks, one glass at a time. The best time to sample Suntory's work will be when Suntory Bar takes over Whisky Thief inside Sydney's Prefecture 48. Running from Friday, August 8 to Saturday, November 8, Suntory will be serving refreshing highballs and signature Suntory and experimental cocktails alongside select snacks for three months. Find out more about Suntory's legacy and full range of products at the website.
