For years, Brisbane Powerhouse played host to Moonlight Cinema, with an outdoor big screen set up outside the New Farm venue's Stores Building each summer. That annual setup has since shifted to Roma Street Parklands, so Powerhouse is opening its own replacement. Even better — that new outdoor cinema will be sticking around permanently. Set to launch this coming spring and run year-round, this new excuse to watch movies under the stars — and take advantage of the fact that that's something you can do no matter the season in Brissie, even in winter — will screen everything from big-name blockbusters to arthouse flicks. It'll be run with a major exhibitor, with exactly who that'll be yet to be revealed. Still, get ready to enjoy film festivals, themed nights and events, and concert flicks and live events as well, giving movie buffs multiple reasons to head by. Whatever you choose to watch, you'll sit on chairs, cushions and rugs eating gourmet food and sipping champagne — so, all the outdoor movie staples will be covered. The outdoor cinema is one of four new additions to Brisbane Powerhouse that've just been announced, which also includes the Hap Wah Night Market. It's set to debut in March 2023, running for the entire month. It'll then pop up again in October, and also return in the Powerhouse forecourt and surrounding parks in those two months every year. Here, Brisbanites can look forward to a food-focused night market that'll score its own village precinct each time that it's up and running, and have Blade Runner-meets-Queensland theming with a dash of Cantonese culture, too. The name stems from a north Queensland sugar plantation from the 19th century, aka the state's first Chinese business, and the markets will also feature free and cheap art installations, music and films. Also on its way: the Pleasuredome, which'll make its presence known from this spring alongside the outdoor cinema. It'll take over the Powerhouse's Performance Lawn by the river, and span a cluster of glow-in-the-dark Nordic-style tents as well as a sailcloth-topped central venue, all of which will host regular shows and cater to 360 people at once. Sitting beneath Moreton Bay fig trees, it'll be able to stage long-table dinners, cabaret and theatre-style gigs, complete with full-service bars serving drinks. There'll be alfresco lounging zones, and it'll play a big part in Powerhouse's big fests such as Brisbane Comedy Fest. As well as being set up for shows and festivals for ten months of the year, it'll be used for weddings and private events, and give patrons a hangout space in-between. Last but by no means least, Keith Courtney's Kaleidoscope is also coming to the venue — this one just for a couple of months. The latest installation by the Melbourne artist, and arriving fresh from his home town, it's a 700-square-metre expanse of glass, steel, mirrors and moving prisms that features a maze of corridors decked out in a revolving showcase of lights and colours. Expect to have your senses disoriented while you're wandering through, including both motion and gravity. Kaleidoscope will sit on the Performance Lawn — before the Pleasuredome's debut — from Friday, August 12–Monday, October 3 in association with Brisbane Festival. All of these new additions — permanent and temporary alike — have been locked in under Brisbane Powerhouse CEO/Artistic Director Kate Gould's new reign, and mark the venue's first hefty changes since she was appointed in the role in mid-2021. They're also funded with help from the Brisbane City Council and the Australian Government's Restart Investment to Sustain and Expand (RISE) Fund. "Returning to Brisbane last year after an 18-year absence reminded me of our city's natural beauty. With its sultry climate and luscious landscape, it seems a shame to always head indoors for our cultural fix," Gould said. "Brisbane Powerhouse will bring art outside, creating a series of external venues for performance, film and feasting. We are grateful to Brisbane City Council for backing our vision to revitalise Brisbane Powerhouse and its environs. And there are more surprises to come." Brisbane Powerhouse's outdoor cinema and Pleasuredome performance space will launch in spring 2022, while Kaleidoscope will run from Friday, August 12–Monday, October 3 — and the Hap Wah Night Market will debut in March 2023, all at 119 Lamington Street, New Farm. For more information about the venue, head to the Brisbane Powerhouse website.
Sometimes, drinking beer can be a bit of a lucky dip: one person's favourite tasty ale or refreshing lager is another's least-preferred brew. But what if you could down a yeasty beverage that you were guaranteed to like, such as a tipple that had been crafted to suit your specific, distinctive tastes? Following in the footsteps of gastronomy wizards Bompas and Parr and their bespoke cocktails tailored to your DNA, London's Meantime Brewing Company are doing the same thing with beer. Meantime Bespoke uses a saliva sample to assess whether your tastebuds prefer the sweet or bitter side of things, with personal genetics company 23andMe probing down to the genetic and hereditary levels. Then, the service maps out a flavour profile for what should you be favourite drink (thanks science!). Once Meantime has come up with a proposed style of beer, you get to head into the brewery to help make your unique tipple come to fruition. Yep, that's the fun part — other than the drinking. Sounds like the solution to making a wrong choice at the bottle-o or having to stomach whatever beer your mate bought off the tap, doesn't it? Yes, but it comes at a very hefty price. Expect to pay a minimum of £25,000 for 12 hectolitres, or the equivalent to over 2000 pints. The fee also includes a course on the brewing process, and — although this isn't officially stated — the knowledge that you've spent a whole lot of money to ensure that your next drink is just right. Via Mental Floss.
Sculpture by the Sea kicked off its 22nd annual exhibition today — once again taking over the two-kilometre coastline from Sydney's Bondi to Tamarama Beach with many incredible sculptural feats. This year, you'll find 107 sculptures by artists from 21 countries globally. The works will be on display from October 18 through November 4, and it's all absolutely free. This year's highlights include a collaboration with China's leading art institute, the Central Academy of Art (CAFA), showcasing the works of eight alumni, all spread throughout the vast sculpture park. If you're looking to know more about the inspiration for the sculptures on display, you can grab a bean bag and hear directly from the artists every Saturday and Sunday. But, with so many sculptures to feast your eyes on, it can be overwhelming — and you want to make sure not to overlook the best of the bunch. Here are five sculptures to keep a look out for while you take that famed Sydney walk. [caption id="attachment_694145" align="alignnone" width="1920"] Trent Van der Jagt[/caption] COOL SHIT: DAMIEN HIRST LOOKING FOR SHARKS UK artist Cool Shit (the nom de plume of David Glass) has created a large-scale inflatable snorkeler as a parody of artist Damien Hirst — it reference's Hirst's quest for the tiger shark that made him one of the most iconic postmodern British artists of his time. Hirst caught the shark off of Queensland's Hervey Bay back in the 1990s, preserved it with formaldehyde and sold it as a sculpture in 2004 for some $12 million. Glass' work is a comment on the commercialism of Hirst's work, titled The Physical Impossibility of Death in the Mind of Someone Living, which Glass feels was more a hunt for millions than for art. The inflatable sculpture is mainly air and the outer sheath is made of hundreds of hand-painted fabrics. [caption id="attachment_694147" align="alignnone" width="1920"] Trent Van der Jagt[/caption] BARBARA LICHA: CBD Made of stainless steel bars and galvanised wire and mesh, CBD is a striking representation of the Sydney city centre, created by Polish-born Aussie artist Barbara Licha. She aims to bring attention to the structural beauty of our city and how we are connected not just to others but also to the place we live. This sculpture is full of movement and uses geometrical shapes to depict this intersection between people and place. It explores architecture as more than just a means to building houses, towns and cities but also as a form of art that connects us to our surroundings. [caption id="attachment_694175" align="alignnone" width="1920"] Charlotte Curd[/caption] MU BOYAN: HORIZON A three-metre-tall fleshy figure has really stolen the show this year as the most recognisable sculpture of the bunch. Mu Boyan's Horizon rests on the south Bondi headland at Marks Park and its towering stature is markedly contrasted by its peaceful pose. According to Boyan, the Buddha-like figure is an invitation to sit alongside it and empty your mind. A meditative force to be reckoned with, the sculpture is one-of-eight works in collaboration with Beijing's Central Academy of Fine Arts. [caption id="attachment_694174" align="alignnone" width="1920"] Trent van der Jagt[/caption] PENELOPE FORLANO: COUNTERPOINTS WA artist Penelope Forlano directly responded to the Bondi coastline in her sculpture Counterpoints, creating a work that is familiar yet contrasting to the natural surrounds. She began by focusing on the dynamic flow of the waves against the Hawkesbury sandstone — which once connected Australia to Antarctica 300-million years ago. The sculpture is reminiscent of both a water droplet and stone spearhead, the latter of which is meant to connect to nearby Aboriginal engravings. It is a shape that at once fits in and stands out, echoing both the enduring and ephemeral aspects of nature. [caption id="attachment_694168" align="alignnone" width="1920"] Trent van der Jagt[/caption] ALESSANDRA ROSSI: CAIRNS Referencing human-made piles of stones that have been created by cultures around the globe for centuries, Cairns uses opaque and mirrored perspex to reflect light on its surrounds. Visit it during different times of the day and you'll find yourself bathed in shimmering hues of red, pink, orange and blue. The impermanence of this light also helps convey a dichotomy between the temporary and the enduring, which is also reflected by the ocean — its ebbing waves and its surrounding solid rocks. The three pieces are by Italian artist Alessandra Rossi, who has also exhibited across Australia. Sculpture by the Sea runs until November 4. For more info, visit sculpturebythesea.com. Top image: Trent van der Jagt
New Zealand's golden child of coffee roasting serves up some of the best coffee in Brisbane. The beautiful light-filled and peaceful space is found on Wellington Road, a fitting location for the Queensland Allpress flagship and the cafe is a must-visit destination for coffee lovers and sandwich aficionados alike. Our pick is the tuna, egg and olive sandwich for a comforting lunchtime feed.
Whatever your plans are on Tuesday, November 8, change them — or find a way to include peering at the sky into your diary, too. For 85 minutes, folks Down Under will be treated to a blood moon and a total lunar eclipse, giving you a stellar reason to spend your night staring upwards. While blood moons aren't particularly rare, there is one big reason to look up this time around. This total lunar eclipse is the last one that'll be able to be seen in Australia and New Zealand until 2025. If you're wondering what else you need to know, we've run through the details below. WHAT IS IT? If you're more familiar with The Mighty Boosh's take on the moon than actual lunar terms, here's what you need to know. When a full moon happens to coincide with a total lunar eclipse, it's also called a blood moon. Why? Yes, it has to do with the colour. When the astronomical body passes directly into the earth's actual shadow, it turns a blood-red shade thanks to sunlight that's filtered and refracted by the earth's atmosphere. WHEN CAN I SEE IT? If you're keen to catch a glimpse, you'll want to peek outside on Tuesday, November 8. According to Timeanddate.com, the total lunar eclipse is due to begin at 9.16pm AEDT in Sydney and Melbourne — and, because of daylight saving in the southern states, at 8.16pm AEST in Brisbane. Those times adjust accordingly in Adelaide (8.46pm) and Perth (6.16pm) — with the full total lunar eclipse running for 85 minutes. In NZ, you'll be looking up from 11.16pm. Moonrise will happen before that, and the partial eclipse will begin 67 minutes prior to the totality times, too — so at 8.09pm in Sydney and Melbourne and 7.09pm in Brisbane, for instance. WHERE CAN I SEE IT? You can take a gander from your backyard or balcony, but the standard advice regarding looking into the night sky always applies. So, city-dwellers will want to get as far away from light pollution as possible to get the absolute best view. Naturally, you'll be hoping for cloud-free skies that evening. If you can't get a clear vantage, The Virtual Telescope Project will be live-streaming from the skyline above Rome from 8.30pm AEDT / 7.30pm AEST / 10.30pm NZ time. The blood moon and total lunar eclipse will take place on Tuesday, November 8, with the full total lunar eclipse starting at 9.16pm AEDT / 8.16pm AEST / 11.16pm NZ time. For further information, including about timing, head to Timeanddate.com.
Why spend just over a week worshipping the silver screen, as most film festivals do, when you can stretch the in-cinema celebration out to more than a fortnight, and throw in over a week of online viewings as well? That's Melbourne International Film Festival's approach. In 2023, now that the event's full lineup is newly here, it's also asking another question: why just have Tilda Swinton star in a film as one character when she can play two, and a mother and daughter at that? The movie in question is The Eternal Daughter, Swinton's latest collaboration with filmmaker Joanna Hogg after the sublime The Souvenir and The Souvenir: Part II, and it's one of MIFF's big 2023 highlights. Yes, there's more — much, much more. This year's fest will screen 267 films to Melbourne and Victorian movie buffs, in fact, plus a selection of picks virtually and nationally via the returning MIFF Play. 2023's festival footprint mimics the setup that worked so well for the film feast in 2022, which was its first proper year back after the pandemic began. So, it's gracing cinemas in Melbourne from Thursday, August 3–Sunday, August 20; hitting the big screen in regional Victorian locations from Friday, August 11–Sunday, August 13 and Friday, August 18–Sunday, August 20; and also going digital from Friday, August 18–Sunday, August 27. Shayda, a Melbourne-set drama that won an Audience Award at Sundance, was revealed as MIFF's 2023 opening-night flick back in May. The world premiere of Ego: The Michael Gudinski Story, paying tribute to the Australian record executive and promoter with help from Kylie Minogue, Dave Grohl, Sting, Ed Sheeran, Bruce Springsteen, Billy Joel and Jimmy Barnes, was also announced then, taking the fest's centrepiece slot. Now, they're joined by Theatre Camp among MIFF's high-profile sessions, with closing night scoring the Aussie debut of a crowd-pleasing comedy about loving the stage, as starring and co-written and co-directed by Booksmart and The Bear's Molly Gordon. Other standouts include Anatomy of a Fall, a drama about an author (Sandra Hüller, Toni Erdmann) accused of her husband's murder, which won French director Justine Triet (Sibyl) the French festival's top prize back in May; May December, which hails from Carol director Todd Haynes, is led by Natalie Portman (Thor: Love and Thunder) and Julianne Moore (Sharper), and dives into a scandal; Certain Women's Kelly Reichardt reteaming with Michelle Williams again with Showing Up; and Biosphere, about the last two men on earth, with star and co-writer Mark Duplass (The Morning Show) coming to Melbourne in-person with the film. Or, there's the Josh O'Connor (Mothering Sunday)-led La Chimera from Happy as Lazzaro's Alice Rohrwacher, Catherine Breillat's (Abuse of Weakness) return with Last Summer, Paul Schrader's (The Card Counter) Master Gardener starring Joel Edgerton (The Stranger), and Hirokazu Kore-eda's Monster — the prolific helmer's latest on a lengthy resume that also includes Shoplifters and Broker. Keen to settle in for the long haul? Still on big-name filmmakers, Nuri Bilge Ceylan's (The Wild Pear Tree) latest About Dry Grasses clocks in at 197 minutes. In 2022, MIFF launched Bright Horizons, its official competition — and the titles vying for glory in 2023, all from either first- or second-time filmmakers, are impressive for the second year running. Among 11 films, Shayda fits the bill, as does Cannes Un Certain Regard Prize-winner How to Have Sex, about three British teen girls on a boozy getaway; Earth Mama, an A24 release by Grammy-nominated music video veteran Savanah Leaf; and Inside the Yellow Cocoon Shell, which follows a musical journey across the Vietnamese countryside. Also, the star-cross'd lovers-focused Banel & Adama plays direct from Cannes, Disco Boy stars German talent Franz Rogowski (Great Freedom) and Animalia explores an alien invasion in Morocco. Elsewhere, Cobweb stars Parasite's Song Kang-ho and is helmed by I Saw the Devil director Kim Jee-woon, the prolific Hong Sang-soo (The Novelist's Film) returns with Walk Up, and four-time British Independent Film Award-winner Blue Jean focuses on a lesbian teacher in Thatcher's England. Oscar-winning Amy and Senna filmmaker Asif Kapadia takes cues from Woyzeck and Frankenstein with the expressionistic dance-filled Creature; 2023 Sydney Film Prize-winner The Mother of All Lies heads south; You Can Call Me Bill pays tribute to the inimitable William Shatner; and Soda Jerk's first film since Terror Nullius, Hello Dankness, offers a chaotic yet cutting survey of US politics from 2016 onwards. MIFF 2023 will also feature eerie fare in the form of Sleep, by Bong Joon-ho protégé Jason Yu; birth/rebirth, which also riffs on Frankenstein; Perpetrator with Clueless favourite Alicia Silverstone; and Australia's own Godless: The Eastfield Exorcism. And, no strangers to showcasing giallo, including running a retrospective on Italian horror before, the fest is going all in on Suspiria, Tenebrae and Deep Red director Dario Argento. Among MIFF's shorts are Pedro Almodóvar's (Parallel Mothers) queer western Strange Way of Life starring Ethan Hawke (Moon Knight) and Pedro Pascal (The Last of Us), and also Trailer of the Film That Will Never Exist: 'Phony Wars', the last film by iconic French director Jean-Luc Godard before his passing. All of the above — and a whole lot more — joins previously announced titles such as The Rooster, starring Hugo Weaving (Love Me) and Phoenix Raei (The Night Agent); Celine Song's debut feature Past Lives, a bittersweet romance about two childhood friends (Russian Doll's Greta Lee and Decision to Leave's Teo Yoo) who briefly reunite after decades apart; Bad Behaviour, the feature directorial debut of actor-turned-filmmaker Alice Englert (You Won't Be Alone) starring Jennifer Connelly (Top Gun: Maverick); BlackBerry, which delves into the smartphone's rise and fall — and satirises it — with Jay Baruchel (FUBAR) and Glenn Howerton (It's Always Sunny in Philadelphia) among the cast; and The Kingdom Exodus, Lars von Trier's latest followup to 1994's miniseries The Kingdom and its 1997 second season. The 2023 Melbourne International Film Festival runs from Thursday, August 3–Sunday, August 20 at a variety of venues around Melbourne; from Friday, August 11–Sunday, August 13 and Friday, August 18–Sunday, August 20 in regional Victoria; and online nationwide with MIFF Play from Friday, August 18–Sunday, August 27. For further details, including tickets from Friday, July 14, visit the MIFF website.
If Mohammed won't come to the mountain, as the old adage goes, the mountain will just have to come to Mohammed's apartment block. In this instance, the role of Mohammed is played by eccentric and visionary doctor of Chinese medicine Zhang Biqing, and the mountain is literally a mountain, albeit a monumental $130,000, two-storey Eden/monstrosity that Zhang has painstakingly spent the last six years building atop his 26-storey residential building in Beijing's fancy Haidian district. Is it legal to build a mountain on your apartment building? No. Will Zhang get away with it? No. Do we love it anyway and want one of our own? Yes. In keeping with the zeitgeisty theme of greening urban spaces, what with all the recent edible green walls, adorable terraria, city farms and electric scooters born from plants, Zhang was obviously seeking to create an idyllic haven from polluted and chaotic city life. Rumours abound that the wealthy founder of acupuncture clinics hosts glamorous soirees with celebrities at his lofty lair. What started out as your average, non-Alpine 340 square-metre penthouse eventually became a 1000 square-metre wilderness through the introduction of countless artificial rocks, wooden panels and real grass and trees (which, according to Zhang's bitter neighbours, have been clogging the service elevator for years). After constant complaints from residents of the building, who are justifiably concerned about safety issues posed by all the construction and the hassle of noisy renovations and water leaks, last week local government officials finally issued Zhang an order to dismantle his hanging gardens of Babylon within 15 days. Zhang has said he will comply. Just another round in the epic battle waged between mankind and nature since the dawn of our race. Nature appears to have lost this time. Conceptually at least though, we can hope that Zhang's mad genius inspires someone to start building mountains in a somewhat more legal fashion. Via This is Colossal.
Whether Idris Elba will ever get to slip into James Bond's tuxedo is still yet to be seen, but the British actor adds another prime example of why he'd be excellent as 007 to his resume with Hijack. He plays suave and smooth, calm and collected, and resourceful and reliable in the plane-set Apple TV+ thriller series — as well as enterprising and creative while endeavouring to save lives and bring down nefarious forces alike. He's also basically in Idris Elba on a Plane, sans slithering snakes; Idris Elba Cancels the London-Bound Apocalypse, but without kaiju and giant robots; Die Hard with Idris Elba, though never just crawling around in a singlet; and, given that the seven-parter unfurls in real time, 24: Idris Elba as well. Unsurprisingly, Elba is excellent in a taut, tension-dripping nail-biter that's easy to get addicted to. Fresh from battling lions in Beast, granting wishes in Three Thousand Years of Longing, returning to Luther in Luther: The Fallen Son and popping up in Extraction II, The Wire alum plays Sam Nelson, a seasoned negotiator on his way home to the UK from Dubai. It can't be underestimated or understated how crucial that Hijack's biggest star is here. Cast the wrong person as Sam, and the show might've plummeted. When terrorists take over the flight, the series' protagonist boasts the ability to get everyone from pilots and crew to agitated flyers, wannabe saviours and air traffic control on his side. Sometimes, the hijackers join in on following his lead and taking his advice. Even if action movies have long relied upon heroes with such swagger and sway, trying to pull it off here without someone of Elba's charm and confidence would likely struggle (see: the Liam Neeson-led Non-Stop, and recent Gerard Butler flick Plane). When he disembarks Kingdom Airlines Flight 29, Sam just wants to try to patch things up with his estranged wife Marsha (Christine Adams, The Mandalorian) and spend time with his teenage son Kai (Jude Cudjoe, Halo) — aims at the top of his list before he has any inkling that this won't be an ordinary journey. Then fellow Brit Stuart (Neil Maskell, Small Axe) and his gun-toting team (Here Comes Hell's Jasper Britton, The Duke's Aimée Kelly, The Souvenir: Part II's Jack McMullen and TV first-timer Mohamed Elsandel) seize control of the aircraft before the first hour of the flight has passed. To stay alive, and to also attempt to keep the other passengers safe, Sam has no choice but to step in. Action formula dictates that he does indeed have a particular set of skills that come in handy in the situation: his way with words. Onboard, anxiety spreads fast from the pilot (Ben Miles, Tetris) down. Tracking an hour of the ordeal per episode, Hijack gets its audience experiencing the stress, chaos and life-or-death stakes in tandem with Sam and the rest of the flight's hostages — and, crucially, establishing the in-the-air space and figures that the series has to play with. The show jumps between seating classes, exploring how the ordeal affects everyone from the comfortable to the crammed-in. It ensures that viewers understand who's sitting where, and how their different personalities might have an impact. The series stalks through the aisles, making sight lines and escape routes plain, and also hovers in crew areas. In other words, it puts its various pieces in place, proving expertly aware that suspense springs not just from waiting and anticipating, but from knowing which elements could factor in. Hijack makes slick and skilled use of its main setting, but it isn't a one-location-only affair. Also getting nervous: people on the ground across several countries, all attempting to work out what's going on. Marsha and Kai are among them; the former notes that "when it all kicks off, Sam's the best at handling it", but also asks her new cop beau Daniel O'Farrell (Max Beesley, Operation Fortune: Ruse de Guerre) to investigate after she receives a cryptic text from the air. The police officer enlists British counter-terrorism via his ex-partner Zahra Gahfoor (Archie Panjab, Snowpiercer), while various aviation bases also start realising that all isn't right, including at Heathrow where Alice Sinclair (Eve Myles, We Hunt Together) is a flight controller. Creators George Kay (Lupin) and Jim Field Smith (Litvinenko) are masterful with tone and twists, keeping the pressure up from go to whoa and never letting the plot cruise on autopilot. Together, Kay (who writes) and Field Smith (who directs) also created the interrogation-focused Criminal, and bring the same flair for teasing out pivotal details — not just in conversation, but visually as Hijack flits between the plane and terra firma. This isn't a whodunnit, put it does reward sleuthing, tasking its audience with puzzling together what's really going on, who can truly be trusted and how the show might land. Again, Apple TV+ is in its mystery element, as everything from Severance, The Afterparty, Black Bird and Bad Sisters to Servant, Hello Tomorrow!, High Desert and Silo keeps illustrating. In hooking viewers, and quickly, Kay and Field Smith are also well-versed in the kind of series they want Hijack to be. Pivotally, they're clearly familiar with the conventions and cliches that the show is leaning into, what's soared there before, and how to do it well. Having Sam rely upon the power of persuasion first and foremost might seem like a small touch, but it's an important one: Hijack wouldn't last seven hours, or keep watching eyes invested, if guns just kept blasting and fists flying. Even an aircraft-set John Wick instalment mightn't make that work ( although who wouldn't want to see that franchise — and only that franchise — try?). All the focus on talk also gives Hijack another vital angle: it sees its characters as people, rather than merely using them a means to move the plot along. Accordingly, it dives into their complications — some more than others, and no one more than Sam, but enough to examine the many complex ways that humans behave, especially in such high-strung circumstances. This is a show that's well aware that we all have baggage, and that it's with us at every turn. Thankfully, most of us aren't forced to work through it at 35,000 feet while being held hostage, but that exact scenario with Elba at its centre makes for riveting viewing. Check out the trailer for Hijack below: Hijack streams via Apple TV+.
Whether they riff on fairy bread or turn lamingtons into something cold and creamy, plenty of Gelato Messina's popular desserts transform other foods into a frosty sweet treat. Who doesn't love a culinary mashup? Not this chain and its devotees, clearly. And, since 2021, the brand has been taking that process a step further by whipping up a chocolates based on its already-inventive gelato flavours. With 2022 now here, Messina is kicking off the new year the way it always goes on — with a fresh batch of one-off specials, starting with a return to its gelato-inspired choccies. This time, there's four varieties available, all in one box. So yes, you'll get to try them all without having to choose which one you'd prefer. Love Messina's take on Iced Vovos, Coco Pops, lamingtons and fairy bread? They're all accounted for here. And they all look the part, because of course they do. They all look delicious, too. The Vovovroom bar comes filled with layers of raspberry cream, raspberry jam, desiccated coconut and sablé biscuit, then coated in raspberry chocolate. With the Just Like a Chocolate Milkshake bar, you're getting chocolate malt cream, milk chocolate-panned rice bubbles and chocolate sablé biscuit, all coated in milk chocolate. Obviously, the fairy bread bar is coated with 100s and 1000s — and includes layers of toasted breadcrumb cream and sablé biscuit coated in white chocolate as well. Or, for the lamington, you'll get chocolate cream, raspberry jam, chocolate-dusted desiccated coconut and chocolate sablé biscuit, as wrapped in dark chocolate. Boxes cost $40 each and you'll need to place your order on Monday, January 17, with times varying depending on your state. You can then pick up the choccies between Saturday, January 22–Sunday, January 23. Gelato Messina's chocolate box will be available to order from on Monday, January 17, from 9am local time in Queensland and the ACT, 9.30am in Victoria and between 10am–11am in New South Wales.
Two Chicago-based designers have come up with an entertaining and sustainable solution to their city's heavy winter snowfall. Noel Turgeon and Natalya Egon's Second Hinterlands Project proposes to turn Chicago's snow into a playground for young and old alike. The project suggests that instead of spending large amounts of money removing the snow, certain areas could be left snow covered, and the remaining snow strategically relocated to this uncleared area. In the process a unique new landscape would be created for the locals to interact with and enjoy until the weather starts to thaw. Think giant snow mountains, snow forts, tunnels and other delightful things. Whilst it has basically zero implications for Australia, both designers live in a place where heavy snowfall has an inevitably transformative quality upon the cityscape and upon its citizens' movements, and they want to make this transformation a positive one. "The experience of the city is altered overnight; for a short while the city transforms from a system of streets, transportation networks, landmarks, and nodes into a landscape of concealment and exposed void, dramatically simplified yet overtly dynamic," says Egon on her website. The project won the 2013 competition “COLDSCAPES: New Visions for Cold Weather Cities" organised by Kent State University's Cleveland Urban Design Collaborative (CUDC).
If there's one thing summer has in abundance it's activities. Whether you're heading on a trip or staying local, there's always plenty to do, see and explore when the sun comes out to play. Yet, somehow, we still seem to always do the same old things: quick dips in the ocean and having mates round for a Sunday session in your backyard. Don't get us wrong, they're both great. But, after a pretty rough year, why not take things up a notch and make this one more memorable? We've partnered up with Bacardi to help you be a bit more unconventional over the warmer months. Here are seven ways you can make the most of the glorious weather, without resorting to the predictable. Think underwater art museums, camping with the crew, multi-venue festivals and cocktail parties in parks. TAKE A HIKE Sure, it might not be the most original summer activity on the list, but getting out into nature is rewarding at any time of year. You'll want to avoid heatstroke, so it's best to get going early or in the late arvo when the temperature starts to drop — which means you'll see some mighty fine sunrises and sunsets. So, put on your best outdoor shoes, slap on some sunscreen and ready yourself for an adventure. If you're in Sydney, you can cruise along one of the city's many coastal walks or hike in a national park, where you'll find some swimming holes to cool off in. In Brisbane, you can conquer epic mountains, check out rushing falls and look out over stunning vistas, without having to venture too far from the big smoke — check out five of the best walks here. Down south in Victoria, there's everything from out-of-town seaside strolls to epic multi-day hikes, boasting idyllic views of pristine beaches, sprawling countryside and serene vineyards, plus plenty of local wildlife. [caption id="attachment_784354" align="alignnone" width="1920"] Disney+ Drive-In[/caption] CATCH A FLICK AT A DRIVE-IN CINEMA Looking for an idea for a date or fun night out with mates? Forget the recliner, keep to social-distancing requirements and catch a movie under the stars, while keeping cool in your car at a drive-in cinema. Head to Skyline Drive-In in Blacktown, Sydney, where you can catch something on the big screen every night of the week, whether it's a new blockbuster or cult classic. If you grew up in Brissy, you've probably already been to old fave Yatala Dive-In and, with such a great rotating program, who could blame you? If you'd rather do something different, though, head to The Tivoli Drive-In on a Saturday. Melbourne locals, you're spoiled for choice with Dandenong Lunar Drive-In and Village Cinemas Coburg Drive-In and, come December, a pop-up Disney+ Drive-In. HOST A COCKTAIL PARTY IN A PARK Know a good patch of green near you? Then, take your next event to the park and impress your mates with an impromptu cocktail party — with a dress code encouraged, of course. Grab some picnic blankets, portable speakers and fun snacks, then get ready to whip up some next-level bevvies. For tropical tipples, you'll need a few bottles of Bacardi, then check out these four super-easy rum cocktails. We recommend batch-making some frozen strawberry daiquiris to keep things simple — just make sure your party guests know to arrive on time. And, because no good cocktail party is complete without snacks, head to a park with a barbecue so you can throw on some snags, too. [caption id="attachment_770817" align="alignnone" width="2000"] White Rabbit 'And Now' by Kimberley Low[/caption] STAY COOL AT A BLOCKBUSTER ART EXHIBITION While being outdoors when it's sunny is ace, sometimes you just want to kick back in air-conditioning. If that's the case, head to an indoor art exhibition where you can get your cultural kicks — and stay cool. Check out contemporary Chinese art at White Rabbit Gallery, the MCA's landmark summer exhibition Lindy Lee: Moon in a Dew Drop or head to Eveleigh arts and cultural institution Carriageworks. Or, step into Brisbane's Queensland Art Gallery (QAG) and Gallery of Modern Art (GOMA), with Unfinished Business: The Art of Gordon Bennett currently showing, or see some Bauhaus designs at the Museum of Brisbane. But, perhaps the most exciting of all is Victoria's NGV Triennial, running from December 19 till April next year. Expect to see marine monsters, giant mirrored sculptures by Jeff Koons and a multi-sensory walkway at this massive exhibition. The capital currently has a groundbreaking exhibition showing at the NGA, too, profiling prominent Aussie women artists. GO CAMPING WITH THE CREW No matter where you are in Australia, there's always a spot waiting nearby for you to set up camp. Whether your crew wants to be close to sandy shores or in a remote pocket of wilderness under luminous stars, camping is an awesome way to escape the daily grind. Because we're big fans of reconnecting with nature here at Concrete Playground, we've already sought out some of the top camping spots around the country, too. New South Wales has a bunch of free campgrounds — you can find our pick of the bunch over here, from riverside spots to mountainous getaways. If you're more into the high life, Queensland has plenty of luxe glaming stays. Otherwise, pitch your own tent in Lamington National Park or right by the beach at one of these ten spots. If you're keen to check out regional Victoria, there's beach camping galore as well as plenty of top-notch free grounds not too far from Melbourne. As most of us won't be travelling far this summer (or at least not overseas), many campgrounds are already starting to book out, so be sure to do your research before hitting the road. [caption id="attachment_792466" align="alignnone" width="1920"] Mushroom Creative House[/caption] SEE A LIVE GIG If there's one thing Australia does well across the country, it's live music — even now amid a global pandemic. After months of catching live tunes from our living rooms, it's time to chair-dance at IRL gigs once again. Sydney's Enmore Theatre, Mary's Underground, The Vanguard and Oxford Art Factory all have stellar lineups over the next few months and the annual Sydney Festival never disappoints. If you're in Queensland, or can make it up to the Sunshine State over summer, there are a bunch of COVID-Safe festivals going ahead, including To The Point Festival, This That, The Tivoli's Open Season and Mountain Goat Valley Crawl. Although Melbourne is still waiting for live gigs to come back, punters can see a live comedy show at The Catfish in Fitzroy and be sure to keep an eye out for gig announcements likely to come to a heap of Melbourne live music venues. HIT THE HIGH SEAS There's nothing like diving into the ocean when the mercury is rising. But, rather than just splash about by the shore, there are plenty of other ways you can hit the highs seas instead. Think paddleboarding, kayaking and surfing Sydney seas, or swimming with turtles and scuba diving with manta rays, which are particularly grand on the Queensland coast. While you're there, you should check out the southern hemisphere's first underwater art museum, too. Melbourne may not be known for its beaches, but you can chase plenty of nearby waterfalls instead, or take a windsurfing lesson at St Kilda Beach. Do what moves you this summer with Bacardi. Once you've ticked off all the above adventures, check out Bacardi's competition, where you and 20 mates could win the chance to attend Australia's smallest music festival. Top image: Bec Taylor
First there was payWave, then there was Cardless Cash (thank you, Commonwealth), and also PayPal Here, which allows you to pay for coffee and things via Bluetooth from your PayPal account. These got us closer to the minimalist, tech-driven dream — a cashless, cardless (and, effectively, wallet-less) society — but not quite there. That's all set to change though, with Apple switching on their mobile payment system, Apple Pay. Launching today with payments provider eWAY, Apple Pay will make poor buying decisions even more effortless, with one-touch payments online, within apps and IRL — if you have an iPhone and use AMEX, that is. At the moment, Apple Pay can only be used on the Apple Watch or iPhone 6 and above, by those with a directly-issued American Express credit card. Which would seemingly rule out most people under 50. But I digress. Already in use in the US and the UK, the Australian launch comes in a rather inevitable move towards doing everything on that little pocket-sized piece of machinery you call your iPhone. For the moment, Apple Pay is accepted at around 21,000 retailers, including David Jones, Coles, Woolworths and Zara. You can even pay for your Uber ride with it and, most deliciously, your late-night pad Thai deliveries from Eat Now. To use Apple Pay, you'll need to add your card to the Wallet app. Then, just use the iPhone's Touch ID to make in-app purchases, or hold your phone near the contactless reader in-store. If Australia is to follow suit of the US, Visa and MasterCard should be accepted by Apple Pay in the near future. At least, let’s hope so. That extra bit of plastic in your pocket is weighing you down.
The full 2023 Splendour in the Grass lineup isn't here just yet, but the festival's only announced headliner so far is planning a decent stay Down Under around her trip to Byron Bay. Whether you know that you can't make it to the annual fest or you're just keen to see the 'Tempo', 'Juice', 'Truth Hurts' and 'Rumors' singer more than once, Lizzo has just announced four arena shows in Australia and New Zealand this winter. Here's some news that's as good as hell: Lizzo will play Perth, Melbourne, Sydney and Auckland in July, with dates both before and after her Splendour stint. Given that she's set to take to the Qudos Bank Arena stage in the Harbour City on Sunday, July 23, she clearly won't be doing the same in Byron the same night — so, if you're headed to North Byron Bay Parklands, you'll be seeing the songwriter, singer and flautist (and Grammy- and Emmy-winner, too) on either the Friday or Saturday. Back to the solo show: it's tied to Lizzo's 2022 album Special, including, of course, Grammy Record of the Year-winning single 'About Damn Time'. But attendees can expect to hear hits from 2019's CUZ I LOVE YOU as well — and an overall set filled with dance-ready beats. Joining Lizzo on all shows as a special guest is Tkay Maidza, which means two must-see talents for the price of one. [caption id="attachment_750739" align="alignnone" width="1920"] Luke Gilford[/caption] While a Lizzo tour is always a welcome announcement, fans in Brisbane will note the usual Splendour setup — that is, when someone plays the fest and does their own gigs around it, Brissie is considered close enough to Byron to not warrant a separate stop. And if you're somewhere other than Auckland in Aotearoa, you'll need to head there as that's her only NZ concert. LIZZO — THE SPECIAL TOUR 2023: Friday, July 14 — RAC Arena, Perth Monday, July 17 — Rod Laver Arena, Melbourne Sunday, July 23 — Qudos Bank Arena, Sydney Wednesday, July 26 — Spark Arena, Auckland Lizzo will tour Australia and New Zealand in July 2023. The American Express presale runs from 11am Friday, March 24–11am Tuesday, March 28, followed by the Live Nation presale from 12pm Tuesday, March 28–10am Wednesday, March 29 — and general sales from 11am Wednesday, March 29 — with all times local. For further details, head to the tour website.
Brazil certainly seems to have it going on at the moment. Not only are they in possession of the world's 8th largest economy and have come out of the GFC relatively unscathed, they are also playing host to the 2014 World Cup and the Olympics in 2016. Brazil is shaping up to be the place to be (or at least watch on TV) over the next few years. And if the winning design of the Rio 2016 Olympic Park Urban Masterplan is anything to go by, it looks like it is going to be quite an attractive place to be as well. Announced last week by the Brazillian Municipal Olympic Company and the Brazil Architects Institute, the Olympic Park's winning design by British firm AECOM combines both utility and aesthetics, providing a strong vision for the games, but perhaps more importantly, a strong vision for how the space can be strategically and sustainably used after the Olympics. Inspired by Brazil's rainforests and unique flora and fauna, the winning design consists of five villages, parks, sporting facilities and exceptional transport facilities. It also works with and protects the environmental features of the area, in particular a local lagoon. Brazilians have always had a reputation for knowing how to throw a damn good party. And with these designs they''ll have another great place to do it too. https://youtube.com/watch?v=JdLRuwczjwc
Ah hot chocolate! Once a substitute for those non coffee drinkers (are there any of you left?) is now a fine and respectable drink to order. In fact, new research shows a cup or two of hot cocoa can help keep brains healthy. For those purists who like their chocolate fix plain and simple, as well as those who are willing to mix it up with punchy flavour combinations — we have you all covered. Here are the top ten hot chocolates in Brisbane, in no particular order. And a disclaimer: we take no responsibility for your sugar coma, but will take credit for increased memories. 1. La Dolce Vita Cafe Life is indeed sweet, especially while sipping on a Nutella hot chocolate under the Eiffel Tower. With its signature 'you can stand a spoon in it' consistency, La Dolce Vita's hot chocolate has been around for so long it should be a dedicated stop on Brisbane's City Sights bus route. Remember the days getting caught red handed with your head in the pantry and heaped tablespoon of Nutella stuck to the roof of your mouth? Well, my friend, those days were not in vain, for they were the perfect practice for chugging down this drink. Nutella lovers will be back for more, we can guarantee it. 20 Park Road, Milton 2. The Dark Chocolatier Like stepping into chocolate heaven, the Dark Chocolatier is complete sensory overload. Take your eyes away from the array of take-home goodies available for a second, then head toward the back of the shop and order yourself a Dark Turkish Delight hot chocolate from their 'rustic hot chocolate' menu. They're made from vegan natural rosewater jelly, Noosa Chocolate Factory dark chocolate, raw cane sugar and Ecuadorian single origin cacao. For those who don't fancy Turkish delight, there are plenty of other options available such as Dark Valencia Orange Hot Chocolate or White Hot Chocolate. Three words. Thank you God! 156 Adelaide Street, Brisbane 3.Monty's Chocolates A good hot chocolate should be like any good husband: sexy, rich and smooth. So ladies, you can rejoice as Monty's hot chocolate meets all of the above criteria. Not for the faint hearted, this drink is ideal for a cold winter's day and should be slowly savoured to get the most out of the Belgian chocolate and spicy blend. For a mid-workday pick-me-up this glorious drink is also available at their city store, sure to please all our working folk based in the CBD (not just you, ladies!). 155 La Trobe Tce, Paddington 4.Bunker Although usually renowned for their impeccable coffee, Bunker challenges your thinking when it comes to hot chocolate. Theirs is available in 75% dark, milk or white with flavours such as lavender, Chai and their newest addition, lime and sea salt (a must try!). Bags of this ethical, Fair Trade chocolate mix are also available to take home. 20 Railway Tce, Milton 5. Campos Coffee If 'thickness ain't your weakness' then a Campos' hot chocolate may be more down your alley. They're renowned primarily for their coffee, but hot chocolate fans need not worry. It's not too sweet, not too thick — these guys take pride in getting the balance just right (and the only chocolate powder you'll see is for decorative purposes only). Made with premium melted chocolate but not overpowering, this drink is ideal for those who don't want to 'eat' their hot chocolate with a spoon, but rather enjoy in a takeaway moment. 11 Wandoo Street, Fortitude Valley 6. Max Brenner Who knew that a little bald man could have women lining up out the door. I bet you George Costanza didn't see that happening! On a cold winter's night you can't go past the cult classic hot 'chocolat' served in a hug mug. Mmm, the perfect shape to wrap each hand around and inhale each sip. Heaven. However, if you are feeling a little adventurous, definitely give the Mexican spicy chocolate or the Danish Toffee chocolate a try — both are equally tasty and don't overpower the original recipe. 179 Oxford St, Bulimba 7. Cream Patisserie Ever enjoy a great hot chocolate out and think to yourself 'I should make this at home' only to cry over your homemade cup of ruin? Well gone be the days! After consuming a cup of the finest Belgian hot chocolate from Cream Patisserie (and being completely distracted by all the pastries showing off in the front window) one must purchase a bag of the pre-made hot chocolate mixture ready for you to take home. No more watered down Nesquick in front of the TV; you deserve the best. 380 Cavendish Road, Coorparoo 8. San Churro The day San Churro arrived in Brisbane was the day the Spaniards successfully seduced us with cups of melted hot chocolate and we all went a bit loco. Available in an array of flavours such as peanut butter bomba (which tastes like a liquid form of a Reese's peanut butter cup! Winning!) it'll have you saying 'puedo tener otro?' We recommend pairing your drink with churros, naturally. 2/161 Grey St, South Bank 9. Wrapture Cafe After drinking Wrapture's Shakti hot chocolate you'd be forgiven for spending the rest of the day in a Zen-like state. The chai spice mix and chilli Venezuelan hot chocolate warms you up from the inside out, and gives you a subtle chilli kick at the end. Set in the quieter side of West End, escape the crowds, leave the awkward yoga positions at home and achieve hot chocolate enlightenment. 71 Russell St, West End 10. Chocolate Soldier Amongst their busy CBD shopfront, Chocolate Soldier's hot chocolate made with their homemade ganache is ideal for those people who don't want to commit to dessert but need a sugar hit after every meal. Reminiscent of an old-school traditional Parisian coffee house, it's all too easy to spend a few hours here while enjoying some locally made hand-crafted sweets. 275 George St, Brisbane
Something delightful is happening in cinemas across the country. After months spent empty, with projectors silent, theatres bare and the smell of popcorn fading, Australian picture palaces are back in business — spanning both big chains and smaller independent sites in Sydney and Brisbane. During COVID-19 lockdowns, no one was short on things to watch, of course. In fact, you probably feel like you've streamed every movie ever made over the past three months, including new releases, comedies, music documentaries, Studio Ghibli's animated fare and Nicolas Cage-starring flicks. But, even if you've spent all your time of late glued to your small screen, we're betting you just can't wait to sit in a darkened room and soak up the splendour of the bigger version. Thankfully, plenty of new films are hitting cinemas so that you can do just that — and we've rounded up, watched and reviewed everything on offer this week. https://www.youtube.com/watch?v=aSfX-nrg-lI MANK In 2010's The Social Network, David Fincher surveyed the story of an outsider and upstart who would become a business magnate, wield significant influence and have an immense impact upon the world. The applauded and astute film tells the tale of Mark Zuckerberg and of Facebook's development — but it's also the perfect precursor to Fincher's latest movie, Mank. This time around, the filmmaker focuses on a man who once spun a similar narrative. A drama critic turned screenwriter, Herman J Mankiewicz scored the gig of his lifetime when he was hired to pen Orson Welles' first feature, and he drew upon someone from his own life to do so. Citizen Kane is famous for many things, but its central character of Charles Foster Kane is also famously partially based on US media mogul William Randolph Hearst, who Mankiewicz knew personally. Accordingly, Mank sees Fincher step behind the scenes of an iconic movie that his own work has already paralleled — to ponder how fact influences fiction, how stories that blaze across screens silver and small respond to the world around them, and how one man's best-known achievement speaks volumes about both in a plethora of ways. Mank is a slice-of-life biopic about Mankiewicz's (Gary Oldman) time writing Citizen Kane's screenplay, as well as his career around it. It's catnip for the iconic feature's multitudes of fans, in fact. But it also peers at a bigger picture, because that's classic Fincher. When the film introduces its eponymous scribe, it's 1940, and he's recovering from a car accident. In a cast and confined to bed due to a broken leg, he has been dispatched to a Mojave Desert ranch by Welles (Tom Burke, The Souvenir) and his colleague John Houseman (Sam Troughton, Chernobyl), all so he can work his word-slinging mastery. As Mankiewicz toils, the movie wanders back to times, places and people that inspire his prose, especially from the decade prior. Dictating his text to British secretary Rita Alexander (Lily Collins), he draws upon his friendships with Hearst (Charles Dance, Game of Thrones) and the news baron's starlet mistress Marion Davies (Amanda Seyfried) in particular. And yes, as anyone who has seen Citizen Kane will spot, Mank's nonlinear structure apes the script that Mankiewicz pens. Many of the latter film's glimmering black-and-white shots do as well, although you won't spot a sled called Rosebud here. In a script by Jack Fincher — father of David, who wrote the screenplay in the 90s before passing away in 2003 — Mank suggests other factors that made Mankiewicz the person he was, and that shaped Citizen Kane's script as well. Combine all of the above, and a dense and detailed movie results. That's Fincher's wheelhouse, after all. Mank is also visually ravishing and textured, and tonally cutting and icy — which, along with weighty performances, are all Fincher hallmarks. But there's both depth and distance to Mank. It peers in and pokes about, but it never wholly lures the audience in. Watching Oldman and Seyfried's rich scenes together, viewers will wish it did, though. Read our full review. https://www.youtube.com/watch?v=ETK0fOKwJNQ MONSOON Home may mean different things to different people but, in Monsoon, Vietnam doesn't mean home to Kit (Henry Golding). He was born there, in the aftermath of the war. He spent his earliest years in the Asian nation, with his parents caught up in the aftermath of the conflict. But when he was still a child, his family left for a refugee camp in Hong Kong and then moved permanently to London. Now, as an adult who has lived the bulk of his existence far away, he returns for the first time to bring back his mother's and father's ashes. He's instantly thrown off balance upon his arrival, whether he's driving through moped-filled streets or walking around crowded markets. Little of what he remembers is the same — his old house and his neighbourhood stomping grounds, particularly — and he doesn't recall as much as his childhood best friend Lee (David Tran), who stayed behind, would clearly like. Of what he does recollect, some crucial details clash with Lee's versions, too. Consequently, as Kit roves around Saigon and then Hanoi (his place of birth and his parents' original home, respectively), he's searching for a connection. He'll make one, but not in the way he expects. Monsoon tells a noticeably slight tale, but Cambodian-born Chinese British writer/director Hong Khaou (Lilting) is keenly and overwhelmingly aware that a sense of belonging doesn't simply come with one's birth certificate. He's also a minimalistic filmmaker, in a sense. He delves into straightforward scenarios, and knows that he needn't layer them with too many external complicating factors. In other words, he's cognisant that merely examining how a person copes — even in a very commonplace situation — can deliver several lifetimes worth of complexity without a wealth of other narrative roadblocks or setbacks. As a result, both Khaou and Monsoon ask a significant amount of Golding; they demand more than his previous charisma-driven roles in Crazy Rich Asians, A Simple Favour and Last Christmas have combined, actually. Viewers of those three films already know that he can radiate charm like few other actors currently appearing on-screen, but Monsoon requires Golding's soulful best. At every moment, he's tasked with conveying the potent thoughts and jumbled emotions swelling inside Kit, and with doing so largely without dialogue. It's a quietly powerful performance, and it's one that the movie steadfastly needs. It's one that Monsoon depends upon, kin fact. Thanks in no small part to his efforts, Monsoon feels comfortable and intimate and eye-opening and new all at once — and proves immensely affecting viewing. Read our full review. https://www.youtube.com/watch?v=Xq1F1opr_FE&t=2s ELLIE AND ABBIE (AND ELLIE'S DEAD AUNT) As a teen rom-com about two high schoolers working through their attraction for each other as they're also trying to work out what to do with their lives and how to simply be themselves, there's a strong sense of familiarity about Ellie and Abbie (and Ellie's Dead Aunt). That isn't a sign of laziness, however, because first-time feature writer/director Monica Zanetti wants you to register how much her film resembles other entries in its genre — and to notice what it's doing differently. There's a purposeful sense of clumsiness about the Sydney-set movie, too. Again, that's by design. Studious school captain Ellie (Sophie Hawkshaw, Love Child) has a simmering crush on the far cooler, calmer and more collected Abbie (Zoe Terakes, Janet King), but is struggling to stump up the courage to ask her to the school formal. When the pair do slowly start becoming closer, Ellie doesn't know exactly what to do, or what's expected, or how to be the person she wants to be in her first relationship. Complicating matters is the distance she feels from her mother, Erica (Marta Dusseldorp, Stateless), as she navigates such new emotional terrain — oh, and the fact that, as the title gives away, Ellie's dead aunt Tara (Julia Billington) suddenly starts hovering around and dispensing advice about following her feelings. So far, so sweet. Of course, unfurling a queer romance within such well-worn confines shouldn't be such a remarkable act (and an Australian teen queer romance at that), but it still currently is. Ellie and Abbie (and Ellie's Dead Aunt) isn't just entertaining and understanding, cute and creative with its teen romance, and proudly celebratory of LGBTQIA+ perspectives, though. It's all those things, but Zanetti's decision to open the door to a deeper contemplation of Australia's historical treatment of the queer community gives considerable depth and weight to a movie that mightn't have earned those terms otherwise. The brightly shot feature has a strong sense of place, but without including all of the usual landmark shots that make many features feel like tourism campaigns. More importantly, it has a clear understanding of what LGBTQIA+ Sydneysiders have weathered in past decades. That activism is layered throughout the film in an overt subplot and, while it's hardly treated with nuance (an observation that applies to much of the picture), it's a powerful inclusion. Simply by reaching local cinema screens, Ellie and Abbie (and Ellie's Dead Aunt) makes a statement, but it also pays tribute to all the statements made in big and bold ways — and with tragic and painful outcomes, too — to get to this point in Australian queer history. Read our full review. https://www.youtube.com/watch?v=-rIcXgMx7hU PINOCCHIO It has been 80 years since Disney's Pinocchio unleashed a wooden puppet and the woodcarver who made him upon animation-loving audiences, adapting Carlo Collodi's 1883 Italian children's novel The Adventures of Pinocchio in the process. And, over that period, that film has remained the version of record. Indeed, it's the reason that generations of viewers are familiar with the story. Matteo Garrone's (Gomorrah) new live-action movie of the same name earns a place alongside it, however. It's one of three new and upcoming features tackling the narrative, ahead of a stop-motion flick co-directed by The Shape of Water's Guillermo del Toro that's due to hit Netflix next year and Disney's own flesh-and-blood iteration that's slated to be helmed by The Witches' Robert Zemeckis — and it serves up a tender and sumptuous take on the fairytale. In relaying how the kindly Geppetto (Life Is Beautiful Oscar-winner Roberto Benigni) shaped a lively log into a boy-sized puppet (Federico Ielapi), who then decides to see the world and strive to become a real child, it also hews far closer to the source material than its animated predecessor. This is a movie clearly made with an abundance of affection for its inspiration, too, and that love and devotion shines through in every frame. In fact, the feature's visuals prove its strongest element, including in bringing Pinocchio to life. He's a detailed marvel who appears oh-so realistic and yet also looks uncanny as well, as intended, and the decision to use a child actor wearing prosthetics rather than relying heavily upon CGI works a charm. The world that Garrone spins around the eponymous puppet is similarly rich and fantastical — and whimsical, although the latter is overdone. Pinocchio is far more resonant when it's letting its central figure discover that being human involves weathering all the cruelties that the earth's population has in store for each other, and watching him learn that Geppetto's unconditional fondness and acceptance is sadly rare. It's much less involving when it's leaning overtly into quirkiness, although that should probably be expected with Benigni involved. Where eccentricity is concerned, this tale already has plenty baked in, as the Fox (Massimo Ceccherini), the Cat (Rocco Papaleo) and the Fairy with Turquoise Hair (Marine Vacth, If You Saw His Heart) all make plain. But even if the whole movie is a little overstated, Garrone has still made a beautiful movie — and one that feels like the natural next step after 2015's Tale of Tales and even 2018's Dogman. https://www.youtube.com/watch?v=CxWfz5hRt94 MORGANA Many a big-screen drama has stepped through the plight of a middle-aged woman unhappy with the state of her life, constrained by the path she's been forced to take, and uncertain about her next steps or committed to do whatever it takes to leave the existence she hates behind. Indeed, it's a list too long to detail; however, the entire history of fiction on celluloid couldn't conjure up anything as distinctive, empowering and intriguing as Morgana Muses' tale — or the wealth of literary narratives about the same idea, either. After charting the course expected of her when she grew up, she found herself not just unhappily married, but despondent in her domestic trappings. Accordingly, the Albury housewife decided to leave her husband and the small town she called home, initially in a tragic fashion. But, as perceptive Australian documentary Morgana shows, Muses thankfully only achieved the first two parts of that equation in her quest to regain control and agency over her choices. From there, she decided to step into the world of feminist pornography, resulting in an acclaimed career that has earned her accolades, applause and attention from Melbourne to Berlin and back again (and, obviously, that has resulted in her journey being immortalised in this movie). It's no wonder that filmmakers Isabel Peppard and Josie Hess were eager to document Muses' story and share it with the world, because it's quite the tale. This isn't likely to be the last film made about Muses, actually, because she instantly screams for several documentaries dedicated to her exploits — and will likely one day inspire a fictionalised drama as well. There's much to unpack, including Muses' resolute determination to bravely put herself first, express her own desires, and create both sex-positive and age-positive erotica. Every one of those decisions isn't just revelatory, but also proves revolutionary in their own way. Candid and complex, Muses is the type of subject that all filmmakers wish they could stumble across, as Peppard and Hess continually show in their engaging film. Morgana isn't just a celebration, though, because even Muses' new life has had its ups, downs, highs and lows — all of which are captured with help from the documentary's willing point of focus, with the help of both talking-head interviews and fly-on-the-wall-style footage, and with glimpses of the work that's transformed Muses' existence. https://vimeo.com/469681168 LOVE OPERA Australia's performing arts scene has been shuttered for much of 2020 due to the COVID-19 pandemic. But documentary Love Opera lets viewers peer behind the scenes of a production that hit the stage long before anyone had ever heard of the novel coronavirus that changed life as we know it this year — and to spend time with the talented folks who toiled to make the show in question happen, too. The opera: Carmen. The bodies responsible: the Lisa Gasteen National Opera Program (LGNOP) and the Queensland Symphony Orchestra. The year: 2017. Established by internationally renowned Australian soprano Lisa Gasteen, the intensive program trains Australian and New Zealand opera singers, and has put on a semi-staged production at the end of each year since 2017. Accordingly, Love Opera follows LGNOP's first attempt to do just that, from the casting through until the final product. Gasteen features prominently, understandably, chatting not just about the show at hand and the process of bringing it to fruition, but also running through her career, its ups and downs, the reality of getting to the top of the industry and her decisions for embarking upon her current path. Also lending the film their thoughts, feelings and observations are the program's cofounder Nancy Underhill, plus conductors Alondra de la Parra and Simone Young, as well as singers such as Rachel Pines and Morgan England-Jones. There's much to cover, as filmmaker Liselle Mei recognises, with the film quickly flitting through a wealth of material — and touching upon a plethora of topics in the process. The physicality required to be an opera singer, the passion that drives it, the difficulty of being a younger talent when many roles are written for older characters, the way the art form has been changing over the years, the treatment of queer creatives: all of this earns the documentary's attention, and each could've received more screen time if there wasn't so much to cover. But Love Opera never feels slight on any area of interest. It doesn't break the behind-the-scenes doco mould, either, but it delivers a broad rather than shallow snapshot of everything required to make the LGNOP's version of Carmen happen. Brisbanites will notice all of the drone shots of the movie's setting, which can border on intrusive; however, both opera lovers and newcomers alike receive an insightful glimpse at the ins and outs of the medium, its homegrown stars both established and emerging, and the hard work behind crooning its tunes in such a resonant fashion. https://www.youtube.com/watch?v=sS9AYlUfp0A FATMAN When a film or TV show fills one of its roles in a gimmicky way that's obviously designed to garner publicity, it's called stunt casting. The term wholeheartedly applies to Fatman, a flimsy action-comedy that features Mel Gibson as Santa (and delivers his second big-screen release of 2020 after the abysmal Force of Nature). Even just reading about the premise, you can probably see the light bulbs going off in casting executives and other filmmaking powers-that-be's heads when they came up with the idea — because enlisting the American-born, Australian-raised actor as the symbol of all things wholesome and jolly sits in stark contrast to the far-from-jovial string of controversies that have popped up in his personal life, especially over the past decade. But a movie needs more than a blatant stunt to actually serve up something worth watching. And as far as shameless attempts to grab attention go, getting Gibson to play the red-suited figure just proves ill-advised and uncomfortable rather than provocative. Writer/directors Eshom Nelms and Ian Nelms (Small Town Crime) must feel otherwise, though, because there's very little else to this festive-themed movie. 'Tis the season for dull and muddled movies that aren't anywhere near as edgy as its makers think, and aren't funny or entertaining at all, it seems. Three male characters drive Fatman's narrative, starting with Chris Cringle (Gibson), who oversees a Canadian workshop that's forced to take a military contract to get by. Kids just aren't behaving themselves enough these days, so he's delivering more lumps of coal than presents — and the stipend he receives from the US government to cover the elf-made gifts has decreased as a result. One of those bratty children, 12-year-old rich kid Billy Wenan (Chance Hurstfield, Good Boys), decides he isn't happy with his haul one Christmas. His solution: enlisting an assassin to bump off Santa as payback. Said hitman, who is just called Skinny Man (Walton Goggins), has been harbouring a lifelong grudge against the titular character anyway and doesn't take much convincing. Ant-Man and the Wasp and Them That Follow star Goggins is the best thing about a movie that has very little going for it, which speaks volumes about the one-note plot points. But given the distinct lack of jokes, the clumsy attempts to satirise today's supposedly uncaring times and the routine feel that infuses even its frenzied scenes of violence, he can't turn the film into a gift for anyone. Fatman wants to be an action-packed take on a Bad Santa-esque comedy, but ends up faring even worse than that beloved movie's awful sequel Bad Santa 2. https://www.youtube.com/watch?v=Tdce40rfRbk ALL MY LIFE No one with cancer would wish for their experience with the horrific disease to be turned into a schmaltzy movie about how hard their illness was for their partner. Based on the true story of digital marketer-turned-chef Solomon Chau and his psychology masters student girlfriend and later wife Jennifer Carter, that's what All My Life serves up — and while it feigns to focus on both of them, this overt attempt at tugging on viewers' heartstrings makes it clear that it's really about the latter. The title refers to Jenn (Jessica Rothe, Happy Death Day) and the 'make every moment count' wisdom she discovers watching Sol (Harry Shum Jr, Crazy Rich Asians) battle liver cancer. Over and over again, especially in tough and devastating situations, the film's visuals focus on her rather than him, too. It cuts away from him when he's explaining how difficult it all is, to follow her anger about their changed wedding plans instead. It literally foregrounds her in a shot when he's just received a big blow, and is understandably failing to cope. And it gives her time to scream in anguish in her car after yet more unpleasant news comes his way, in case viewers weren't certain who the movie thinks is the real victim. All My Life may be shot in the soft and sunny hues of a trite Nicholas Sparks-penned romance — and clearly aspire to sit in their company — but it's insidious in the way it uses one real-life person's sickness to make its preferred protagonist seem more interesting. It's a gender-flipped, illness-driven variation on the dead wife trope, as seen in the likes of Inception and Shutter Island, where the male lead is given a sob story to make his tale more dramatic. It's firmly in line with the way that cinema routinely sidelines those dealing with cancer over those standing by their sides, as seen far too often (when a movie about cancer or featuring a cancer-stricken character doesn't stick to the template, such as Babyteeth earlier this year, it stands out). The narrative details that All My Life chronicles may stem from reality, but they're ground down to a formula: girl meets boy, sparks fly, their future sprawls out before them, then cancer gets in the way and she can't have her dream nuptials. There's also never any doubt that this movie wouldn't exist if the GoFundMe campaign set up for Sol and Jenn's initially postponed wedding didn't garner significant media attention, as if some level of fame makes one cancer story more important than the rest. But it's the choice of focus that transforms this film from an expectedly cliched addition to the weepie genre and into overt slush. Director Marc Meyers' My Friend Dahmer also struggled with a similar approach, also choosing to spin a story around someone other than the obvious point of interest — and the fact that Shum puts in All My Life's best performance makes the tactic all the more galling and grating here. If you're wondering what else is currently screening in cinemas — or has been lately — check out our rundown of new films released in Australia on July 2, July 9, July 16, July 23 and July 30; August 6, August 13, August 20 and August 27; September 3, September 10, September 17 and September 24; October 1, October 8, October 15, October 22 and October 29; and November 5 and November 12. You can also read our full reviews of a heap of recent movies, such as The Personal History of David Copperfield, Waves, The King of Staten Island, Babyteeth, Deerskin, Peninsula, Tenet, Les Misérables, The New Mutants, Bill & Ted Face the Music, The Translators, An American Pickle, The High Note, On the Rocks, The Trial of the Chicago 7, Antebellum, Miss Juneteenth, Savage, I Am Greta, Rebecca, Kajillionaire, Baby Done, Corpus Christi, Never Rarely Sometimes Always, The Craft: Legacy, Radioactive, Brazen Hussies and Freaky. Top image: Mank, Nikolai Loveikis/Netflix; Monsoon, Dat Vu.
There shouldn't have been a dry eye in the house, or watching on from around the world, when Ke Huy Quan took to Hollywood's Dolby Theatre stage in March 2023 to collect the Best Supporting Actor Oscar for Everything Everywhere All At Once. His performance in the multiverse-hipping hit, which was only his second stint in front of the camera in two decades, thoroughly earned the coveted accolade on its merits. Just as with the feature's fellow Academy Award-winning actors Michelle Yeoh (The Brothers Sun) and Jamie Lee Curtis (The Bear), the sci-fi-, comedy-, fantasy-, drama- and martial arts-mashing film wouldn't have been the success it was without him. It's always moving to see a well-deserving talent get their time to shine. Quan's off-screen story was responsible for some of those tears, however. Thirty-nine years ago at the time, he was also all over the silver screen as a child actor in Indiana Jones and the Temple of Doom. Quan will always be the film's Short Round — and, in his next high-profile part afterwards, The Goonies' Data as well. After a handful of other roles, including TV's Head of the Class and 90s comedy Encino Man, he then stepped away from acting. Quan didn't farewell the screen industry, though. Off-camera, his credits include assistant fight choreography and stunt rigging on the first X-Men, action choreography assistant director on The One and first assistant director to iconic filmmaker Wong Kar-Wai on 2046. What's followed since Everything Everywhere All At Once wasn't something that he could've ever foreseen — as a teenager hitting it big, when he gave acting away and even when he was cast in the movie that changed his life. Neither was his upcoming part leading action movie Love Hurts. As Martin Gable, Quan steps into John Wick territory. He's also in Nobody terrain a touch, too. As seen in the feature's just-dropped trailer ahead of its February 2025 release, Love Hurts' protagonist is a real-estate agent who is devoted to his job, and has a Regional Realtor of the Year Award to show for it. He's also dedicated to helping people find their dream house. His slogan: "I want a home for you". His motto: "every day is an opportunity to change your life". But before this ordinary existence, Martin was in a completely different line of work as an assassin. [caption id="attachment_976823" align="alignnone" width="1920"] David Nguyen, ©AMPAS[/caption] In a film that boasts another Oscar-winner on-screen in West Side Story's Ariana DeBose (Argylle), of course that history finds its way back into Marvin's present. If Love Hurts sounds like classic David Leitch territory, that's because the stunt performer-turned John Wick, Atomic Blonde, Deadpool 2, Fast & Furious Presents: Hobbs and Shaw, Bullet Train and The Fall Guy helmer adds it to the producing side of his resume, where Nobody also sits, courtesy of his production and action design company 87North. Another former stunt professional makes his directorial debut with the movie, with Jonathan Eusebio also a fight coordinator on the first three John Wick flicks (and on plenty others, such as Iron Man 2, The Avengers, The Bourne Legacy, Doctor Strange, The Fate of the Furious, Black Panther and The Matrix Resurrections). Quan hasn't ever been a real-estate agent and obviously was never a hitman, let alone an ex-assassin turned realtor. Still, playing someone being drawn back into a line of work that they'd moved away from has clear synergy with his own path since 2021's Finding 'Ohana brought him back to the screen, then Everything Everywhere All At Once worked its magic, leading to TV's American Born Chinese and Loki season two, voice acting in Kung Fu Panda 4 and now this. We chatted to Quan about that synchronicity, doing something that he never imagined he'd get to in being number one the call sheet for an action film and his 'no compromise' approach to the feature's fight scenes — and about the last few years, capitalising upon and celebrating second chances, and becoming an inspiration to anyone who has ever thought their dream was out of reach. On Reflecting His Own Recent Experience by Making a Movie About Someone Drawn Back Into Their Old Line of Work "Oh, my god, what a great question. You made the connection that I didn't even make. The only difference is Marvin Gable is trying to get away from his past, and it hurts him so much that he can't — versus I want to get back to my past where I am an actor, and I'm very fortunate to be able to do so and have this incredible second chance. One of the things that I love about the character Marvin Gable is that he knows what he's done in the past, and he's very ashamed of it, and he's doing everything he can to redeem himself. And that's why he's a real-estate agent, because he has destroyed so many homes in the past and now all he wants to do is to help people's dream of owning a home come true. He wants to help build homes and not destroy them. And there is beauty in that, and there's that question: are we able to get away from the past that we don't like? That's what the movie is trying to answer." On Leading an Action Film — and Jumping Into John Wick Territory "I always loved the action genre. So John Wick and any action movies, I love, because they're just really fun to watch. And they're a great escape for you to forget about all your problems and just have a good time for 90 minutes. That's what we try to do with this movie. There's no agenda. There's nothing else that we're trying to do, just to entertain the audience for 90 minutes. One of the biggest differences with this movie is what David Leitch and our producers in 87North and Universal Studios try to do to create a new kind of action star. We have seen action movies for the longest time and they always have a certain type of action hero. This one is very different. He doesn't look like an action hero. He doesn't look bad-ass. But he's truly a bass-ass when the situation calls for it. And because of that element of surprise, I find that very refreshing, and I love it. [caption id="attachment_892688" align="alignnone" width="1920"] Everything Everywhere All At Once[/caption] Also, one of the things that I was adamant about when I came onboard was that I wanted to do everything myself. I'm not talking about stunts. Stunts is jumping off a building, getting hit by a car or being set on fire. That is a very specific skill. What I mean by doing everything myself with all the fights, all the punches that I threw myself, all the kicks — and I trained very hard for it with 87North's action team for this. And mentally and physically, it was exhausting. But it was also very gratifying, because I finally got to do it." [caption id="attachment_884620" align="alignnone" width="1920"] Everything Everywhere All At Once[/caption] On How Quan's Stunt and Action Choreography Background Helped Him with Love Hurts "Oh my gosh, it was so advantageous to have that experience and that knowledge. And I did it for a long time. But the only difference is I was behind the camera, and one of my responsibilities was to train actors to do that. For example, like on X-Men, I was helping Hugh Jackman to learn those moves. So to have that knowledge and to be able to utilise all of that in this movie was incredible. And it was a big, big help. I don't think I could have done this had I not worked as an action choreographer. The only difference is I haven't done it for a long time so it's really bringing my muscle memory back to forefront — and also getting myself mentally and physically prepared for it. It was a lot of fun to do." On the Preparation Process for Starring in an Action Movie — and Giving the Genre a Different Type of Hero "I trained for almost three months with our action team, and the training didn't stop when we started production. It carried on till the end of the movie. It was very intense. There was a lot of weights, a lot of core training, muscle training — and, most importantly, a lot of stretching. Because not only you don't want to hurt yourself, but also doing those kicks, you need to be flexible. So there was a lot of stretching involved as well. And I've got to tell you, when we were shooting making this movie, one of the most-difficult things was the time constraint. Actions take time. And ever since day one, I told everybody, I said 'please, there's no compromise. If we don't get it, please do not move on. It doesn't matter how many takes we do'. [caption id="attachment_976827" align="alignnone" width="1920"] American Born Chinese[/caption] Because this is an 87North movie and the audience who watches this movie expects a certain level of action. There was a certain demand from them, expectation from them. So I didn't want to disappoint them. And what that entailed is sometimes shooting 15 hours 16, 17 — I think one day we shot 18 hours. Now 18 hours shooting a dialogue scene is exhausting. But can you imagine what shooting a fight scene is like? And as the hours progress, your muscles get tired. Your mental capacity goes down. But when you do a fight, it takes tremendous focus. One, you have to remember the choreography. And second, you don't want to hurt the person you're fighting with and you certainly don't want to get hurt by them, so you have to remember the choreography. It was really demanding and at the same time, like I said, I didn't want us to compromise. In fact, our action team, at the end of the shoot they printed a shirt that says 'no compromise' and gave it to everybody." [caption id="attachment_976825" align="alignnone" width="1920"] Everything Everywhere All At Once[/caption] On What Quan Learned From Wong-Kar Wai That He Still Draws Upon Today "Nobody makes a movie the way Wong Kar-Wai makes them. He can spend an entire day finessing one shot. And what I learned from that is the dedication, the perseverance, the determination to achieve your goal, and I applied that to this movie. That's why I said 'let's not compromise it. If we don't get it, let's keep on doing it. If we don't have the time, then let's be creative. How can we find time and how can we make it work?'. And Wong Kar-Wai was part of that training that I had. It was seeing him go ' if it's no good, let's go again, and if there are problems, okay, then let's take a step back and let's find out what the problem is'. We applied that to the fight scenes that we did. There are five big action sequences in this movie. When it's just a fight scene, the audience gets tired of watching it very quickly. So what we try to do, what I learned from my experience on those action days was that you have to put a story behind those fights. All the characters, they fight a little bit differently, because that's who they are, that's their personality, that's their character — and we tried to apply that to this movie. And it was fun, but also at the same time it was very challenging to do it in the one movie for five scenes. You understand that the audience has a very sophisticated eye nowadays. They've seen everything already. So it's hard to throw them. I'm going to give you a great quote from Steven Spielberg. He says it's very hard to throw an audience with spectacle, but it's easy to do it if you give them a good story. And that's what we try to do with this, with the fight sequences in this movie." [caption id="attachment_851369" align="alignnone" width="1920"] Everything Everywhere All At Once[/caption] On What the Last Couple of Years, From Everything Everywhere All At Once Onwards, Have Been Like for Quan "It's incredible. Like Marvin Gable the character, it's about redemption and about second chances. When you talk about second chances, I really resonate with that. I got this incredible second chance to be an actor again and everything that has happened since 2022, when Everything Everywhere came out, has just been incredible. And Love Hurts is another proof that I didn't think I would ever get — being the lead actor in a major motion studio film, being number one on the call sheet, I didn't think that would ever happen. And one of the things that I really enjoy and love that came out of all of this is so many people have come up to me and said 'wow Ke, I've also struggled and seeing what you're going through, what happened to you, leaves me a lot of hope. And it gives me a lot of strength to keep on fighting, to continue to struggle, because it can happen'. I keep saying to everybody 'if it can happen to me, it can certainly happen to anybody'. This incredible opportunity to be in Love Hurts, it's kind of my answer to all those questions that they are asking themselves: 'if I put in the work, if I'm patient enough, if I'm determined enough, will one day my future get better? Will one day my dream come true?'. It's a great feeling to have, to be able to do that." [caption id="attachment_921343" align="alignnone" width="1920"] Loki. Photo by Gareth Gatrell. © 2023 MARVEL.[/caption] On Becoming a Source of Inspiration Thanks to His Glorious Comeback "It's amazing, because I have been inspired by so many people, so many wonderful actors that I've enjoyed, so many filmmakers — and not only that, also people outside of our industry. When I watch the news and I see people do incredible charity, I'm very inspired by that. I never thought I would ever be in a position to inspire others, and to be able to do that is one of the greatest feelings I ever had. It just gives me this really warm feeling inside that, I don't know what to say. I know I've been saying a lot of the same things for the last years, where you hear me say it all the time — grateful or it's a great blessing and I'm lucky, and certainly those are true adjectives." [caption id="attachment_976824" align="alignnone" width="1920"] Phil McCarten, ©AMPAS[/caption] On Not Knowing What Was Set to Come When Quan Was Cast in Everything Everywhere All At Once "I didn't think in terms of how much it was going to change my life, and I certainly didn't expect the incredible response that we got, all those incredible accolades that the movie has received. I just thought it was a great script, and I thought the Daniels were incredible filmmakers, and I just wanted to be on that journey with them. So I didn't expect this, but I knew that I would be proud of the movie. Because when I saw Swiss Army Man and it was such an absurd premise, but they were able to move me to tears, keep me at the edge of my seat and have me totally immersed in the story — and I said 'oh my god, if they can do that with that, that's their promise, I cannot imagine what they could do with this incredible script'. And surely they did exactly that and more. And, of course, in the process they changed my life. I didn't expect them to change my life. I was just very grateful that they believed that I can act again after such a long hiatus." Love Hurts releases in cinemas Down Under on Thursday, February 6, 2025.
There aren't many directors whose work we look forward to more than Joel and Ethan Coen. The Oscar winning siblings behind Raising Arizona, Barton Fink, Fargo, The Big Lebowski, No Country for Old Men and Inside Llewyn Davis among many others, the pair have made a name for themselves with their memorable characters and masterfully constructed plots, often seasoned with liberal lashings of dark, esoteric humour. Their latest film is set to be released on February 25, and we've managed to get our hands on some complimentary tickets. Hail, Caesar! is a screwball comedy set in 1950s Hollywood, and concerns a famous film star, played by George Clooney, who is kidnapped by a mysterious organisation. Josh Brolin, Scarlett Johansson, Ralph Fiennes, Tilda Swinton, Jonah Hill and Frances McDormand make up the star-studded ensemble, along with Channing Tatum dressed as a sailor (which, quite frankly, seems like it'll be worth the price of admission on its own). [competition]558865[/competition] https://www.youtube.com/watch?v=kMqeoW3XRa0
Gracing pages for almost a century — plus screens big and small for decades — Winnie-the-Pooh has done many things in his time. Ever since AA Milne first conjured up the honey-loving, walking-and-talking teddy bear back in the 1920s, Pooh has enjoyed plenty of adventures, usually involving Christopher Robin and his Hundred Acre Wood pals Piglet, Eeyore, Tigger, Kanga and Roo. And, of course, the cuddly critter's efforts to eat as much of his favourite foodstuff as possible have also earned more than a little attention. We've all seen the cartoons — and the toys — and watched films such Goodbye Christopher Robin and Christopher Robin in recent years, too. So far, so adorable. That said, Winnie-the-Pooh's next outing is set to prove anything but. Called Winnie-the-Pooh: Blood and Honey, it's a slasher film. Yes, really. And, it'll turn Pooh and Piglet into serial killers — and carve into everyone's childhoods in the process. No, the idea that Pooh might turn murderous hasn't ever crossed anyone's minds before — he's a honey-fiending teddy bear who doesn't wear pants, after all — but that's changing thanks to director Rhys Waterfield. And if you're wondering about the tone of the film, other than horror, the filmmaker's other upcoming titles include Firenado, Sky Monster and Rise of the Loch Ness. Yes, viewers will clearly be in B-movie territory here — as the premise makes plain as well. The setup: after seeing their food supplies dwindle as Christopher grew up, Pooh and Piglet have spent years feeling hungry. They've turned feral, in fact, even eating Eeyore to survive. So when Christopher returns, it sets the pair on a rampage, which leads to them a rural cabin where a group of university students are holidaying. We've all seen what usually happens from there, even if this is the first time that it'll involve an iconic kids character. The phrase you're looking for: "oh bother". Whether Winnie-the-Pooh exclaims those two words is yet to be revealed, but you could probably put money on them getting uttered at some point. Exactly when Winnie-the-Pooh: Blood and Honey will reach screens Down Under, and where, also hasn't yet been announced — and the film's release date in the US and UK is also yet to be set at this point. Wondering why something that's usually so sweet and innocent is being given the creepy, bloody, eerie horror treatment — turning Winnie-the-Pooh into a killer, no less? It's because the character has just entered the public domain in America. Disney no longer holds the copyright, and no one can now hold the exclusive intellectual property rights over the character, opening the door for wild interpretations like this slasher flick. Winnie-the-Pooh: Blood and Honey doesn't yet have a release date Down Under — we'll update you when further details are released. Images: Jagged Edge Productions.
No one watched Breaking Bad and felt the urge follow in Walter White's footsteps, but we just might get the chance anyway. The acclaimed TV show is returning with a leap into virtual reality. Prepare to put on a headset, enter a crime-filled world and get your New Mexico-set drama fix. Thank Sony PlayStation's push to expand their VR realm beyond gaming, and thank Breaking Bad creator Vince Gilligan for continuing to keep adding to the series — first Better Call Saul, and now this. Alas, don't go expecting to step into Albuquerque, Los Pollos Hermanos or an underground lab just yet, with the project still in its early stages. A release date hasn't been announced, but it won't be coming to a console near you this year. So, just what a Breaking Bad VR experience actually entail? Will you be throwing pizza onto a roof? Riding around in a campervan? Trying to pick non-poisoned packets of Stevia? Details are yet to be revealed — including whether it will recreate something from the show, or add to it — but it's safe to say you'll probably exclaim "yeah science!" at some point. Via Polygon / Variety.
It might've hit our streaming queues way back in mid-2019, but we all remember how Stranger Things wrapped up its third season. Change swept through the 80s-set Netflix sci-fi series in a big way — seeing multiple characters head out town and venture towards several destinations will do that — leaving us all wondering how things will play out in season four. In 2022, we'll finally find out after a hefty delay due to the pandemic. And to help fill the gap, Netflix has dropped another teaser trailer that offers a glimpse of what's to come. Yes, another one. This time around, the brief clip heads to California, which is where Eleven (Millie Bobby Brown, Godzilla vs Kong), Joyce (Winona Ryder, The Plot Against America), Will (Noah Schnapp, Waiting for Anya) and Jonathan (Charlie Heaton, The New Mutants) have washed up. Eleven is settling in as well as she can settle in anywhere, as she explains in a letter to Mike (Finn Wolfhard, The Goldfinch) — but she also can't wait until she can see him in person again. It's the latest Stranger Things season four trailer in a long line of them, starting back in February 2020. Since then, a couple more teasers dropped in May this year, then another one back in August, followed by yet another in September. So, we've now caught a glimpse of what happens to beloved police chief Jim Hopper (David Harbour, Black Widow) after season three's big cliffhanger and Russian-set post-script, and spent time with Steve (Joe Keery, Spree), Dustin (Gaten Matarazzo, The Angry Birds Movie 2), Lucas (Caleb McLaughlin, Concrete Cowboy) and Max's (Sadie Sink, The Last Castle) in a haunted house in Hawkins. We've also headed back to Hawkins Laboratory and its whole eerie setup and, now, seen a new Californian future as well. Of course, it's worth remembering that when Netflix announced the show's renewal for a fourth season back in 2019, it did so with the catchphrase "we're not in Hawkins anymore". That clearly applies in a number of different ways. If you're wishing it was 2022 already, you're not alone. Check out the latest Stranger Things season four sneak peek below: Stranger Things season four will be able to stream via Netflix sometime in 2022 — we'll update you with an exact date when one is announced.
There's no Academy Award solely for vocal performances. If there was, Lupita Nyong'o might've added another of Hollywood's prized statuettes to her mantle when the 2025 ceremony rolls around. A decade after taking home an Oscar for 12 Years a Slave, her first feature, and following standout work in everything from Black Panther and Us to Little Monsters and A Quiet Place: Day One since, she's the voice of Roz — short for ROZZUM unit 7134 — in the big-screen adaptation of Peter Brown's The Wild Robot. Unsurprisingly, she's marvellous and moving, taking viewers on an emotional journey even while playing a robot without facial expressions. When Roz is fresh out of the box, powering up on an animal-filled island devoid of humans in a futuristic vision of earth, Nyong'o lends her vocals to the perky Siri and Alexa peer that audiences will wish spoke back to them from their own devices. As the task-oriented mechanical helper learns that there's more to life than her programming — as she befriends a gosling that she names Brightbill (Kit Connor, Heartstopper) and a fox called Fink (Pedro Pascal, Drive-Away Dolls), too, and wins over other wild critters who are initially fearful of the metallic interloper — the warmth that begins to infuse Roz's tones couldn't feel more genuine. The Wild Robot doesn't only prove a gem thanks to Nyong'o's pivotal performance, but it wouldn't be even a fraction of the film that it is without her. In 2024, the actor has had two movies in cinemas. In A Quiet Place: Day One, speaking was one of the worst things that anyone could do. In The Wild Robot, Nyong'o's entire portrayal comes down to talking. "I love that you made that comparison. I hadn't even thought about it that way," she tells Concrete Playground when we point out the contrast, and also ask what she seeks out in new projects at this point in her career. "What gets me excited? I think about the character that I've been offered to play, and I think about what I will require to play the character — and what I could learn as well from playing the character, what I'm curious about. If the character makes me ask questions of the world and of myself and I'm excited to find out the answers, then I want to play that character," Nyong'o explains. When The Wild Robot came her way, she didn't say yes immediately, however. For Nyong'o, voicing Roz was always going to need to be a creative collaboration; just showing up to speak her lines and leaving it at that isn't how she wanted to work. "I don't know how to be just a voice for hire. I have opinions and I want to share them, and I want to make sure that the person I'm sharing them with wants to hear them," she notes. Nyong'o joined the film after meeting with director Chris Sanders and understanding his vision. "You shape these things together. You go on this journey together, and she is a creative force just like every other artist in this film, for sure," he tells us. "And I have to say, she's an absolute genius. Taking Roz apart bit by bit to understand her thinking kept me honest as a writer," he continues. The Lilo & Stitch, How to Train Your Dragon and The Croods director — and voice of Stitch — couldn't be more enthusiastic about the latest picture that now sits on his packed resume (also on his filmography from the 90s when he was starting out: production design on The Lion King, visual development on Beauty and the Beast, and story credits on both alongside Aladdin). Before signing on for The Wild Robot, Sanders describes himself as "book-adjacent" to Brown's illustrated tome, as his daughter had read it. "I saw it sitting around the house and I'd actually forgotten about it until the day I came into DreamWorks to look at what was in development. And there was the book, and they described it, and I thought 'that's the one I'm interested in'," he advises. As the feature's writer and director, he's crafted a version that takes inspiration from Hayao Miyazaki's enchanting Studio Ghibli fare, classics such as Bambi and the work of painter Claude Monet, too — and a gem for all ages. How does Nyong'o tackle a voice-acting part — and, whether she's seen on-screen or heard echoing from it, how does she find the right voice for a character? What kind of thinking and planning goes into expressing Roz's inner journey? How important was it to Sanders that the film didn't shy away from animals being animals, not just in appearance but also into recognising the food chain and cycle of life? We chatted with the pair about all of the above as well, and more, including how animated movies trade in big emotions —because we all have that flick, or several, that we'll never forget — and how that sits in your mind when you're making one. On How Nyong'o Approaches a Voice-Acting Part, Especially Playing a Character Without Facial Expressions Lupita: "I think the animators did a great service to Roz — and a great service to an audience — by not giving her facial features. Because then we stay truer to the fact that Roz is not a feeling entity. She is a robot and has a goal — she's goal-oriented and her goal, luckily, is to be of service to whomever purchased her. So that lends itself to kindness. And she's also very adaptable, so she's able to adapt to the behaviours and expressions of the wild animals that she is now living with. And through that, you can adopt sensibilities akin to emotional expression. I like figuring that out cerebrally. How do I play a character without emotions but still be able to convey a bunch of emotions, and then trust that an audience will project their emotions onto her? We are given that license because she doesn't have facial expressions, so she's not doing it for us. We were very much a part of the performance." On Finding the Right Voice for the Right Character Lupita: "It starts off with understanding the given circumstances of the character. What are the facts, right? And so for Roz, one of the main facts that was very important was that she is a programmed robot. That was very informativem and it led me to listen to automated voices like Siri and Alexa, the voices on TikTok and Instagram — they were an inspiration, their relentless, positive vibrancy was the inspiration there. For someone like Red in Us, I knew that there had been a strangulation at some point, and so that fed my imagination on what could that sound like if you were strangled. Things like that. Then I also work very closely with a vocal coach, and I worked with her on both Us and The Wild Robot, and that's really helpful to just externalise my ideas and make sure that I'm doing it in as healthy a way as possible to stave off injuries." On What Sanders Was Excited to Bring to the Screen in Adapting The Wild Robot Chris: "The story for sure. I've always wanted to do a robot movie. And the other thing that I never thought I'd get a chance to work on would be an animal movie like this. This is a lot like Bambi — the forest, the animals, the creatures. And it's a real forest, they're only slightly anthropomorphised. Bambi is a huge favourite. It always will be. One of the things I think that you cannot understate is the emotional power of that film. It has a staying power and a beauty that we wanted to emulate. Aspire to it, actually, is a better way to say it — that and the art of Miyazaki films. These are things that have a huge influence on us as animators and filmmakers. So we had big boots to fill if we were going to equal the power and the scale of those of those stories. Our animators really took to it, by the way. I didn't understand until they started working on the film the level of excitement that they had to do animals that were animals. That kind of movement, I guess, is really a huge thing for an animator. They're usually doing animals carrying cell phones and they have jobs, etcetera. Animals that are animals, there's a purity to the motion that I was really struck by. The animation went unusually quickly because of the lack of things, like jackets and coats and stuff. And so it was a joy to see all of this come to life day by day." On the Importance of Not Shying Away From the Reality of Animals Being Animals Chris: "It was critical because if there isn't consequence, then the story is just not going to work. We don't want to shy away from any of those things because we need that kind of ballast. I would actually harken back to things in The Lion King — if you don't have consequences, you're not going to have that emotional resonance, and I don't think you going to have a movie that works. So death shows up several times in this movie. The first time, of course, is the critical and pivotal event where Roz accidentally, quite literally, runs across this goose's nest by accident and that sets this whole story in motion. Later on, we revisit it, but we often revisit it with humour. We get a laugh out of it. It's a dark kind of humour, but boy is it effective. The animals on this island have programming, and that's the way that Roz looks at it. She's a creature of human programming, and she sees the animals as running programs as well. I thought that was a really interesting way to look at the world, and one of the load-bearing ideas and themes of the film is the idea that someday you may have to change your programming in order to survive. In our lives, we are creatures of habit, we resist change, and we may have to change the way we think. I think that sometimes we're so fearful of losing ourselves for some reason. I think we're very protective of ourselves. I can only speak for myself, but I get that — but whenever I've been forced to see things in a different way, I've been better for it." On What Goes Into Conveying Roz's Inner Journey Through a Vocal Performance Lupita: "I would say the intention was set at the beginning. Before I took on the role, I asked Chris why he thought I would be good for it, and he said he liked the warmth of my voice. So that was very good information for me, so that I knew what I had for free to offer Roz, and so that was where we would end up — that's the voice when Roz has taken on and embraced the role of mother most fully, that she sounds most like me. And then in the process, a two-and-a-half-year process, the script is developing, and along with it our understanding of who Roz is and how we experience her evolution is also developing. That was really quite technical, and we had certain markers, certain benchmarks for where the quality of my voice was shifting. And I did it quite technically, so it dials up in a way that when you're watching the performance is perhaps, hopefully, quite subtle and unnoticeable — until you meet the robots that are more like the other robots like her, towards the third act of the film." On the "Miyazaki by Way of Monet" Visual Approach to the Natural World Within the Film Chris: "All these things we've been talking about, what a perfect line of questioning actually, all these things are linked together like spokes of a wheel. I felt that it was absolutely critical, and I pushed very hard for this level of sophistication in the look of the movie. Think back to what we were talking about with Bambi, that level of sophistication, I felt, would make our audience see this film in the right way, if that makes sense. This is a film that kids will love. Kids should go see it. Families should go see it. But it's not a little kids' film — it's a film. And that's how Walt Disney looked at those stories as well, he always said so. So that level of sophistication helps us to get into the film in a certain way, and it really immerses us in a way that I've never seen a film like this accomplish. I have gotten so much feedback since we finished the film that it really blurs the line between a live-action film and an animated film, frankly, the way that you see it — and that was very deliberate. And I have to credit the artists and the incredible advances that DreamWorks had made technologically that allowed this look. The funny thing is all that technology opened this film up so that humans are more present than ever before. Literally everything is hand-painted. It would be as if I took out a brush and started painting dimensionally in space. That's exactly what they were doing. So there are no forms underneath the trees or the rocks. It's free handed. So the beauty that you get from that, there's no substitute for it. There's an analogue warmth that we reconnected with on this journey that we've taken through CG." On How Animation Allows Audiences to Have Big Feelings — and Thinking About That When You're Making an Animated Film Lupita: "You have to keep the audience in mind. One of the things that I remember us discussing, Roz has a lot of robotic language, just mumbo jumbo that she says — and you want to keep that in a way that allows for children to grow their vocabulary, and also a way for adults to understand and appreciate what she is saying. But you can't make it too difficult that you lose the children altogether. So those were fun workshops where we tried different words. I remember in the script, there was a time when a character asks Roz something and she goes 'hmm, let me see'. But 'hmm', that's a very human expression, and so I said 'processing' and everybody broke out laughing, and it became part of Roz's vocabulary. For children, that is perhaps maybe a new word — children never say processing, I can't imagine they do. But in that sense, you've expanded their vocabulary and stayed true to the character." Chris: "It's something I don't know if I'm really thinking about it, but in a sense I'm striving for it as I'm working on scenes. I'm scaling things. I think one of the neat things about taking a story like Peter Brown's to the screen is the potential for how big these feelings can be. I'm always going for audacity and scale. And I will run a scene over and over and over in my head, modifying it before I even commit anything to paper a lot of the time, until I'm feeling I've found every edge of the boundaries of that particular moment, and I've built it as large as it possibly can be. Because why wouldn't you, you know? Why wouldn't you? And then the really amazing thing is, I take it only so far, and then we have our actors and our and our animators — and eventually the cinematographer, the lighting, and then eventually Kris Bowers [who composed The Wild Robot's soundtrack]. I cannot overstate his contribution as well. I credit him for, I think, the gosh-darn best score I've ever heard in a movie ever." On What Nyong'o Makes of Her Career Over the Past Decade Since 12 Years a Slave Lupita: "I was sitting at the premiere of The Wild Robot at TIFF [the Toronto International Film Festival], and there was a moment, I think it was a moment when Brightbill is flying away and a feather floats into Roz's hands. And it's a very emotional moment within the story. But in that moment, I was just caught, I was struck by the truth that I have been living out my dreams and this project is another dream come true. I was just filled with gratitude, because not everybody gets to live out their dreams so exactly. And I've had that wonderful, wonderful privilege, and I just don't take it for granted. It's been deliberate. It's sometimes been scary. I've had to say no before I knew I could in order to wait for the project that felt like it would give me the kind of expansion I was looking for. And those times that I've said no have paid off. And looking at the last ten years, I'm very, very proud of the work that I've been able to do, and I look forward to continuing to live out my dreams one decision at a time." The Wild Robot opened in Australian cinemas on Thursday, September 19, 2024.
UPDATE, APRIL 4: Due to concerns around the coronavirus, Disney has announced that The French Dispatch will no longer release on its initially scheduled date of Thursday, August 13, 2020, with the film now hitting cinemas on October 15, 2020. To find out more about the status of COVID-19 in Australia and how to protect yourself, head to the Australian Government Department of Health's website. An offbeat storyline. Mesmerisingly symmetrical frames. A cast that includes Bill Murray, Tilda Swinton, Owen Wilson, Saoirse Ronan, Willem Dafoe, Jason Schwartzman, Edward Norton, Bob Balaban and Anjelica Houston. Yep, it must be a new Wes Anderson film — and, based on its just-dropped first trailer, The French Dispatch looks like Wes Anderson at his most Wes Anderson-esque yet. The premise: in the fictional French town of Ennui-sur-Blasé sometime in the mid-20th century, Arthur Howitzer Jr. (Murray) has turned a series of travelogue columns into a weekly American magazine. A supplement to the Liberty, Kansas Evening Sun, The French Dispatch resembles The New Yorker, is staffed by top expatriate journalists, and covers life in France, world politics, high and low art, and diverse stories of human interest. As for the film that shares its name, it focuses on three tales printed in the publication's pages. Cue 'The Concrete Masterpiece', with Benicio del Toro as incarcerated artist Moses Rosenthaler — who paints portraits of his prison guard (Léa Seydoux) and tries to fend off the interests of an art dealer (Adrien Brody). Next comes 'Revisions to a Manifesto', featuring Timothée Chalamet and Lyna Khoudri as student revolutionaries, as well as Frances McDormand as a journalist. And, there's also 'The Private Dining Room of the Police Commissioner', about a big kidnapping, plus a chef (Stephen Park) known for "the mode of cuisine known as police cooking". A framing story also steps inside the inner workings of the magazine itself, and the publication of a special issue, complete with writers played by Swinton, Wilson, Elisabeth Moss, Jeffrey Wright, Fisher Stevens, Griffin Dunne and Wally Wolodarsky. The cast list isn't done just yet, with Christoph Waltz, Liev Schreiber, Henry Winkler, Rupert Friend, Cecile de France, Matthew Almaric, Lois Smith and The Grand Budapest Hotel's lobby boy Tony Revolori all popping up. Obviously, as has proven the case in every Anderson film from Bottle Rocket and Rushmore to Isle of Dogs, every frame looks like it belongs on a wall — or in Anderson's own recent museum exhibition. Check out the trailer for The French Dispatch below: https://www.youtube.com/watch?v=TcPk2p0Zaw4 After being delayed from its original release date of August 13, 2020, The French Dispatch will now open in Australian cinemas on October 15, 2020.
Folks, it's the happiest time of the year — and it's not Christmas. Netflix has come to town, the streaming video on demand service everyone is always talking about. If you like film and television, prepare to spend more time than you should picking from more movies and shows than you could possibly watch in your lifetime. But the fact is, having jumped through a number of well-publicised hoops, you might already be using Netflix US. Should you make the switch to the fully legit Australian service? There's a few factors to consider. Netflix never reveal the extent of their libraries, but more than 1000 titles are available locally. While that's only a fraction of the 8000-plus options on offer in the US, it's still plenty. Between Presto, Stan, Quickflix and Netflix (plus the range of services available with a little IP address masking), we're spoiled for choice. Here are some of the Australian Netflix inclusions and omissions that are swaying our decision. WHAT YOU SHOULD WATCH UNBREAKABLE KIMMY SCHMIDT Unless you've been trapped in an underground bunker, the name Unbreakable Kimmy Schmidt probably rings a bell. The facts: it stars Ellie Kemper from The Office and Bridesmaids, it's the latest sitcom written by 30 Rock's dream team of Tina Fey and Robert Carlock, and it might just be your new favourite show. It's not just the earworm of a theme song that gets stuck in your head, but the irreverent sense of humour and can-do attitude, too. The show follows a wide-eyed 30-year-old freshly saved from 15 years in a doomsday cult and now trying to make it in New York City, after all. What more convincing do you need? BLOODLINE It may have made its premiere at the Berlin Film Festival in February, but Bloodline is actually Netflix's newest release. The latest original drama in the service's growing TV stable only dropped in the US last weekend — that's how fresh it is. Since then, the buzz has been building, particularly about Australia's own Ben Mendelsohn. He's joined by Kyle Chandler proving he's no longer Friday Night Lights' Coach Taylor, plus a cast that rounds up the likes of Chloë Sevigny, Linda Cardellini and Sam Shepard into a tale of family troubles. Just don't expect the standard sibling squabbles, given that the psychological thriller comes from the creators of Damages. BOJACK HORSEMAN His sitcom-starring days are long gone, and his tell-all biography is his last-ditch attempt at fame, so what's a washed-up talking horse that sounds just like Will Arnett to do? Yes, that's the premise of animated series Bojack Horseman — and it's only the beginning of its offbeat appeal. A whole host of other animals with human traits are in the mix, plus a swag of familiar voices, including Community's Alison Brie and Ken Jeong, as well as Kristen Schaal and Stanley Tucci. Patton Oswalt pops up as a penguin and recent Oscar winner J.K. Simmons becomes a turtle, while Aaron Paul plays — what else — a slacker. VIRUNGA AND OTHER NETFLIX ORIGINAL DOCUMENTARIES Netflix doesn't just produce television shows — it is also in the movie-making game. Funding new features takes some time, but there's already a stack of slices of real life available to choose from, covering topics as varied as human rights abuses, failed US presidential candidates, and the meaning of manhood. One of them, Virunga, crafts a compelling account of conservation efforts in the Democratic Republic of Congo, where a species of mountain gorillas face extinction courtesy of oil exploration, armed conflict and poachers. The heartbreaking film was even nominated for an Oscar for Best Documentary Feature just last month, following in the footsteps of fellow Netflix offering, Egyptian revolution chronicle The Square, the year before. AZIZ ANSARI: LIVE AT MADISON SQUARE GARDEN AND OTHER NETFLIX STAND-UP COMEDY SPECIALS You like to laugh, we like to laugh, and Netflix likes us all to laugh, clearly. Why else would they stack their library with stand-up comedy specials, featuring all the funny people we know and love, that you can't find anywhere else? Aziz Ansari: Live at Madison Square Garden is the latest and greatest of the lot, not to mention the perfect antidote to those suffering from Parks and Recreation withdrawals. The Australian catalogue doesn't feature the full suite of comedy sets, but it does include exclusive shows by Brooklyn Nine-Nine's Chelsea Peretti and Sleepwalk with Me's Mike Birbiglia, so we're not complaining. WHAT YOU CAN'T WATCH FRIENDS, AND YOUR OTHER FAVOURITE TV COMEDIES When all 236 episodes and 86 hours of Friends came to US Netflix at the beginning of 2015, fans of the program rejoiced in the thought of revisiting it from start to finish. Binge-watching older TV comedies and catching up on past seasons of newer shows you might have missed has always been one of the drawcards of the service, whether Archer, Portlandia, Peep Show or It's Always Sunny in Philadelphia is your thing, or something else. All of the above are absent from the Australian lineup, meaning you'd best hang on to your DVDs for now. With more titles added all the time, perhaps you'll soon be marathoning Parks and Recreation, 30 Rock and Bob's Burgers. Given Netflix was the driving force behind Arrested Development's revival, at least you know they'll always have that — though, curiously Trailer Park Boys isn't available locally, even with the service funding its latest seasons. KILLER MERMAID, AND OTHER MOVIES YOU WON'T BE SEEING IN MULTIPLEXES Yup, a movie about a man-eating mermaid actually exists, starring Franco Nero — aka the original Django. No, despite the appeal of the idea, the film isn't very good. But it is this kind of fare that makes Netflix US great for cinephiles with adventurous tastes, or just those looking to stumble across something outside the norm. Cult classics and foreign films that will never make it to a big screen are also typically well served by the service, as well as US indies, such as quite a bit of the work of Joe Swanberg. For now, this level of depth is absent, though the Australian lineup does boast some movies not available elsewhere, particularly local content. TWIN PEAKS We’re always going to tell you to watch Twin Peaks, but if you want to do so, you best seek it elsewhere. David Lynch’s surreal, small-town series is nowhere to be seen here — well, not in its small screen version. In one of those strange situations that can only be chalked up to rights issues, you can't watch season one or two of the program, which is available in America, but you can watch Twin Peaks: Fire Walk with Me, which isn't. Given the kooky twists in the series in question, it actually feels quite fitting. Of course, we'll take some over none any day, especially when the movie sequel-slash-prequel is one of the scariest horror films there is. FIREPLACE FOR YOUR HOME Sure, we'll admit that much of Australia doesn't really have the climate for fireplaces for most of the year, but that doesn't mean that we don't want to pretend. Whatever the weather outside, we want to snuggle up on our couches, turn on Netflix, and look at a streamed video of crackling flames — just like it was the real thing. Alas, we can't, with Fireplace for Your Home glaringly absent from the local catalogue. It looks like we'll never know the joy of "a classic tale of logs and fire like you've never seen it before", or its holiday-themed winter wonderland spin-off. THE MAJORITY OF NEW TV SHOWS Netflix launching in Australia is certainly a step forward for our film and TV viewing choices; however, it is worth remembering that it isn't the be all and end all of SVOD services. Even in the US, it doesn't carry the newest seasons of the majority of television programs, other than the select few — such as House of Cards and Orange Is the New Black — Netflix makes themselves. As a catch-up service, there are still plenty of gaps too, including all the HBO shows you've obsessed about for years (sorry Game of Thrones fans). Instead, think of it as a great online library that you can always access — but like its offline counterparts, there's always bound to be something missing. Image: The stars of Netflix come out for the Netflix Australia launch.
Ten-year anniversaries are traditionally celebrated with tin, but fantastic NZ designer Karen Walker has no time for such banalities. To mark ten unconventional years in the eyewear game, she has released the 'Celebrate' collection, entirely done in gold. If they look like lavish versions of what's come before, well, that's exactly what they are. Each style is an iconic favourite from a previous year's collection. So there's 2005's Annie, earlier seen on this vampire; 2013's Northern Lights, earlier seen on this grande dame; and 2012's Number One, earlier seen on this balloon. The metal frames have been encased in a clear epoxy resin, making them look like solid gold. But you'll be looking more Greek island hopper, less Daft Punk member thanks to the warm, amber-brown mirrored lenses, which is what's really elevating these golden oldies to the next level. Here's to another ten years of taking loud, playful and sometimes silly risks on our faces, and another ten years of waiting to see who/what will model Karen Walker's designs next. Check out the festive campaign for Celebrate, shot by Derek Kettela, below. To see out the full collection or just dive in and buy, head to the Karen Walker Eyewear website. Each style is priced at NZ$399 ($358) and is in store from October 9.
Tasmania is home to brilliant restaurants and cafes that rival the mainland's best. And if you're looking to get a richer understanding of where phenomenal food actually comes from, there really is no better place. With the island's inland farms and coastal regions bursting with remarkable produce, Tassie is full of growers ready to guide you through an enlightening, hands-on adventure that will give you a unique culinary and agrarian perspective (not to mention the very likely chance that they'll feed you very, very well indeed). Here, we've teamed up with Tourism Tasmania to highlight a selection of experiences that offer hands-on foodie encounters to seek out and savour. [caption id="attachment_865676" align="alignnone" width="1920"] Tourism Australia[/caption] 41 DEGREES SOUTH Set a 40-minute drive west of Launceston on the outskirts of Deloraine, 41 Degrees South is a salmon farm, wetland and ginseng plantation. Featuring 20 freshwater ponds filled with water sourced from nearby Montana Falls, the farm invites you to take a self-guided tour to explore the sustainable processes that support this world-class producer of salmon. The property's owners, Ziggy and Angelika Pyka, also make the most of Tasmania's cooler climate with a thriving grove of Korean and American ginseng. Wander through the crops before making a purchase at the on-site store and stopping by the cafe to enjoy a dish made with the freshest salmon washed down with a local wine or beer. [caption id="attachment_866893" align="alignnone" width="1920"] Tourism Australia[/caption] TWAMLEY FARM Twamley Farm is a picturesque working farm spread across 7000 acres flanking the Tea Tree Rivulet near the charming village of Buckland. The property offers farmyard activities, accommodation and cooking classes that provide an opportunity to level up your skills in Italian and French cooking. Hosted by the gourmet catering business, Gert and Ted, the classes — fronted by the eponymous Gert — will show you how to prepare a range of dishes before you sit down for a long lunch with your fellow attendees. With several classes to choose from, including spring harvest feasts and festive season treats, Twamley Farm's stunning setting is the ideal place for a countryside culinary escape. [caption id="attachment_866852" align="alignnone" width="1920"] Pure Foods[/caption] PURE FOODS EGG FARM Head to a top-notch cafe in Tassie and there's a good chance it's using Pure Foods Eggs in the kitchen. Experience what goes into this superior product via a 'Pure Tour' a foodie experience touted as the "ultimate eggspedition" that'll take you on a journey through the company's scenic property in the Northern Midlands region and the largest free-range egg farm in Tasmania. Throughout the 90-minute behind-the-scenes tour, you'll explore the custom-built facilities and see how its high-tech production methods set a new industry standard. After seeing the happy hens in action, you'll receive a dozen free-range eggs to take home so you can whip up your favourite dish with the finest eggs on the island. [caption id="attachment_866851" align="alignnone" width="1920"] Sirocco South Forage and Feast[/caption] SIROCCO SOUTH FORAGE AND FEAST Mic Giuliani, the man behind Sirocco South, is a local foraging master with over 50 years of experience. So yes, Mic was doing it before it was cool. You can catch him serving delicious Tassie-inspired Italian cuisine at Hobart's Farm Gate Market every Sunday or on one of his Sirocco South foraging trips where he'll show you how to find food in the wild. Once you've collected enough seasonal ingredients, Mic goes to work producing a six-course lunch featuring quality meat and seafood paired with award-winning wines from Bream Creek Vineyard. Overlooking the spectacular Frederick Henry Bay, Sirocco South is a deluxe foraging experience in an idyllic location that helps guests appreciate the wonders of wild food. In short: it's heaven on earth for foodies. [caption id="attachment_866889" align="alignnone" width="1920"] Tourism Australia[/caption] UNEARTHED CHEFS TOUR Get a rare glimpse into the operations of some of Tasmania's top growers and producers via an Unearthed Chefs Tour. This morning or afternoon adventure sees you transported from your accommodation to the seriously delicious Tasting Trail Cradle to Coast to meet some of the North-West's finest culinary creators. The tour will take you around a saffron farm, to search for truffles and then on to a luxurious wine tasting at Lake Barrington Estate, with a stop to admire the coastline along the way. A heavenly lunch prepared by chef Naomi Parker is also on the agenda, as is a wander through Sheffield — the Town of Murals — before arriving back at your accommodation. [caption id="attachment_865666" align="alignnone" width="1920"] Tourism Australia[/caption] FORK N FARM HOMESTEAD The ForknFarm Homestead is a striking 24-acre property set in the scenic surrounds of the West Tamar Valley. It's a popular destination for farm-stays thanks to its charming cabins and it also hosts artisan cooking workshops where you can level up your talents with owners Cassie and Aaron "Lob" Lobley. Over the years, this enterprising duo has mastered a host of agrarian culinary skills, ranging from cheesemaking and open-fire cooking to pickling and preserving. There's a host of one-day and two-day sessions to consider or you can create a personalised experience if you attend in a group of four or more. [caption id="attachment_865674" align="alignnone" width="1920"] Tourism Australia[/caption] BLUE HILLS HONEY Blue Hills Honey's distinctly Tasmanian product comes from 2000 beehives hidden deep within the lush takayna/Tarkine rainforest. While this award-winning apiary specialises in leatherwood honey, the honey house also offers a selection of other varieties like manuka, blackberry and meadow. This craft honey farm has been in operation for over 60 years and you can see how it all works on its rural property in the community of Mawbanna. Alongside a factory for touring and a tasting room, there's a cafe overlooking the surrounding farmland that serves everything from honey-baked brie to Thai beef salad. [caption id="attachment_865672" align="alignnone" width="1920"] Tourism Australia[/caption] OYSTER BAY TOURS AT FREYCINET MARINE FARM Freycinet Marine Farm is beloved for its Pacific Oysters and Tasmanian Blue Mussels. Owned by Giles and Julia Fisher since 2005, the cafe makes for the perfect pitstop if you want to sample the region's famed cuisine. You can discover how the product arrives in the shop with a fantastically hands-on (and knees-in) Oyster Bay Tour. With the help of an expert guide, the tour will see you wade into shallow waters to harvest oysters straight out of the sea and show you how to shuck 'em like a pro. To finish, you'll get to enjoy your freshly claimed oysters and mussels with a glass of local riesling. [caption id="attachment_865678" align="alignnone" width="1920"] Tourism Tasmania[/caption] CURRINGA FARM In Hamilton, about a one-hour drive from Hobart, Curringa Farm presents an idyllic chance to experience life on a Tasmanian working farm. Spanning 750 acres, this sheep and cropping property has won numerous awards for its charming cottage accommodation. Whether you're heading along for the day or staying overnight, Curringa Farm has two immersive tours on offer to suit your travel plans. The 'Shearers Smoko' is a two-hour walking tour of the farm where you'll meet and greet sheep and farm dogs alongside a morning or afternoon tea. Meanwhile, the 'BBQ Lunch & Farm Tour' presents an outstanding paddock-to-plate experience. [caption id="attachment_866894" align="alignnone" width="1920"] Jamie Roberts[/caption] THE TRUFFLEDORE On the foothills of Cradle Mountain is where you'll find this truffle-filled farm, accommodation and shop. From October till April, The Truffledore is open for tastings and tours on Fridays and Sundays from 9am–4pm. Head off on the 45-minute tour to feed the farm animals and discover where the delicious winter truffles are grown. During the winter months, you can hunt and harvest truffles for yourself on Saturdays. Just make sure you book ahead of time to secure a spot. If one day on the farm isn't enough, book into one of the charming cottages for a delightful overnight stay. Ready to plan a trip for your tastebuds around Tasmania? To discover more, visit the website. Top image: Tourism Australia
It's happening months earlier than anticipated, but New Zealand is set to reopen its doors to tourists from next month, kicking things off by welcoming back its closest neighbours. In news sure to trigger a sigh of relief for tourism operators and those keen on a winter break, from 11.59pm NZST / 8.59pm AEST on Tuesday, April 12, Aotearoa will scrap its current international border ban for Australian tourists — meaning double-vaccinated Aussie holidaymakers will be able to travel across the ditch without requiring isolation. Then from 11.59pm NZST / 8.59pm AEST on Sunday, May 1, double-vaccinated holidaymakers from visa-waiver countries like the US and UK will be able to follow suit. New Zealand's Prime Minister Jacinda Ardern announced the move in a press conference on Wednesday, March 16, revealing that she's excited and ready "to welcome the world back". "In particular, I'm ready to welcome back our trans-Tasman travellers… they'll be able to arrive in time for the Australian school holidays and provide a boost for our winter ski season," she said. "I'm asking our Australian family and friends to book their tickets." Tourists will be required to test negative for COVID-19 with a PCR or RAT before leaving Australia for their trip, before providing negative tests on day one and day five of their stay in New Zealand. The new plan is an expedited version of the New Zealand Government's original border-reopening arrangement announced back in February, when it was proposed tourists from Australia and around the world would probably be able to visit New Zealand by July. However in March, NZ COVID-19 Response Minister Chris Hipkins said he believed that would be "at the latest". The change of plans has come amid New Zealand's current Omicron outbreak, which sees the country currently ranking among the highest rates of COVID-19 transmission in the world. Australian tourists will be able to enter New Zealand without isolating from 11.59pm NZST / 8.59pm AEST on Tuesday, April 12. For more information, head to the New Zealand Government's official COVID-19 website.
2023 was huge for women's soccer in Australia. 2024 mightn't boast the World Cup rolling out Down Under, sadly, but with the Matildas competing in the 2024 Paris Olympics, it's still a massive year for fans of the country's national squad. 2023 also brought documentary Matildas: The World at Our Feet to streaming queues, too — and 2024 is following suit there as well thanks to Stan's Trailblazers, which was announced earlier in the year and now has a Tuesday, June 4 release date. While The World at Our Feet chronicled the current team's path to the 2023 Women's World Cup, Trailblazers is taking a broader look at the Tillies' story and also at women's football in Australia, as the trailer for the doco makes plain. Sam Kerr, Steph Catley, Mary Fowler, Ellie Carpenter, Katrina Gorry and Teagan Micah all feature as interviewees — but chronicling the Matildas' journey before their current success is also in the documentary's remit. If your obsession with the Tillies started in July 2023, this is your chance to dive into the first FIFA-recognised game in 1979, the team's 2015 strike for equal pay and its fortunes at the Tokyo 2020 Olympics — and to reflect upon the the FIFA Women's World Cup 2023 in Australia and New Zealand, plus the squad's qualification for Paris. So, you'll hear from and about earlier players, such as first-ever Matildas captain Julie Dolan, alongside Kerr and company. The Matildas' first Indigenous female player Karen Menzies also features among the discussions, as do fellow past players Melissa Barbieri, Kate Gill and Moya Dodd. Tommy Sermanni, who coached the Tillies from 1994–97 and 2005–12, similarly gets chatting. And, so does ex-Socceroos captain-turned-commentator Craig Foster. Stan is dropping Trailblazers not only in the lead up to the Paris Olympics, which take place from Friday, July 16–Sunday, August 11, but also just after the Matildas play two warmup friendlies in Australia on Friday, May 31 (in Adelaide) and Monday, June 3 (in Sydney) against China. Behind the scenes, Maggie Miles (Dare to Be Different) and Maggie Eudes produce, write and direct the documentary — aka your next chance to revel in all things Tillies. If you want to wear green and gold while watching, or the recently released (and soldout) purple Mackenzie Arnold goalkeeper kit if you got your hands on one, that's up to you. Check out the trailer for Trailblazers below: Trailblazers will stream via Stan from Tuesday, June 4, 2024.
Japan has continued to grow in popularity as a holiday destination. A (relatively) short flight away, it offers nature, cities, unbeatable food, cultural experiences, and a famous public transport system that makes getting around a breeze. But if you want to see the real Japan, you need to explore its culture a little deeper. In collaboration with the Japan National Tourism Organization, we've selected eight traditional events that will allow you to dive head-first into the country's lesser-known regional culture. [caption id="attachment_916162" align="aligncenter" width="1920"] Mu Mu via iStock[/caption] Yuki Matsuri — Sapporo Snow Festival People may know Japan for its fantastic skiing, but fewer are up to speed with this fascinating winter festival, which showcases some of the most inventive culture that Sapporo has to offer. What began in 1950 as a festival with 50,000 attendees organised by a local high school in a park is now an eight-day artistic winter extravaganza that attracts over two million visitors every year. The February 2025 incarnation takes place across three separate sites and features snow sculptures from world-renowned artists, plus winter sports exhibitions and a range of family-friendly sub-zero activities. [caption id="attachment_972213" align="aligncenter" width="1920"] Japan National Tourism Organization[/caption] Kishiwada Danjiri Matsuri — Osaka Harvest Festival Danjiri matsuri are "float" or "cart-pulling" festivals that are held across Japan, and while the coastal town of Kishiwada may be small in stature, it hosts one of the largest such events in the whole country, all to kick off the harvest season. A tradition that dates back three centuries, crowds come from afar to witness teams pull their elaborately decorated danjiri festival floats — which can weigh up to four tons — through the city streets. This important historic festival is held every September in the quaint locale in southern Osaka Prefecture. [caption id="attachment_972214" align="aligncenter" width="1920"] RnDmS via iStock[/caption] Nada Kenka Matsuri — Dynamic Hyogo City Festival Nada Kenka Matsuri is a "fighting festival" where teams of local men carry intricately carved floats through Himeji City before smashing them into one another to assert dominance and claim the honour of a blessing at the local shrine. Over 100,000 people every year come to witness this traditional, not to mention dangerous, ritual. It's believed the winners will be blessed with a bountiful harvest. So, if you're keen to experience something that ties organised choreography, all-out carnage, and traditional beliefs together, head to Hyogo Prefecture in October — Nada Kenka Matsuri could be exactly what you're looking for. [caption id="attachment_972223" align="aligncenter" width="1920"] Subajogu via iStock[/caption] Eisa Matsuri — Okinawa Dance Festival Eisa is a form of folk dancing that originated in Okinawa and every year, the region pays homage to its heritage with this festival. Over three days, hundreds of thousands of visitors watch the people of Okinawa honour their ancestors and traditions. On the final day, spectators get the opportunity to join the eisa dancers in a celebratory denouement. As if that wasn't enough, there's a dramatic climax, during which a technicolour fireworks display closes out this unique part of Okinawa culture during summer. Chichibu Yomatsuri — Saitama Winter Night Festival You'll have realised by now that if the word "matsuri" is somewhere in the title, there will be a float parade involved. Chichibu Yomatsuri is no exception. This festival, held annually at the start of December, features floats on which kabuki (traditional Japanese dance theatre) is performed. What sets this apart from some of the other similarly-sized festivals is its two-and-a-half-hour fireworks display — a highlight for attendees enjoying the sights and sounds of the area. Don't forget to make the most of the musical performances and street food stalls that have been set up to mark the occasion. [caption id="attachment_972236" align="aligncenter" width="1920"] Grandspy707 via iStock[/caption] Usuki Takeyoi — Oita Bamboo Festival In case you're wondering what a bamboo festival might entail, the answer is over 20,000 bamboo lanterns lining the streets of eight different towns. This beautifully illuminated spectacle is held to retell the legend of Princess Hannya, who, legend says, needs the lights to light the path for her soul to return to its rightful place. Oita Prefecture is famous for its bamboo, so it's only natural that it's the material celebrated at Usuki Takeyoi. The lanterns are lit around sunset, providing a warm, otherworldly experience that has to be seen to be believed. [caption id="attachment_972241" align="aligncenter" width="1920"] RealdWorld8 via iStock[/caption] Nachi no Ogi Matsuri — Wakayama Shinto Festival Wakayama is home to a picturesque waterfall known for its beauty and tranquillity. However, once a year, the peace is shattered thanks to Nachi no Ogi Matsuri, a festival of fire where roaring flames and religious chanting combine. This is a sacred rite where heavy torches are carried along the staircase to the local shrine, transforming the waterfall into a thrilling collision of water and flame. It's held every year on July 14 and is a popular event, so make sure you arrive early to get a good vantage point for the festivities, which kick off at 2pm sharp. [caption id="attachment_972243" align="aligncenter" width="1920"] Kuremo via iStock[/caption] Oga no Namahage — Akita Demon Festival How did you spend NYE last year? Did you brave the eye-watering prices to go to an event in the city, or did you just spend it with friends? Whatever you did, chances are you didn't have an evening like the people of Oga. Every December 31, local men in demonic masks roam the streets, searching for young children to scare. The demons can be satiated with rice cakes and sake, before leaving the house with a blessing for the year ahead. No one is entirely sure where this tradition originated, but in 2018, UNESCO awarded it the classification of Intangible Cultural Heritage. It'll certainly be a New Year's you'll never forget. Discover more and start planning your trip to Japan at the Japan National Tourism Organization website.
No longer confined to children's birthday parties, bouncy castles, inflatable obstacle sources and blow-up labyrinths have become hot property for adults (and their inner kids, of course). And the next blow-up event to return to Australia is big. Really big. Dubbed 'The Big Bounce Australia', it's an inflatable theme park made up of the world's biggest bouncy castle — as certified by the Guinness World Records — plus a 300-metre long obstacle course, a three-part space-themed wonderland and a sports slam arena. You're going to need a lot of red cordial to bounce your way through all of this. Set to tour the country in 2022, The Big Bounce is open to both littl'uns and big'uns, but there are a heap of adults-only sessions — so you don't have to worry about dodging toddlers on your way through. Tickets for adults will set you back $59, which gives you a whole three hours in the park. Yes, you'll need it. Inside, you'll encounter the aforementioned bouncy castle — aptly named The World's Biggest Bounce House — covering a whopping 1500 square metres and, in some spots, reaching ten metres off the ground. In this house, you'll encounter a heap of slides, ball pits, climbing towers, basketball hoops and (if you can believe it) a stage with DJs, confetti cannons and beach balls. Then, there's The Giant, with 50 inflatable obstacles, including giant red balls and a monster slide. [caption id="attachment_825374" align="aligncenter" width="1920"] Sarasota Experience[/caption] Before you hit the next, three-part section of the extremely OTT theme park, you may need to pause, down some red frogs and maybe even have a nap. Or not, as you do only have three hours to explore it all. Either way, at Airspace, aliens, spaceships and moon craters collide with a five-lane slide, some more ball pits and an 18-metre-tall maze. After that, you'll certainly need a nap. And, new for 2022, there's also the Sport Slam, which is rather self-explanatory — and will be a must of you're keen to add a competitive spin to all that bouncing. THE BIG BOUNCE AUSTRALIA 2022 TOUR DATES: January 14–16: Eagles Sports Complex, Brisbane January 28–30 and February 4–6: Flemington Racecourse, Melbourne February 18–20: Ellis Park, Adelaide March 4–6: Canberra, venue TBC March 11–13: St Ives Showground, Sydney April 8–10: Newcastle, venue TBC May 6–8: Claremont Showgrounds, Perth The Big Bounce tours Australia from January–May, 2022. For more information, or to buy tickets, head to the event's website.
By now, you've probably forgotten what an overseas holiday even feels like. But you might want to pull out a map and start flexing those vacation planning skills, because the folks at Qantas and Jetstar have just announced plans to kick start international flights from late-October. Yep, if all goes to plan, the two airlines could have you jetting off to foreign lands as early as spring. The Qantas Group today announced it aims to resume flights to most international destinations from October this year, after it ramps up flights on its trans-Tasman routes from July. The news comes almost a year after the COVID-19 pandemic first forced Qantas and Jetstar to suspend overseas flights back in March 2020. The tentative plans also take into consideration the Aussie rollout of the COVID-19 vaccine. Last week, Prime Minister Scott Morrison confirmed the Federal Government aims to give every Australian the opportunity to get vaccinated by October. You might not be able to fly until you've received your jab, with Qantas CEO Alan Joyce previously stating the airline would only allow vaccinated passengers to travel on international flights. The airline is also currently trialling digital health pass apps, such as Common Pass and IATA Travel Pass, which contain information about a passenger's COVID-19 status, testing and vaccinations, on current international repatriation flights. Come October 31, Qantas expects to have resumed flights to 22 of its 25 international destinations, including London, Singapore and Los Angeles. Unfortunately, if you've got New York, Santiago or Osaka on your wish list, you may have to wait a little longer to fly. Meanwhile, Jetstar plans to resume all of its 13 international routes by the same projected date, though flight frequencies will be determined by what's happening in the rest of the world. Got your sights set a little closer to home? Both airlines are aiming to dramatically increase their trips to and from New Zealand, starting from July 1. Of course, even once international flights are up and running again, you can expect a much lower capacity than pre-COVID travel — Qantas says it's not anticipating a full return to normality until 2024. In good news for planners, Qantas has also announced some extra flexibility for customers booking international flights. It's expanded its Fly Flexible policy to include overseas routes that are booked from now until at least the end of April 2021. That'll allow you to change your flight date to any other currently available, up to 355 days in advance. Learn more about Qantas and Jetstar's international travel plans at the website.
Come 2026, almost a decade will have passed since Qantas proposed changing the way that Australians travel to two of the world's biggest cities — and most-popular holiday destinations — from the east coast. That plan: Project Sunrise, the initiative that's making non-stop flights from Sydney to London and New York a reality. It was first announced in 2017, ran trial flights in 2019 and has undergone delays since, including moving a 2025 start date to mid-2026. With its launch date now just two years away, Qantas is speeding ahead with the lengthy journeys, which'll join the Perth-to-London flights that began in 2018. (From Western Australia, the carrier also boasts straight-to-Rome routes, and just implemented Perth-to-Paris legs as well.) If spending all of that time on a plane sounds like it'll be an experience — the aircrafts are capable of staying in the air for up to 22 hours — the airline understands. Indeed, part of the Project Sunrise development process has been dedicated to ensuring that passenger wellbeing doesn't suffer, and also working out how to combat jetlag. Here's one solution, or at least a tactic to help: Qantas has revealed that its 238-person Project Sunrise A350-1000 planes will feature cabin lighting inspired by the Australian landscape, which will cycle through phases to help travellers adapt to the ultra long-haul voyage — and to the time zone when they disembark. The airline has been making the most of Hamburg's Airbus Customer Definition Centre, using a mockup of the A350 cabin to test lighting patterns and sequences, after the University of Sydney's Charles Perkins Centre conducted research during the Project Sunrise test runs on the inflight experience and reducing jetlag. Those learnings noted that some light spectrums work better to get circadian rhythms adapting. Cue plenty more testing, resulting in 12 lighting scenes for Project Sunrise's trips. Among them: using a broad-spectrum glow enriched with blue hues as an awake setting, which can also be softened; cycling through the tones of the sunset as it turns into a moonlit night, complete with clouds, to get travellers ready to go to sleep; and replicating an Aussie sunrise, starting at the front of the aircraft and rolling out to the back, when it's time to greet either London or NYC. Boarding, taxiing, take-off, sleep, landing and disembarking also have their own lighting modes. The planes will feature wellbeing zones that'll sport the colours of a daytime sky, clouds and all, when the flight is in its daytime setting. The same space will move to moonlight and water rippling during the journey's evening phase. And for those flush with cash, the enclosed first-class suites will let passengers fully customise their own lighting. As advised back in 2023, those wellbeing zones on the stopover-free hauls will sit between the 140-seat economy and 40-seat premium economy cabins. Inside, stretch handles and an exercise program guided via screens will get you active, while refreshments will be on offer at the hydration station. As for the cabins themselves, every seat will have free wifi, USB-C charging ports and also wireless charging and bluetooth connectivity so that you can use your own headphones — and, they'll feature in good news for your body, Qantas' most-generous seat pitches yet, plus ergonomic leg and foot rests. Qantas' direct flights from Sydney to London and Sydney to New York are set to take to the air in mid-2026. For more information, head to the Qantas website.
Intelligent machines that interact with humans have long been a sci-fi staple in books, cartoons and film. Whether the future will hold the doe-eyed Haley Joel Osment of Artificial Intelligence or the all-destroying Terminator is still the stuff of fiction, but the fact is thinking machines are already among us, watching us, and telling us what to drink. Japanese beverage company JR East Water Business Co. have created the ultimate in customer service with the Acure vending machine. This oversized box can be found on train platforms in Shinagawa and Tokyo. It boasts a 47-inch touch screen and a camera that uses inbuilt technology to detect sensory data, including the age and sex of the individual standing before it. When the hi-tech device is idle it engages in its 'intelligent marketing system' whereby advertisements relevant to the season, weather and time of day are displayed. If it’s a cold winter’s eve you can expect a nice warm cup of cocoa tempting you on its LCD. While it offers demographically targeted drink selections it also collects marketing data, which is stored and then collated by the company. Launching their first Acure vending machine in August 2010, they already know the most frequent users of the device are men in their 30s and that an inordinate number of juices are bought by them at night. [Via Hypebeast]
Inspired by Madonna, Michael Jackson and Nine Inch Nails, Auckland based synth pop duo Computers Want Me Dead have decided they're not going to take themselves too seriously – resulting in a sound that's chaotic, almost dizzying synth pop that you can't help but pull shapes to. They've played Rhythm + Vines, Big Day Out and supported 30 Seconds to Mars – all while having only released their debut EP in March this year. They've taken over New Zealand and plan to take over the rest of the world later on this year, one synth track at a time. One half of Computers Want Me Dead, Sam Harvey, chats to Kirstie Sequitin about Gary Numan, Nine Inch Nails and embracing their inner synth pop. I read this thing on your Facebook profile last night, saying that your set is 'a whirling and buzzing tornado of sound akin to some wonderful lovechild of Gary Numan and Nine Inch Nails on ecstacy'. And then I saw that you had a photo taken with Gary the other day – did he have something to say about that? Yeah, yeah that was amazing! A friend of mine was organizing the Gary Numan show over here in Auckland, so as soon as I found out I ran in saying 'please, please, please can I meet him?' And I met him, he was the nicest guy I've ever met, it was incredible. Did he listen to your music at all? I don't know. It was funny because the friend that hosted the television show knows I'm a huge fan (of Gary) and actually gave him a copy of our CD live on air. I was like 'Oh my God, I can't believe you did that.' But, I don't know. I'd like to think that he would have heard it but yeah, no idea. Why do computers want you dead? The name is definitely ironic, because we both love computers and we're kind of nerdy in that way. But it actually comes from a friend of mine who had moved to Chicago wrote me this massive long email on MySpace, back in the day when MySpace was all the rage. So she wrote me this massive email and clicked send and… it timed out. She had spent two hours writing this email and was really really pissed off. The next email she wrote was titled 'Computers want me dead'. I was like, "I'm totally going to use that as a band name". She didn't believe me until we put out a single. What were you guys doing before Computers Want Me Dead and how did you guys start working together? I was wearing a Nine Inch Nails t-shirt at a work function and Damien came up to me and was like, "Oh yeah, I'm a fan of Nine Inch Nails too." And we just got talking. We were both talking about how we wanted to, you know, start a band, and we started jamming. We ended up moving into an apartment – I live here with Damien and his girlfriend – and it kind of just went from there. So how does a love for Nine Inch Nails translate to the stuff that you guys make together? Well, it's funny - it started off being a lot darker and kind of grittier. Then one day I changed the bass line on something and added the sort of poppy sounding synth and all of a sudden it was a different song and we just ran with that. But yeah, Nine Inch Nails are definitely a massive influence on both of us and kind of evidence of earlier stuff that we've done. I've played one of our singles to a friend of mine who is also a Nine Inch Nails fan and – I don't know if this is compliment but - he said "It sounds like Nine Inch Nails on E". And I was like, "Sweet. That's awesome". That was the coolest thing he could've said. You say that your music comes from being able to embrace pop music shamelessly; do you think other bands take themselves too seriously? Do you think that there's a bit of synth pop in every band? (laughs) I think everyone has a potential to take themselves too seriously. We're all guilty of it sometimes. But yeah, I don't know, there's some music that's more serious than others – and I'm a big fan of all kinds of stuff. I don't look at people who are really into what they're doing as taking themselves too seriously – I don't think they're pretentious or anything, but it's just not what this band is about. Computers Want Me Dead's self-titled EP is out now.
Two robot enthusiasts, Peter Seid and Phu Nguyen, have found a way to smarten up your already intelligent smartphone by turning it into a robot. The Romo robotics platform uses your phone, its apps and their software to perform robotic tasks, like bringing you a drink. According to its designers the Romo is able to 'learn, grow, and change' because users can add new hardware modules. Other Romo functions include turning your smartphone into a 'spy robot', play a 'mixed-reality version' of Mario Kart and execute commands through a drag and drop programming module. The designers behind the Romo have posted the project on crowd funding site Kickstarter, where it has received over $85,000 in seed capital. [via PSFK]
When The Sopranos came to a close with perhaps the most controversial ending in television history, it left fans with plenty of questions. If you're keen to get some closure — or simply find out more about the iconic gangster series — then open up your 2019 diary: three of the show's stars are coming to Australia next year. Touring the country between May 25 and June 1, In Conversation with The Sopranos will see Michael Imperioli, Steve Scirrippa and Vince Pastore take to the stage to chat about their time on the HBO series, including everything from behind-the-scenes stories to theories on how the eight-season show ended. That means that Sopranos aficionados can hear all of the insider details from none other than Tony Soprano's unofficial nephew, Christopher Moltisani, plus two of the mob boss' enforcers in Bobby Baccala and Big Pussy. While the man who became synonymous with the series obviously, sadly can't be there, Imperioli, Scirrippa and Pastore will also chat about the late, great James Gandolfini — including their friendship with him both on- and off-screen, and the impact that he had on their lives and careers. No word yet whether the trio will come out on stage to the sounds of Journey's 'Don't Stop Believin'; however they will indeed be answering attendees' questions at the end of their discussion. Tickets start at the $100 mark (give or take a dollar or two depending on the city), and if you're feeling flush with a spare $285 burning a hole in your pocket, you can also opt for the VIP package which includes a meet and greet. In Conversation with The Sopranos tours Australia in 2019, coming to Sydney's Enmore Theatre on Saturday, May 25, The Star Casino on the Gold Coast on Sunday, May 26, Perth's Crown Theatre on Wednesday, May 29 and Melbourne's Palais Theatre on Saturday, July 1. Tickets go on sale at 9am on Tuesday, August 21, with a pre-sale from 9am on Friday, August 16 — for more information, visit the event website.
Iconic Brisbane band Gentle Ben And His Sensitive Side are known as icons for a reason. Their dark howls and smooth crones have long struck a chord with audiences who are thirsty for their unique style of cabaret rock. Which is why their latest album Magnetic Island may come as a surprise to most. It seems the band's over-the-top front man (and of Six Ft Hick fame) Ben Corbett has, well, found his sensitive side. Straight melodies, softer vocals, pop songs and piano ballads litter the new album, while a slight darkness and intensity also haunts the lyrics. The band's signature drama is still evident though, along with Ben's exuding charisma. Magnetic Island may mean a shinier sound for Gentle Ben and his Sensitive Side, but you can be sure their live show still holds the same lively passion and magnitude as always. But you don't have to take my word for it. Go and see for yourself when Gentle Ben And His Sensitive Side perform at an all ages show at Tym Guitars on Sunday. A nice place to spend a leisurely afternoon, the astro-turfed Winn Lane will play host to an intimate gig, and best of all it's free.
December is a time for reflection. A time to look back on the year that was, read round-ups to check up on what you've missed and put together best-of lists (indeed, we've just launched our own in Sydney, Melbourne and Brisbane). Earlier this week Time Magazine announced the 'silence breakers' behind the #metoo campaign as its 'Person' of the Year, which, if you needed reminding, is pretty indicative of how difficult and momentous this year has been. How to deal with it all? With purple, apparently. Ultra Violet (PANTONE 18-3838) has just been named as Pantone's 2018 Colour of the Year. The dramatic shade was chosen by Pantone's colour experts not only because it's "provocative and thoughtful", but because its connection to cosmos suggests that there's more out there to be discovered and limitless possibilities of what's to come. Of course, purple has a cultural significance too — many of us would associated it with the late Prince. According to Pantone, the enigmatic colour has long been a symbol of counterculture and experimentation, as popularised by Prince, David Bowie and Jimi Hendrix. Referencing the year that was, Pantone executive director Leatrice Eisemen says that Ultra Violet inspires creativity and imagination and "takes our awareness and potential to a higher level". Then there's Ultra Violet's association with mindfulness; the colour is often used in meditation and spiritual practices. So paint your room in it, cover your body in it or just buy some purple socks — it might help you get through this crazy messed up world in 2018.
If you're starting to feel like a new season hasn't truly started until Finders Keepers has come to town, you're not alone. The ever-expanding art and design market has been bringing us face-to-face with some of the country's most quirky and creative designers for over a decade now — and it's set to do it all over again when it returns to Brisbane this November. The autumn/winter event saw the festival extend its trading hours, a move which will be repeated this time round, giving you maximum opportunity to explore the extensive program of vendors, food and entertainment. Of course, the focus remains on helping you discover and connect with the next wave of independent and emerging artisans, so expect to find plenty to take home with you from the event's more than 200 stalls. As usual, there'll also be live music and other entertainment scattered across the weekend to keep the good vibes going. And you're covered when the inevitable shopping-induced hunger strikes, a heap of food trucks will be dishing up bites to eat. Tickets are $5, available at the door and valid for the entire weekend. Finders Keepers Spring/Summer Brisbane will run from November 9–11 at 12pm–9pm on Friday, and 9am–5pm on Saturday and Sunday. Image: Mark Lobo.
Dubbed as the biggest night of the year for Sydney, the Mardi Gras Parade usually fills the streets of Darlinghurst and Surry Hills. In 2021, however, the celebration of LGBTQIA+ culture and communities — and its colourful array of hundreds of floats and performers — will actually take place in the Sydney Cricket Ground. Announced back in November, the parade has been moved to the SCG to help ensure social distancing is maintained. The 23,000-capacity event has been sold out for a while; however, a final release of tickets will go on sale from 2pm on Wednesday, February 17. If you're in need of some motivation to nab a seat, the parade's lineup should help. Rita Ora leads the bill, alongside Electric Fields, Montaigne and G Flip. Before the parade, DJs Kitty Glitter and Dan Murphy will hit the decks, with hosts Bob Downe and Julie McCrossin helping to get the crowd excited. When the floats start, however — after a Welcome to Country ceremony at 6pm — Nell Schofield and Kyle Olsen will be on voiceover duties. The full Mardi Gras festival runs from Friday, February 19 until Sunday, March 7, should you be wondering what else is in store around the main festivities. You can view all currently announced programming and events and stay up to date with all the news at Mardi Gras website. And, if you can't make it to the parade, it'll be broadcast live on SBS. Updated February 17. Images: Jeffrey Feng
When Brisbane's new Queen's Wharf precinct starts welcoming in patrons from the end of August, a culinary feast will await. They're not all opening upon launch, but this new riverside hub will feature restaurants serving up Indochine, Japanese, Italian, noodle, lamb, steak and seafood dishes — and that's just a taste of the eateries that'll call the site home. Add French fare to the list as well, courtesy of the just-announced Pompette. Escargot? Tick. Champagne? Tick. Oysters? Tick again. Classic French menu items will be on offer at this restaurant and champagne bar, but with two guiding principles in mind. Firstly, Pompette's dishes are set to give traditional meals a modern spin. Secondly, if sending your tastebuds to Paris normally gets you thinking about extravagant fine-dining, this spot is aiming to be more accessible. Tassis Group is bringing Pompette to fruition, with the hospitality group now boasting not one but two Queen's Wharf venues after the lamb-heroing Dark Shepherd. Both are set to open in September, the month after the precinct initially begins launching. For Pompette, you'll be heading to The Terrace on level four of The Star Brisbane. Michael Tassis, Tassis Group's owner, sees the site as "the perfect opportunity to experiment with a fun and fresh venue concept." He continued: "we're so excited to expand on our offerings and bring a slice of France to Brisbane. French cuisine is renowned for its rich flavours and textures — but many people find it intimidating. The concept of Pompette is to make that French dining experience a little more approachable". The restaurant will be located at at the end of the Neville Bonner pedestrian bridge, not only giving it views of the Brisbane River out over to South Bank, but continuing another trend for the hospitality company. Before 2025 hits, it'll add to its growing array of Brisbane restaurants — which also includes Longwang and Fatcow on James Street, both of which also opened in 2024, plus Yamas Greek + Drink, Opa Bar + Mezze, Massimo Restaurant & Bar, Rich & Rare and Fosh Bar & Restaurant — with two new venues as part of Kangaroo Point's green bridge. At Pompette, regular Tassis collaborators Clui Design are responsible for the look and feel, too — taking inspiration from Paris here, of course. As for what else the eatery will serve up under Head Chef Jean-Luc Morcellet, most menu details are still under wraps, other than the aforementioned escargot, oysters and champagne. You can start looking forward to steak au poivre — aka pepper steak — however, and all-day dining will be a big drawcard. Find Pompette at The Star Brisbane, Queen's Wharf Road, Brisbane from sometime in September 2024 — we'll update you with an exact opening date when it is announced. Head to the restaurant's website for more details in the interim. Food images: Markus Ravik.
As fans of whodunnits on the page, stage and screen know, anything can and often does go wrong in sleuthing tales. Usually, however, the antics remain in the story. That's not the case in The Play That Goes Wrong, as its title indicates — and as theatre audiences have enjoyed for over a decade, watching what happens when The Cornley Polytechnic Drama Society endeavours to put on a murder-mystery, then chaos ensues. When the production premiered in 2012 in London, it not only proved a hit but won Best New Comedy at the Laurence Olivier Awards. It's also still treading the boards in the UK, making it West End's current longest-running comedy. For its first Broadway season, it also nabbed a Tony Award for Best Scenic Design of a Play. The Play That Goes Wrong has made its way Down Under before, too, but audiences will have another chance to catch it locally when it tours Australia again in 2025. Sydney Opera House is hosting the show's first — and longest — Aussie stop from Thursday, June 19–Sunday, August 3. After that, it'll play HOTA, Home of the Arts on the Gold Coast from Wednesday, August 6–Sunday, August 10 and Empire Theatre in Toowoomba from Monday, August 11–Friday, August 15. Next, the production will head back to New South Wales with a stop from Tuesday, August 19–Sunday, August 31 at Civic Theatre in Newcastle, before hitting Victoria from Wednesday, September 3–Sunday, September 21 at Athenaeum Theatre in Melbourne. The plot: when The Cornley Polytechnic Drama Society give the whodunnit genre a spin, telling the tale of a murder at a country manor and the quest to find the perpetrator, making it through the show becomes an accident-filled challenge. Since its debut over a decade ago, The Play That Goes Wrong has been seen by more than 4.2-million people worldwide — in 49 countries — and given 3500-plus performances at West End's Duchess Theatre alone. Another tidbit: also in West End, members of The Drama Society have been hit more than 125,545 times, sometimes by objects and sometimes by each other. The Play That Goes Wrong 2025 Australian Dates: Thursday, June 19–Sunday, August 3 — Sydney Opera House, Sydney Wednesday, August 6–Sunday, August 10 — HOTA, Home of the Arts, Gold Coast Monday, August 11–Friday, August 15 — Empire Theatre, Toowoomba Tuesday, August 19–Sunday, August 31 — Civic Theatre, Newcastle Wednesday, September 3–Sunday, September 21 — Athenaeum Theatre, Melbourne The Play That Goes Wrong is touring Australia from June 2025 — head to the production's website for tickets and further details. Images: original West End cast, Robert Day.
In 2011, in this very country and galaxy, a pop culture favourite gained a singing, stripping burlesque parody. It's the mash-up that was bound to happen. Who hasn't looked at George Lucas' space opera, its sprawling drama and ample spectacle, and wondered what a steamier, funnier version with more visible butt cheeks would look like? Russall S. Beattie clearly did, and had a good feeling that other people would give it a shot. The Empire Strips Back was the end result. It became a hit around Australia, then took itself overseas to much acclaim. Now it's returning home for a 2019 tour — once again showing local audiences that lightsabers aren't the hottest thing in the Star Wars galaxy. The saucy show promises "seriously sexy stormtroopers, a dangerously seductive Boba Fett, some tantalising Twi'leks, a delightfully lukewarm Taun Taun, a lady-like Skywalker [and] the droids you are looking for", according to its website. Apparently Yoda doesn't get the sexed-up treatment, but there is plenty of song, dance, acrobatics and — because it's burlesque — the removal of clothing. A dancing Chewie and Han is just the beginning of this cheeky take on Star Wars cosplay. Given that it's got an upbeat soundtrack, the costumes are extremely detailed and the show throws out lots of references to George Lucas' original plot, it's not surprising that local audiences — presumably the same ones that pack out Star Wars parties and large-scale screenings with a live orchestra — have latched onto the production. Heading to Sydney, Melbourne, Brisbane and Perth, The Empire Strips Back sits alongside Dame of Thrones in Beattie's pop culture parody stable — so if you've already seen one of your fantastical screen obsessions get the burlesque treatment, then you know what you're in for. If you're super keen, you can also nab a Wookieerotica magazine online: a 116-page, 70s-style men's mag, just casually featuring all of your favourite jedis, siths, ewoks and other Star Wars characters. Either way, it could be a great introduction to burlesque or Star Wars, depending on which way you're coming at it. The Empire Strips Back tours Australia early 2019. It will be at Perth's Regal Theatre on January 11–12, Melbourne's Palais Theatre on January 18, Brisbane's The Tivoli from January 31 to February 2 and Sydney's Enmore Theatre on February 15–16. Ticket pre-sales commence at 9am on Thursday, September 13 — visit the show's website for further details. Images: Jon Bauer, Leslie Liu and Josh Groom.
The director of Seven, Fight Club and The Girl with the Dragon Tattoo, David Fincher has made a career out of stylish, devilishly entertaining pulp. His latest film, Gone Girl, is absolutely no exception. Adapted from Gillian Flynn's bestselling novel of the same name, it's a dark and twisting tale that presents itself as both a biting commentary on relationships and media frenzy, and a subversion of procedural film conventions. And at the same time, it fully embraces the sleaze and exploitation of that which it critiques. Despite his superhero physique, Ben Affleck looks decidedly schlubby as Nick Dunne, an out-of-work writer from a small town in Missouri whose wife, Amy (Rosamund Pike), goes missing on their five-year anniversary. Signs of a struggle indicate she might have been abducted, and before long the entire country is following the case. But as more and more evidence comes to light, including a six-figure life insurance policy and a string of expensive credit card purchases, suspicion is soon cast upon her husband. And as a series of flashbacks told from Amy's perspective expose a marriage that had begun to turn sour, we're forced to confront to possibility that Nick may be a killer. Of course, it's nowhere near as simple as all of that. Gone Girl is the sort of movie that is very difficult to review, because so much of what makes it interesting lies in its second and third act revelations — each more deliciously silly than the last. Viewers unwilling to suspend their disbelief may struggle with the film, which really pushes the boundaries of plausibility. Then again, lurid, outlandish plot twists go part in parcel with the genre, as Fincher fans would well know. Although the movie plays fairly straight, there is definitely an element of subversion here, along with a jet-black sense of humour that manifests itself in unexpected ways. For example, it's hard not to snort when Nick complains, with a completely straight-face, that he's tired of "being picked on by women." The film's representation of gender and marriage could be the subject of an essay in and of itself. Suffice it to say, any movie that can be read as both a bloody tale of female empowerment and a twisted fantasy that implicitly exonerates domestic abusers is worthy of critical attention. Affleck, to his credit, gives what is probably the best performance of his career. One suspects that the casting choice was a self-aware one, given how much of the actor's life has been scrutinised in the tabloids. In a film full of unlikeable characters, the most repugnant are the likes of talk-show host Ellen Abbott (Missi Pyle), quick to condemn Nick's awkward, emotionless television appearances as evidence of his guilt. The film is very much a double-edged sword though. It condemns us for our obsession with violence while funnelling it down our throats. Once again, Fincher is dressing up trash as serious art, wanting to have his cake and eat it too. And frankly, we wouldn't take it any other way. https://youtube.com/watch?v=2-_-1nJf8Vg
Move over Babe, Piglet, Porky and Peppa. Thanks to monochrome-hued documentary Gunda, cinema has a brand new porcine star. Or several, to be exact; however, other than the eponymous sow, none of the attention-grabbing pigs in this movie are given names. If that feels jarring, that's because it breaks from film and television's usual treatment of animals. Typically on-screen, we see and understand the zoological beings we share this planet with as only humans can, filtering them through our own experience, perception and needs. We regard them as companions who become our trustiest and most reliable friends; as creatures who play important roles in our lives emotionally, physically and functionally; as anthropomorphised critters with feelings and traits so much like ours that it seems uncanny; and as worthy targets of deep observation or study. We almost never just let them be, though. Whether they're four-legged, furry, feathered or scaly, animals that grace screens big and small rarely allowed to exist free from our two-legged interference — or from our emotions, expectations or gaze. Gunda isn't like any other movie you've seen about all creatures great and small, but it can't ignore the shadow that humanity casts over its titular figure, her piglets, and the one-legged chicken and paired-off cows it also watches, either. It's shot on working farms, so it really doesn't have that luxury. It features animals destined to play their parts in the food chain, a fact that can't be avoided. But, surveying these critters and their lives without narration or explanation, this quickly involving, supremely moving and deeply haunting feature is happy to let the minutiae of these creatures' existence say everything that it needs to. The delights and devastation alike are in the details, and the entire movie is filled with both. Filmmaker Victor Kossakovsky (Aquarela) looks on as Gunda's namesake gives birth, and as her offspring crawl hungrily towards her before they've even properly realised that they're now breathing. His film keeps peering their way as they squeal, explore and grow, and as they display their inquisitive, curious and sometimes mischievous personalities, too. Sometimes, this little family rolls around in the mud. At other times, they simply sleep, or Gunda takes the opportunity to enjoy some shut-eye while her piglets play. Whatever they're doing, and whenever and where, these pigs just going about their business, which the feature takes in frame by frame. In one of the documentary's interludes away from its porcine points of focus, the aforementioned chook hops about. Whether logs or twigs are involved, it too is just navigating its ordinary days. In the second of the movie's glimpses elsewhere, cattle trot and stand, and their routine couldn't seem more commonplace as well. It doesn't take a particularly observant person to notice the tag through Gunda's ear, or the fencing surrounding her and her fellow cast of creatures. No one need listen intently, their own ears figuratively pricked, to discern the noise of the human world beyond the sounds of nature. Evidence of people — even without even the slightest glimpse of a single one — is always there for viewers to see and hear, with Kossakovsky's engrossing and meditative documentary presenting it as plainly as it does everything else throughout its duration. The audience knows that these stories won't end happily as a result. It's well aware that humankind's intended use for the film's animals will trump the critters' own urges, desires and clearly apparent emotions. Indeed, Gunda screams its abhorrence of eating flesh without saying a word; to the surprise of no one who saw his Golden Globes and Oscars speeches in 2020, Joaquin Phoenix is one of its executive producers. Everyone finds their own meaning in every movie, but patient, dialogue-free, near-hypnotic documentaries like Gunda enhance that sensation several times over. Staring at its intimate visuals — at the stunning, resonant and evocative sights it presents again and again — sparks a shower of thoughts, threads and questions, and, sans guiding words dictating what to focus on and why, each individual viewer will veer in their own direction. Some will be struck by the act of watching life come into the world, then shaken by knowing its ultimate purpose. Others might be shocked by the way that even the simplest trace of routine connects every living thing. Others still could come to think differently about their diet choices. All three and more are options here, because Gunda ensures that its audience isn't just seeing its pigs, chicken and cows in a strikingly realistic, authentic and compassionate fashion, but is also confronting and challenging their own personal choices around animals at the same time. Gunda is an immensely empathetic film — director/co-writer/co-editor/co-cinematographer Kossakovsky was inspired by his own childhood experience, when he had a pig for a best friend — and also a work of astonishing skill. So seamless are Kossakovsky and fellow writer/editor Ainara Vera's (Aquarela) efforts that it's impossible to guess that Gunda and her piglets' lives in Norway are interspliced with scenes from British and Spanish farms. Every shot seen on-screen is so gorgeously framed and lit by the filmmaker and his co-director of photography Egil Håskjold Larsen (When Man Remains), and so vivid and textured in its inky black-and-white colour scheme, that avoiding the lure of its imagery is unimaginable. It's no wonder that taking in the documentary's every second feels like an act of surrender — visually, intellectually and emotionally, and to its layered and immersive soundscape as well. This isn't just a nature doco; it's a poetic musing on what it means for every creature to be alive and an examination of humankind's display of force over the natural world, and it's as staggering as it is stirring. https://www.youtube.com/watch?v=ilNHPfOOeIs
The role of Andie Whitford, the lead part in High Country, was written for Leah Purcell. It's easy to understand why. There's a quiet resolve to the character — a been-there-seen-that air to weathering tumult, too, and to knowing that she'll always have to fight hard for what she wants — that's long been a part of the Indigenous Australian star's acting toolkit across a three-decade career. Purcell first appeared on-screen in 90s TV shows such as GP, Police Rescue and Water Rats. In the past year before High Country, The Lost Flowers of Alice Hart and Shayda also popped onto her resume. In-between, the 2000s brought Lantana, Somersault, The Proposition and Jindabyne — and the 2010s added Redfern Now, Last Cab to Darwin, Janet King and Black Comedy. Across three formats, as a play, a book and a movie, she also interrogated and reimagined Henry Lawson's The Drover's Wife in blistering fashion, and while writing, acting and directing. It's thanks to Wentworth that High Country came Purcell's way, however. Creators Marcia Gardner and John Ridley worked with her there, then made this the trio's next shared project. The nuts and bolts of the series are solid anyway, but it joins the ranks of Aussie detective and mystery tales made all the better due to their main talent. Mystery Road, which High Country co-star Aaron Pedersen (High Ground) has led in films and on TV, was the same. Jack Irish, featuring Guy Pearce (The Clearing) as its namesake and also Pedersen as his righthand man, equally fits. So does The Dry and its sequel Force of Nature: The Dry 2, both with Eric Bana (Blueback) — the latter of which also used Victoria's alpine region as a backdrop, as does High Country. Andie is a seasoned police detective who takes a job back in uniform overseeing the town of Broken Ridge, which is located in the mountainous Victorian spot that gives the show its moniker. While High Country might be the second Aussie effort in 2024's early months to embrace this part of the nation — among a small but growing wave of rural-set Down Under movies and programs that aren't traversing red earth, such as the Tasmanian-set Deadloch, The Gloaming and The Kettering Incident, too — it's no mere rehash there, or anywhere. High Country's framework, down to its character types, is easily recognisable. Gardner and Ridley know what everyone does, though: that a great story can make any whodunnit-driven procedural feel different, as can excellent casting. A big reason for Andie's move: stability and work-life balance, aka relocating for the sake of her personal life with spouse Helen Hartley (Sara Wiseman, Under the Vines) and daughter Kirra (Pez Warner, making her TV debut). An existence-resetting tree change is meant to be on the cards, then, in a place where leafy vantages stretch over mountains and down into valleys as far as the eye can see. But her arrival, especially being installed as the new police chief, doesn't earn the sunniest of welcomes. Then there's the missing-person cases that swiftly start piling up, some old, some new, some previously explained by pointing fingers in specific directions. An absent doctor (Francis Greenslade, Irreverent) and the car he leaves behind is Andie's entry point, but that isn't the beginning or the end of the tale. Also key to the series are Andie's retiring predecessor Sam Dryson (Ian McElhinney, The Boys in the Boat), who is fixated on the past disappearance of a young boy — and former teacher Damien Stark (Henry Nixon, The PM's Daughter), who he's certain is responsible, has become the town outcast as a result and contends that he's psychic. Andie is soon perched between them. She values Sam's advice, yet spies how fixated he is in his vendetta (one wall in his house is right out of the obsessed-cop playbook). At the same time, she enlists Damien as a consultant to help on active cases, hoping that he'll accidentally reveal his involvement in the process. Ranger Owen Cooper (Pedersen) is one of the few other Indigenous faces in town; his teenage son Ben (Pedrea Jackson, Sweet As) quickly befriends Kirra. Throw in Rose De Vigny, the financially challenged proprietor (Linda Cropper, How to Stay Married) of a haven for artists, plus cop colleagues of varying help and loyalty (Romance at the Vineyard's Matt Domingo and Wyrmwood: Apocalypse's Luke McKenzie), and Broken Ridge doesn't lack in players. Rabble-rousing siblings (Boy Swallows Universe's Nathaniel Dean and The Clearing's Jamie Timony), town bigwigs (Geoff Morrell, The Lord of the Rings: The Rings of Power) — the list goes on. Crucially, no matter how many of High Country's characters feel as if they could've walked in from fellow Aussie fare, where the show takes them is always its own journey. The same is true of Andie, and not just within a homegrown context; Jodie Foster (Nyad) in True Detective: Night Country and Kate Winslet (The Regime) in Mare of Easttown have charted comparable paths, but never this exact route. Pivotal to giving High Country its own flavour is its sense of place — not merely as a source of picturesque sights, which Andie often takes in as a newcomer to these parts, but in getting entrenched in the ragtag Broken Ridge community. When Sam reflects early that disappearances and deaths are just what happens here, Andie is horrified. Digging into the motivation behind his words becomes another of her missions, and the series'. With a wealth of fellow Wentworth alum behind the camera — Kevin Carlin (Ms Fisher's Modern Murder Mysteries) and Beck Cole (Deadloch) direct; Craig Barden (The Rooster) and Darrell Martin (White Fever) are High Country's cinematographers — this is a probing affair. The surroundings that make us, and also hide our secrets, prove a canvas, a minefield and a map. Discovering what they contain in this small-town thriller makes for addictive viewing, unsurprisingly. And in Purcell as Andie, High Country has a discerning and determined guide to fuel not just one season and its mysteries, but hopefully much more to follow. Check out the trailer for High Country below: High Country streams via Binge. Read our interview with Leah Purcell Images: Sarah Enticknap / Narelle Portanier.
Whether you've been directly impacted, have watched on from your own less-waterlogged patch of southeast Queensland or have seen the news from further afield in Sydney, the past week's catastrophic wet weather has been impossible to ignore. It's been a lot to take in, actually, thanks to record rainfalls in Brisbane, relentless deluges hitting from the Sunshine Coast down to northern New South Wales, and floodwaters destroying homes and businesses in two states. Accordingly, it might've left you wanting to do your part to help out. In Brisbane, you can sign up to the Mud Army 2.0 to assist on the ground — and wherever you're located, you can also throw your support behind a fundraising effort by Surry Hills' Bar Suze. The late-night Sydney haunt is helping the flood-relief cause in two ways: in-person at a big wine-fuelled five-hour event on Sunday, March 6, and online via a raffle. For Sydneysiders, you'll want to swing by Foveaux Street between 1–6pm to sip rare natural wines, mix them up with Poor Toms gin and tonics, and tuck into Bar Suze snacks. Whatever you choose to eat and drink, all of the proceeds will go to flood-relief funds for folks impacted by the weather in NSW and Queensland. At the event, the venue will also be drawing a raffle, with more than 25 prizes on offer — and all of the proceeds from the $50-each tickets will also go to the flood relief fundraising effort, too. Prizes include a dinner for two at Bar Suze, as well as a one-night stay at the soon-to-open Ace Hotel Sydney in Surry Hills, a two-evening trip to a Byron hinterlands retreat that sleeps 12 — and boasts its own saltwater pool and outdoor cinema — plus an In Bed linen set, hair salon vouchers, a Coffee Supreme subscription, and a bar tab at Redfern's The Woolpack. There are also prize packs on offer from DRNKS, Cocktail Porter, Pepe Saya Butter, Worktones and Lo-Fi Wines — and the list goes on. The raffle is open to everyone, and tickets can be bought online, too — so that's how you can get involved if you're not located in Sydney or can't make it along on Sunday. (Obviously, tell your Sydney pals to attend either way). For tickets, just get buying before 5pm AEST on Sunday, March 6, with the raffle drawn live at Bar Suze that evening. As for all of those proceeds, they're going to on-the-ground initiatives in the Northern Rivers and Queensland. At the time of writing, Bar Suze is supporting Flood Relief Cook Up — Northern Rivers region, Bundjalung flood relief and Northey Street City Farm flood relief — with more worth initiatives likely to be added. Bar Suze's flood relief fundraiser will take place from 1–6pm on Sunday, March 6. Raffle tickets are on sale online now, with prizes drawn at 5pm AEST on Sunday. Images: Nikki To.
It has been a big year for fans of The Crown, and the show hasn't even released any new episodes in 2020 so far. At the beginning of the year, Netflix announced that it would end the royal drama after its fifth season. Then, it had a change of heart, revealing it would continue the series for a sixth season. That's quite the drama — and all of this before the show's fourth season has even aired. If you prefer your royal intrigue on-screen, however, the streaming platform has now just dropped its first teaser trailer for the aforementioned fourth batch of episodes. The clip only runs for 46 seconds, so it doesn't give very much away at all; however Oscar-winner Olivia Colman is back as Queen Elizabeth II. Fans also get the tiniest of glimpses of The X-Files icon Gillian Anderson as Margaret Thatcher and Pennyworth's Emma Corrin as Lady Diana Spencer, too. Also included is a rather pivotal tidbit for The Crown aficionados: just when the show will make a comeback this year. Block out Sunday, November 15 in your diaries, as that's when you can start binging. As Anderson's casting intimates, the fourth season is set to take place during Thatcher's time as Britain's prime minister — and as the sight of Diana in a wedding dress demonstrates, will feature the latter's wedding to Prince Charles (God's Own Country's Josh O'Connor). It'll also be the last chance for fans to enjoy seeing the current lineup on talent, with the series' fifth and sixth seasons — which are expected to follow the Queen in the 1990s and 2000s — switching out its cast again. The show already did exactly that after seasons one and two, of course. This time, after season four, Downton Abbey, Maleficent and Paddington star Imelda Staunton will don the titular headwear, and Princess Margaret will be played by Staunton's Maleficent co-star and Phantom Thread Oscar-nominee Lesley Manville. Also, Game of Thrones and Tales from the Loop's Jonathan Pryce will step into Prince Philip's shoes and Australian Tenet, The Burnt Orange Heresy and Widows star Elizabeth Debicki will play Princess Diana. Check out The Crown's first season four teaser below: https://www.youtube.com/watch?v=_TGInHPoufg The Crown's fourth season will hit Netflix on Sunday, November 15. Image: Sophie Mutevelian / Netflix
