Thirsty? If you're not now, you will be once you've read this. That's the only appropriate reaction to a festival of beer, after all. Just think of all the amber liquids and foamy goodness. Okay, enough drooling; here are the important details that every ale-lover needs. When Beer Fest On the Grass returns for its whopping tenth year from 11am on Saturday, July 29, more than 300 beers and ciders will be on offer. To line your stomach, there'll also be a range of international food trucks. Basically, if there's a beer heaven, this is it. Yes, Eatons Hill Hotel has been hosting this tipple-fuelled shindig for a decade — and will once again celebrate drinking, eating and enjoying a day in Brisbane's glorious outdoors. If you're serious about your beverages, you'll want to taste, sip, sample and chat to folks from a huge selection of breweries. And, if you're serious about fun, you'll want to gather some mates and take part in the event's other fun activities — in previous years, there's been an inflatable beer obstacle course, a keg-stacking comp and a life-sized game of foosball. Tickets are on sale now, with second-release entry starting at $23.80. Top image: Brisbane Beer Fest. Updated July 24, 2023.
If you're a longtime Brisbanite, you are probably well acquainted with the sandwiches at Dannyboys. Owner Danny McKennariey opened the original Dannyboys back in 2011 and it quickly grew a bit of a cult following thanks to its epic, made-to-order sandwiches. There are a whopping 24 different sandwiches to choose from, all served on a good ol' fashioned crusty baguette (or you could swap to a lettuce wrap if you'd prefer). There are also flatgrills, brekkie rolls, soups and fries, too. We won't distract you further by talking about the Big Porky Roll or the Cuban Flatgrill (both firm winners, in our humble opinion). Instead, we are going to let you in on the solid dessert selection available for takeaway and delivery. Think jumbo cookies that are promised to be 'bigger than your hand', chocolate caramel brownies and puppy chow — not dog food, but instead a sugary snack mix of cereal, chocolate and peanut butter. Dannyboys also bakes cupcakes daily, so give the store a quick ring to find out which flavour the team whipped up this morning. If it's the key lime pie ones, then you are truly blessed.
Get ready for the adrenaline-fuelled action of watching sailing's greatest athletes race on Sydney Harbour in Australia Sail Grand Prix this summer. To be right in the heart of the action, head to Waterfront Premium - Shark Island for the best land-based view of the race in the middle of Sydney Harbour. Tickets start at $230 for adults and includes return ferry transfers from SailGP Village at Barangaroo, a gourmet picnic hamper, premium open bar, big screens for action replays and live commentary. If you'd prefer to watch the race from the water, hop on one of the official spectator boats courtesy of Captain Cook Cruises. On-Water Access tickets allow you to bring your own food and purchase beverages from the bar while you soak up include an incredible view of the race and live commentary. If you want to elevate your day on the harbour, choose the premium package that includes a buffet and an open bar. Finally, if you've got your own boat, you can register to the free 'Bring Your Own Boat' program to receive live updates from race management from your preferred spot on the water with friends. Don't forget, you can also check out the SailGP Village in Barangaroo which will host events for all sailing fans across the two days of racing. Ready for a thrilling day on the beautiful Sydney Harbour? Head to the Australia Sail Grand Prix, Sydney from Friday, December 17–Saturday, December 18. For more information and to book, visit the website.
On Australia's list of big things, the Big Pineapple is among the most famous. It's big. It's a pineapple. It's heritage-listed Queensland icon. It's located on the Sunshine Coast surrounded by pineapple fields. Basically, what's not to love? It's not merely a reason to head to Nambour to gawk at over-sized tropical fruit, though. Back in 2013, it also became home to a music festival. Initially, the Big Pineapple Festival ran annually. At present, it was last held in 2021. The event's three-year hiatus is coming to an end, however, with organisers announcing that the fest will return in October 2024. View this post on Instagram A post shared by Big Pineapple Festival (@bigpineapplefestival) No specific date has been revealed as yet for this spring, and there's no lineup so far, but the fest's website says it all: "we're back baby!". The Big Pineapple Festival's site and socials have also said far more than just those three words about the event's comeback. So, you can start looking forward to a Woombye fest that'll take over the location's natural amphitheatres, get folks pitching a tent at the 4000-person campground, and also span workshops and art installations in a relaxed setting, too. The fest has always drawn a crowd, selling out in its very first year and plenty of times since. In 2021, Alison Wonderland and Peking Duk headlined, leading a lineup that unfurled top-notch entertainment across four stages. Also included at past festivals: a ferris wheel, food stalls aplenty, arts, crafts and other activities, and camping — all in the shadow of a giant pineapple that's the Sunshine Coast's biggest tourist attraction. The Big Pineapple Festival's return is welcome news at a time when the Australian music scene has been seeing cancellations, rather than comebacks. Tasmania's Mona Foma said farewell forever after its 2024 event, both Splendour in the Grass and Groovin the Moo scrapped their 2024 festivals mere weeks after announcing their lineups, Falls Festival took summer 2023–24 off, Summergrounds Music Festival at Sydney Festival was cancelled and This That hasn't gone ahead for a couple of years now. [caption id="attachment_944026" align="alignnone" width="1920"] The Big Pineapple, Alpha via Flickr[/caption] The Big Pineapple Festival will return in October 2024, with an exact date yet to be announced. We'll update you with more details when they're revealed — keep an eye on the fest's website, Facebook and Instagram in the interim. Images: Claudia Ciapocha / Charlie Hardy..
Once upon a time, a man's beard represented the ultimate in raw masculinity and virility. Alas, these days beards have come to be worn by city dwellers as a kind of ironic badge of honour, much like a daggy old jumper or high-top Converse shoes. But fear not, Adelaide's favourite facially furry friends, The Beards, are claiming it back. The quartet are taking their bearded odyssey to the world with the launch of their first global tour across North America, Europe and Australia. The Beards see themselves as more than simply hairy entertainers but also as prophets of the immortal message proclaimed in their most recent album that "having a beard is the new not having a beard". Call them a one-joke concept if you will, but The Beards have found themselves a pretty bloody funny joke. And they have the sort of indie success to prove it as well. With over 2 million hits on their YouTube channel, a spot on the 2011 Triple J Hottest 100 and sold-out shows across the country, The Beards have fashioned the sort of cult following that many a clean-shaven artist can only dream of.
UPDATE, June 10, 2022: Hustlers is available to stream via Stan, Netflix, Google Play, YouTube Movies, Prime Video and iTunes. Kudos to the bright minds behind Hustlers' many needle drops. When the film's trailer hit, it used Cardi B's 'Money' as its soundtrack — not only nodding to the rapper's co-starring status, but capturing the movie's materialistic vibe with its sultry lyrics about diamonds, jets and oh-so-much cash. In the picture itself, Janet Jackson's 'Control' initially does a similar job, opening the feature with a statement that really couldn't sum up its characters better. While they're literally rolling around in moolah until the global financial crisis hits, Hustlers' resourceful strippers are always at the mercy of their banker clientele. Forced to get creative when times get tough, they turn the tables on the guys usually throwing notes their way, hatching quite the entrepreneurial scheme to reclaim their bodies, lives and independence. The pesky little fact that, by drugging well-off men, running up huge charges on their credit cards and pocketing the profits, these gals are as shady as their Wall Street marks — well, Hustlers has a music cue for that also. It might seem obvious to introduce Jennifer Lopez's Ramona, the mastermind of the group, to the sounds of Fiona Apple's 'Criminal'; however, her eye-catching entrance shows that her allure is as seductive as the song's beat. Elsewhere, the film lets its characters scream in delight to Britney's 'Gimme More' and serenade Usher (as himself) to his own 'Love in the Club'. It uses Lorde's 'Royals' to telling effect, too. These are knowing, savvy music choices in a picture that's always coolly calculating. To truly unpack this real-life tale of bling-coveting erotic dancers scamming the financiers who just fleeced a nation, it needs to be. Experienced at disrobing on the job, but nervous when she moves to a new New York strip joint in 2007, Dorothy (Crazy Rich Asians' Constance Wu) hardly follows the film's lead — at first. Known as Destiny on stage, she's barely getting by until she becomes as bewitched by Ramona as all the guys around her. Standing out among the other dancers (including not just Cardi B, but Lizzo), their double-act lights plenty of clients' fires and keeps the duo flush with cash. Then, post-GFC, the dollar bills stop raining from the sky. Fast forward to 2014, and Dorothy is relaying the details to Elizabeth (Julia Stiles), who's writing about the strippers' escapades. More than just a framing device, the pair's chats have a basis in actual events, with writer/director Lorene Scafaria (The Meddler) adapting Hustlers from a 2015 New York magazine article. It's not the heady, dancing heyday that Elizabeth is most interested in, however, and nor is the piece that Hustlers is inspired by. Rather, it's the hijinks that follow when Ramona concocts her pilfering plan. Aided by two other pals (Keke Palmer and Lili Reinhart), Dorothy and Ramona start living their wildest dreams — enjoying a level of wealth, excess, comfort, security and, yes, control that they've never experienced before. "I kept thinking there was some magic number," Dorothy notes as she tries to explain what the women got up to, how and why, although the film does a perceptive job of making that plain beyond her words. Playing out like a gender-flipped Magic Mike meets The Wolf of Wall Street, the movie doesn't turn its characters into heroes by any means. But, it saves its deepest savagery for another target: the money-hungry American dream that today's brand of corporation-favouring capitalism gleefully encourages and endorses. It's a delicate balancing act, thoughtfully interrogating Dorothy and company's story without glorifying their actions — and it's one that Hustlers nails. Like many a great heist and gangster flick before it, this upbeat crime drama eschews the simplicity of black-and-white morality. Aptly, given that it's constantly bathed in neon-lit hues, it avoids mere shades of grey, too. Here, all that glitters seems gold and silver, but it's really laden with chrome and encrusted with diamantes. Scafaria styles her whole picture in the same fashion, with its shining frames welcoming viewers in, then exposing the stark, seedy reality. The twist that makes Hustlers exceptionally astute as well as engaging and entertaining? While Dorothy and Ramona desperately want to gain control, they're still firmly steeped in a flimsy, male-defined world. Accordingly, their rise to the top was always going to prove fleeting and superficial — so the bonds they make and break along the way shape their story more than the cash, jewels and designer clothes. Hustlers never shies away from this fundamental truth, or from a warts-and-all depiction of its wily protagonists as well. It can't, and it's all the better for it. Of course, if Wu and the especially fantastic Lopez didn't ground this larger-than-life true story in fleshed-out characters, it'd all mean next to nothing. Thankfully, from its spicy narrative to its potent themes to its stellar performances, Hustlers both works the pole and packs an almighty punch.
When the Australian Academy of Cinema and Television anoints its picks for the best movies and TV shows of 2023, it'll do so in February 2024 on the Gold Coast. The country's night of nights is on the move to southeast Queensland, making its Sunshine State debut; however, a change of location isn't the only big offering. For the first time ever, the organisation is also hosting the AACTA Festival, a celebration of everything that the country puts on screens both silver and small. AACTA's gongs will be given out on two dates, starting with its Industry Awards on Thursday, February 8 and then hosting its usual glittering ceremony on Saturday, February 10. Around those occasions, running from Thursday, February 8–Sunday, February 11 at HOTA, Home of the Arts, AACTA Festival will be filled with talks, screenings and more featuring a swag of impressive names. If Talk to Me creeped its way onto your list of favourite Australian horror movies, directors Michael and Danny Philippou will be at AACTA Festival to dive into it. Warwick Thornton is also on the lineup to discuss The New Boy as part of the fest's 'meet the creators' events, as are the teams behind Limbo, Sweet As, Shayda and The Newsreader. Can't wait to see the Boy Swallows Universe TV series? It'll be out by February, so you'll have it fresh in your mind author Trent Dalton gets talking about it. And if you were a fan of The Lost Flowers of Alice Hart either on the page or screen, Holly Ringland will also be chatting. Indeed, writers are a big focus, including Nick Earls, Lystra Rose, Mathew Condon, Richard Jameson, Tristan Michael Savage and Ben Hobson. Giving the event one of its international highlights, Lessons in Chemistry's Bonnie Garmus is on the bill as well. Also each massive highlights: behind-the-scenes explorations of The Matrix, the stunts of Mad Max: Fury Road and, for some more overseas flavour, Spider-Man: Across the Spider-Verse's animation. Or, enjoy a chat with Wellmania and The Way We Wore's Celeste Barber about her career, then find out more about the upcoming series High Country starting Leah Purcell (Wentworth), Aussie-made Robbie Williams biopic Better Man and the sequel to Mortal Kombat at their own dedicated talks. Before they get their own immersive experience in Brisbane, Bluey and Bingo will be doing a meet and greet — and, including a live-watch party for the AACTAs, a screening of 1906's The Story of the Kelly Gang, trivia, a Play School live event and a chat about music Baz Luhrmann's movies, there's plenty more joining them. In total, over 70 sessions form AACTA Festival, with most free to attend. AACTA nominees will also be taking part, although the details there can't be revealed until after exactly who is vying for a gong is announced on Saturday, December 9. "AACTA Festival is a must-attend event for anyone who lovesAustralian film, television, music, gaming, art and pop culture," said AACTA CEO Damian Trewhella, announcing the lineup. "We are excited to present more than 70 events over four days celebrating the excellence of our industry. From red carpet glamour to workshops and a special kids' lineup, it's an invitation for everyone to step into the magic of storytelling and creativity." AACTA Festival will run from Thursday, February 8–Sunday, February 11 at HOTA, Home of the Arts, 135 Bundall Road, Surfers Paradise Gold Coast. For further details, head to the fest's website. Boy Swallows Universe and Wellmania images courtesy of Netflix.
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 starting to reopen — spanning both big chains and smaller independent sites in Sydney, Melbourne 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=1Qn70iqo-4Q MONOS The relentlessness of modern life, the ongoing unrest in Colombia, and the ceaseless trials and tribulations that plague all teens facing adulthood — they all sit at the centre of stunning South America-set thriller Monos. Set in a camp of teen guerrillas, Alejandro Landes' third film follows gun-toting rebels that have barely said goodbye to childhood, but are still tasked with guarding an American hostage (The Outsider's Julianne Nicholson). Unsurprisingly, even with nothing around but fields, jungle, a cow to milk and occasional enemy fire, little goes according to plan. Engagingly lingering between a dark fairytale and a psychological treatise on war, combat and humanity's dog-eat-dog nature, the result is the definite standouts of the past year. From the eye-popping landscape cinematography and the needling tension of Mica Levi's score, to the commanding performance from the young cast, there's a reason that Monos proved a huge festival hit around the globe in 2019 — including winning Sundance's Special Jury Award — before finally releasing in Aussie cinemas. https://www.youtube.com/watch?v=nzqevBnUUZU&t=3s THE ASSISTANT After exploring the JonBenet Ramsey case not only with precision, but via a perceptive re-enactment technique that interrogated its impact — with excellent documentary Casting JonBenet the end result — trust Australian filmmaker Kitty Green to turn one of the biggest topics of the past few years into a compelling, unsettling, fiercely searing thriller. The subject: the culture of sexual harassment and sexually predatory behaviour in the entertainment industry. The context: #MeToo, obviously. Following a day in the professional life of an entry-level personal assistant, Jane (Ozark's Julia Garner), as she works for an unseen film production company head honcho, The Assistant unnerves by showing the routine, everyday nature of inappropriate workplace conduct, as well as the powerlessness of those both subjected and witness to it to stop it. As always in Green's films, every element is fine-tuned to evoke a strong and earned response — which, here, includes a grey colour palette, claustrophobic camerawork, a taut script, a commitment to authenticity and a devastatingly stellar performance by Garner. https://www.youtube.com/watch?v=tqO25i-XNEU THE PERSONAL HISTORY OF DAVID COPPERFIELD He's skewered British, American and Russian politics in The Thick of It, In the Loop, Veep and The Death of Stalin. This year, in the eerily prescient Avenue 5, he pondered what would happen if a group of people were confined on a cruise of sorts — a luxury space voyage — for an extended stretch of time. But, in period comedy mode, The Personal History of David Copperfield might just be Armando Iannucci's most delightful work yet. Indeed, playfully trifling with a Charles Dickens classic suits the writer/director. Boasting a charming performance by Dev Patel as the eponymous character, and also starring Tilda Swinton, Hugh Laurie, Peter Capaldi, Ben Whishaw and Game of Thrones' Gwendoline Christie, this is a fresh, very funny and sharp-witted rendering of the obvious literary source material. Recreating this tale of a Victorian-era young man cycling from wealth to poverty and back again, Iannucci and his frequent co-scribe Simon Blackwell take shrewd liberties with the story, while never letting issues of class, abuse, loss, corruption and the dog-eat-dog nature of capitalism slip from view. And, Iannucci's visual inventiveness — including the use of split screen and rear projection — also leaves an imprint. Read our full review. https://www.youtube.com/watch?v=eVlPl0SXFiE BAIT When a film is described as 'textured', the term typically refers to its narrative, themes and emotional impact, with nothing smooth, shallow or straightforward evident. That applies to Mark Jenkin's Bait as it hones in on feuding Cornish fisherman siblings Martin (Edward Rowe) and Steven Ward (Giles King). Indeed, examining not only family in-fighting, but culture clashes, the growing chasm between tradition and modernity, and the effect of tourism on local residents of scenic spots, this is a rich, tense, complex and mesmerising affair that muses as deeply on blood ties as it does on gentrification. Jenkin's film also boasts ample visual texture, too. It's noticeable from the feature's first moments, is intrinsically linked to its tone, and proves utterly inescapable as the sea, craggy shorelines, twisted nets and gnarled ropes all fill the screen. And, as shot on location with a 16mm Bolex camera — and on black-and-white stock that the director hand-processed — Bait's look and feel is as important to the movie as anything else within its frames. In fact, paired with a noticeable penchant for close-ups that forces the audience to stare firmly at both people and objects, this stunning British feature couldn't make a bigger or more powerful aesthetic splash. https://www.youtube.com/watch?v=9DOiI_zYQrs BELLBIRD Bruce (Cohen Holloway) has long since reached adulthood. And, for all of the garbage dump worker's life, his mother Beth (Annie Whittle) has provided a buffer between him and his stoic father Ross (Marshall Napier). When tragedy strikes, however, they're forced to not only face a future without her — including the minutiae of running their scenic Northland dairy farm — but to truly face and talk to each other in a meaningful way for the first real time. Marking the feature directorial debut of teacher-turned-filmmaker Hamish Bennett, made in the area he grew up in and following the same characters from his 2014 short film Ross & Beth, Bellbird explores a straightforward and well-traversed concept, with mourning no stranger to screens. That said, this patient, understated and gently humorous New Zealand drama is a soulful and thoughtful gem. As well as finding a wealth of depth in two men ill-equipped to confront their complicated emotions but given no choice but to try, this gorgeously shot and weightily performed feature matches Bruce and Ross' taciturn ways with an astute script that conveys more through silence than words. https://www.youtube.com/watch?v=BewCjGqefoQ LOVE SARAH Also focusing on connection and reflection sparked by grief, Love Sarah steps into another family attempting to cope with loss. In this case, the dearly departed is the titular chef — the estranged daughter of ex-circus performer Mimi (Celia Imrie), beloved mother of dancer Clarissa (Shannon Tarbet), and best friend and business partner of Isabella (Shelley Conn). When the latter decides to forge ahead with Sarah's plans to open a bakery, she realises that she can't do it without both Mimi and Clarissa's help. Also lending a hand: Sarah and Isabella's culinary school pal Matthew (Rupert Penry-Jones), who might be Clarissa's father. Directing her first feature, filmmaker Eliza Schroeder lets everything about Love Sarah play out as expected, including its soft hues, appetising cake and pastry shots, and exploration of renewed bonds and new opportunities in the face of life-altering change. The film is suitably sweet, of course, and always palatable; however it's far too happy to stick to the easiest recipe possible — with some plot strands overstressed to add extra drama, and one of the movie's more enticing and interesting narrative elements quickly introduced and then abandoned. https://www.youtube.com/watch?v=2Tzas-d8MgM THE WRETCHED For part of this year, when US cinemas were closed but some drive-ins were still open, The Wretched topped the American box office. In no other scenario would that have occurred, so consider the attention afforded Brett and Drew T Pierce's instantly familiar but always effective horror film one of the few silver linings of pandemic-inspired lockdowns. Set in a small coastal town, the siblings' slickly crafted feature follows teenager Ben (John-Paul Howard), who's visiting his divorced father Liam (Jamison Jones). As tends to happen in this type of creepfest, his arrival coincides with strange goings-on at the house next door — namely a sinister force that's wreaking havoc on his neighbours and threatening to spread its malevolence even further. Immediately recalling 80s-era spookiness (and clearly the product of writer/directors who've spent much of their lives watching scary flicks from the period), The Wretched perfects the genre's jumps and bumps with ease, as well as the filmmaking nuts and bolts. In terms of its supernatural storyline, though — and its witchy villain — it does lean heavily on cliches. https://www.youtube.com/watch?v=_K4qawhyasA&feature=emb_logo A SON A tragic accident causes a long-kept secret to come to light — and sparks a series of difficult choices for a Tunisian struggling couple — in the tense and moving A Son. Despite that description, however, this isn't just an intimate drama about messy personal lives tested by heightened circumstances, although it definitely fits that bill. As well as chronicling the fallout when Aziz (Youssef Khemiri), the 11-year-old son of Fares (Sami Bouajila) and Meriem (Najla Ben Abdallah), is hit by a stray bullet during an on-the-road ambush by an armed group, debut filmmaker Mehdi Barsaoui examines the societal underpinnings deepening the family's troubles. Aziz is in dire need of a liver transplant in the aftermath of the attack, but the quest to find a donor is complicated due to cultural, religious and political reasons, as well as a revelation that rocks Meriem and Fares' marriage. Playing parents and partners pushed to their limits, Bouajila and Abdallah are superb. And, while some of the movie hits predicable narrative beats, Barsaoui isn't afraid to veer in confronting directions, or to peer intently at the state of Tunisia today. https://www.youtube.com/watch?v=Eq2n6LJrrZY THE BOOKSELLERS Calling all bibliophiles — whether your bookshelves are bulging, you've spent far too much of your life in bookstores or you've always dreamed about turning your passion for reading into your profession. Focusing on New York's rare booksellers, as well as the ups and downs of their industry, US documentary The Booksellers touches on all of the above. It's also catnip for anyone who's never more content than when they're thumbing through a printed tome, and convincingly evokes the feeling of trawling through shelf after shelf of old, beloved volumes. Cycling through the main players in NYC's antiquarian and secondhand book scene, stepping through the history of dealing in rare texts and contemplating what the future might hold as technology threatens to change everything, this is a meticulously structured, deftly edited, and immensely fascinating ode to the printed word and the happiness it brings. Filmmaker DW Young doesn't make any surprising moves, but he doesn't need to, with his overall topic, his individual subjects and the world they inhabit proving as captivating as any must-read page-turner. https://www.youtube.com/watch?v=2VSaaTCrhlU IT MUST BE HEAVEN In It Must Be Heaven, Palestinian filmmaker Elia Suleiman both directs and plays himself. He also doesn't say a single word on-screen. Serving up a slice of observational comedy, he instead bears witness to and satirises the world around him — starting in his hometown of Nazareth, then roaming to Paris, New York and Montreal. In each place, absurdity reigns. Suleiman isn't interested in overt farce, though, but in a comically heightened, expertly choreographed exploration of the type of strangeness and silliness that lingers in ordinary lives, everyday situations and widespread attitudes. Think: run-ins with authority, examples on the increasingly engrained nature of violence, pondering global tourism and ruminating on the way that one's homeland shapes identity. The ebbs and flows of Suleiman's filmmaking career provide the scantest narrative framework, complete with a brief appearance by Gael Garcia Bernal as himself; however It Must Be Heaven favours vignettes, sight gags, soulful reflection, expressive comedy and strikingly staged moments over neat storytelling. https://www.youtube.com/watch?v=7w5Ej4SF2LE MASTER CHENG The ability of food to overcome national, cultural and racial bounds — to erase barriers, bring people together and help forge new bonds — is an overused cinematic trope. So too is the healing, happiness-inducing power of a great dish, including in fish-out-of-water and down-on-one's-luck scenarios. That doesn't stop Finnish comedy Master Cheng from giving all of the above a workout, though. Here, the titular Chinese chef (Pak Hon Chu) heads to the European country with his son Nunjo (Lucas Hsuan) in tow, plans to connect with an old colleague, but finds himself forging ties in a remote village instead. Naturally, there's a slow-simmering romantic connection with a local in the form of diner owner Sirkka (Anna-Maija Tuokko). Just as expectedly, the community warms to the newcomer's presence. What helps lift Master Cheng, however, isn't filmmaker Mika Kaurismäki's love of a clearcut (and clearly sentimental) template, but the time and attention he invests in building characters, as evidenced best in the film's fleshed-out central duo. https://www.youtube.com/watch?v=0qF-TrY0hBg&feature=youtu.be ROMANTIC ROAD Many a screenwriter has probably tried to pen a similar tale, but the story of Rupert and Jan Grey, their retirement plans and the adventure that followed could've only stemmed from truth. Invited to attend a festival in Dhaka, Bangladesh, the couple decide to drive Rupert's father's 1936 Rolls Royce across India to get there. The journey proves revelatory and life-changing in a variety of ways; however it's the detail captured by filmmaker Oliver McGarvey and his documentary Romantic Road that couldn't be more authentic. The Greys' road trip hits obstacles, both expected and not-so. That's part of the genre, whether based on fiction or fact. Here, though, McGarvey doesn't just focus on the trek and the ensuing escapades along the way, but spends much of the film unpacking his subjects' 35-year relationship — and their motivation to add this hefty drive to their lifetime's worth of affection and memories. https://www.youtube.com/watch?v=Rhwx30NPMY4 THE TAVERNA Setting a film inside a bustling restaurant — here, the White Village Greek Tavern in Melbourne's Elsternwick — almost feels like science fiction at this very moment. With The Taverna, though, it's inspiration for modest laughs, dramas and insights, with this ensemble piece charting the action in its obvious setting across one particularly chaotic night. Owner Kostas (Vangelis Mourikis) has plenty to deal with, including a car accident involving his shady son Angelo (Christian Charisiou), trying to get his his waitress Sally (Emily O'Brien-Brown) to replace his belly dancer Jamila (Rachel Kamath), and troubles with the latter, her ex-husband Arman (Peter Paltos) and his new girlfriend Rebecca (Tottie Goldsmith). Embracing multicultural Australia to an extent that isn't always seen on local screens, the result is a warm, sometimes wavering but generally engaging film from writer/director Alkinos Tsilimidos (Silent Partner, Tom White, Em 4 Jay). From 11.59pm on Wednesday, July 1, until at least Wednesday, July 29, stay-at-home orders have been reintroduced in ten Melbourne postcodes, which means their residents can only leave for one of four reasons: work or school, care or care giving, daily exercise or food and other essentials. For more information, head to the DHHS website.
In general, 2020 wasn't a great year. When it came to streaming new TV shows — something we all did, and much more than we normally would — it was an excellent year, however. Plenty of top-notch fresh releases joined everyone's must-see and favourites lists, and helped fill all of those hours spent at home, including a particularly delightful (and satirical, and also savage) jump back to 18th-century Russia. That show: The Great. It takes its title from its central figure, empress Catherine the Great. It's filled with lavish period-appropriate costumes, wigs, sets and decor. And, it explores an immensely famous time that had a significant impact upon the world. Normally, that'd all smack of a certain kind of drama — you know the type — however this is firmly a comedy as well. Starring Elle Fanning (Maleficent: Mistress of Evil) as the eponymous ruler and Nicholas Hoult (Those Who Wish Me Dead) as her husband Peter III, The Great is full of witty, laugh-out-loud lines, sports an irreverent and often cheeky mood, and has ample fun with real-life details — much in the way that Oscar-winner The Favourite did with British royalty on the big screen. That comparison couldn't actually be more fitting, with that film's BAFTA-winning screenwriter, Australian Tony McNamara, using his skills to pen The Great as well. Across its ten-episode, very easy-to-binge, immensely hilarious first season, the series immersed viewers in Catherine and Peter's hardly happy marriage, all the day-to-day dramas in the Russian court, and her plans to push him aside and become the country's ruler in her own right. Thankfully, it didn't finish telling that tale, with a second season due to arrive later this year. In Australia, it'll land on November 20, at the same time as it hits — and a fresh new trailer that teases everything viewers can look forward to has just dropped. Here's five things that should take your fancy: Catherine and Peter slinging sharp banter back and forth, her preference for eating chicken over sex, the word "huzzah", more chaotic antics and Gillian Anderson falling off a chair. Because starring in everything from The X-Files and Hannibal to The Crown and Sex Education isn't enough for latter, she pops up here as Catherine's mother. If you weren't already hooked on all things The Great, that's obviously an excellent — and great, naturally — reason to start watching. Check out the first trailer for The Great's second season below: The Great's second season will be available to stream in Australia via Stan on November 20.
How good is summer? The days are longer, the sunsets are picture-perfect and we've got extra impetus to make the most of it now we're back on the clock. Of course, we all know that golden hour is prime time for kicking back with a cool drink and catching up with mates after work. Thankfully, soaking up every bit of Brisbane's tropical climate and Instagram-worthy sunsets is a breeze due to our extensive number of rooftop bars. Together with Jim Beam, we've rounded up five sky-high watering holes so you can take in those golden reflections from a beautiful vantage point.
When it comes to expressing how cool something is on the internet, we're kind of spoiled for choice. What with Facebook Like, Digg, Stumble Upon, Delicious and retweets on Twitter, you could argue there's little need for yet another alternative. Google recently jumped on the recommendation bandwagon with the launch of the "+1" button. According to Rob Spiro, a Product Manager at Google, +1s are "the right recommendations when you want them – in your search results." And the power of the recommendations is that they're coming from "people who matter to you." The +1 button takes search in new directions by tapping into the relevancy of relationships, as well as of search keywords. As Google rolls out the new feature, which will appear not only on Google search results but also on external sites, sites which have been "plus-oned" by your contacts will be flagged for you. Kind of helpful when you're sifting through the flotsam and jetsam of the average search query, which can generate many hundreds of thousands of results. https://youtube.com/watch?v=OAyUNI3_V2c
For over a month now, nothing has been flickering across Yatala Drive-In's big screens. Come Labour Day long weekend, though, that's going to change. The beloved openair cinema is reopening its doors for three evenings of movies under the stars — all while everyone is social distancing in their cars, of course. For three nights between Saturday, May 2–Monday, May 4, movie buffs can jump in their vehicles, head halfway between Brisbane and the Gold Coast, and check out three films — with each of the venue's trio of fields showing one movie each night. That means that you can get spooked out by the latest version of The Invisible Man, watch Vin Diesel get fast and furious in a different way in Bloodshot, or indulge in some super-speedy nostalgia with Sonic the Hedgehog. As always, your night at the flicks will cost $35 per car, which covers up to six people. You can also pay an extra $40 and receive a feast of snacks to munch on while the movie plays. If the three-day opening is a success, the drive-in will look to keep opening every weekend. https://www.youtube.com/watch?v=dSBsNeYqh-k Queensland will start easing some of its stay-at-home restrictions from 11.59pm on Friday, May 1, allowing recreational drives within 50 kilometres from home — which is great news for folks eager to head to the drive-in. The venue will also be implementing some new rules and procedures, however, to keep everyone safe and healthy. They include contactless entry, hand sanitiser stations, restricting capacity to 50 percent or less, only making restrooms available for emergencies, and limiting the candy bar to ten patrons at a time. Keeping in line with social-distancing requirements, cinephiles are asked to only attend with folks they live with, or with one person who doesn't live in the same household. If you're choosing to go out and support local businesses, have a look at the latest COVID-19 advice and social-distancing guidelines from the Department of Health.
If you didn't already have plans from 11.30pm on Saturday, June 23, you do now. And if you did, change them — or factor sending a whole lotta love Queen Bey's way into your schedule. Reacting promptly, impulsively and passionately is just something Beyoncé inspires, and has been doing so for almost two decades. You probably don't even remember a time before Bey ruled our airwaves and screens. Thanks to The Foundry's Dangerously in Love 15th Anniversary Party, you won't have to. Expect all of the hits from the 2003 album — her debut solo record, and the one that made sure we were all crazy in love with all things Bey. We're guessing you can also expect her other solo tracks, and even some songs from her Destiny's Child days — plus all of the epic dance moves that go with them. No, it's not Bey's b'day, but you'll be feeling like Sasha Fierce, as well as drunk in love with the pop idol in the spotlight. The joint will be jumpin' jumpin', and we're not telling you what to drink to celebrate the occasion; however you might want to mix it with lemonade.
UPDATE, Friday, June 21, 2024: Anatomy of a Fall is available to stream via Stan, YouTube Movies, iTunes and Prime Video. The calypso instrumental cover of 'P.I.M.P.' isn't the only thing that Anatomy of a Fall's audience can't dislodge from their heads after watching 2023's deserving Cannes Film Festival Palme d'Or-winner and 2024's five-time Oscar-nominee. A film that's thorny, knotty and defiantly unwilling to give any easy answers, this legal, psychological and emotional thriller about a woman on trial for her husband's death is unshakeable in as many ways as someone can have doubts about another person: so, a myriad. This is a movie about truth that's really a feature about trust and perception. Indeed, delivering a definitive solution and explanation isn't filmmaker Justine Triet's focus. Helming her fourth full-length picture and becoming an Academy Award contender for Best Director in the process, the French talent doesn't serve up neat true crime-style closure, either, but she unflinchingly knows that the world has been conditioned to want every query and mystery — every uncertainty as well — wrapped up conclusively and categorically. The scenario conjured up by Age of Panic, Victoria and Sibyl's Triet is deeply haunting, asking not only if her protagonist Sandra Voyter (Sandra Hüller, Sisi & I) committed murder, as the on-screen investigation and courtroom proceedings interrogate, but digging into what it means to be forced to choose between whether someone did the worst or is innocent — or if either matters. While the Gallic legal system and its specifics provide the backdrop for much of the Anatomy of a Fall, the real person doing the real picking isn't there in a professional capacity, or on a jury. Rather, it's 11-year-old Daniel (Milo Machado Graner, Alex Hugo), who has a visual impairment, finds his dad Samuel (Samuel Theis, Softie) in the snow with a head injury outside their French Alps home on an otherwise ordinary day, then becomes the key witness in his mum's case. Returning from a walk with his dog Snoop, the boy didn't see what happened, but he's the closest thing that detectives have to an onlooker. Novelist and translator Sandra is introduced with that clanging version of one of 50 Cent's best-known songs echoing, a graduate student (Camille Rutherford, The Night of the 12th) interviewing her about her work and successful career in the family's remote chalet and, as he undertakes renovations upstairs, teacher Samuel turning up the soundtrack to distracting levels. Within an hour in the film's timeline and mere minutes for viewers, the latter will be dead via a fall from the home's topmost floor. When the inquiries start, Sandra says that she was asleep post-chat. Already, a wealth of details give rise to questions. Was Samuel blasting tunes to sabotage his wife's discussion? Also, why that particular track? Sipping wine as she talked, was the bisexual Sandra flirting? Did that raise her husband's ire? Do his and her actions alike that day scream volumes about the state of their marriage? Did she really not hear the incident? Was it an accident, suicide or was she responsible? Anatomy of a Fall is always a film about questions, too — and the reality that, in life-and-death situations and everyday circumstances, they never stop springing in any relationship. The police can't make a clearcut decision either way based on the available evidence, hence the presumption of murder, Sandra as the prime suspect and the shift to court. Fittingly co-writing the script with her IRL partner Arthur Harari (Onoda: 10,000 Nights in the Jungle), Triet's poising of Anatomy of a Fall's opening moments as fuel for scrutinising Sandra and Samuel's union is savvy is another way: it sets up an entire feature where their wedded bliss — or lack thereof, as quickly becomes apparent — is probed, audited and analysed. The stakes are immense, but pondering how any long-term romance can hold up to such a dissection is one of the film's many takeaways. The questions swirl again, sifting through infidelities, guilt over the accident that caused Daniel to lose his sight, the division of household tasks, gender roles, mental health, professional rivalries, at-any-cost moves, past fights and how the couple's son was caught in the middle long before he's now asked to say whether his father, who homeschooled him, was killed by his mother. A picture as intelligent and exacting as this — and as taut, tense and tenacious — isn't short of unforgettable elements. Again, the whole feature earns that description, as does its unpacking of intimate connections. Also high on the list: the performances that are so crucial in telling this tale of marital and parental bonds, especially from one of Germany's current best actors. Although her similarly astonishing portrayal in The Zone of Interest is following Anatomy of a Fall to screens Down Under, arriving in February 2024, Toni Erdmann and I'm Your Man's Hüller is two for two in movies that initially debuted globally in 2023, collected awards at Cannes (The Zone of Interest picked up the Grand Prix, aka second place in the festival's official competition), rightly received Oscar attention and are anchored by her complex portrayals of women who refuse to meet anyone's expectations but their own. Here, she steps into an icy and complicated figure's shoes with the same surgical precision that Triet applies to rifling through the character's home life (that Sandra would rather speak English with her spouse despite him being French and them living in France isn't just a minor tidbit). In flashbacks to disagreements with Samuel and with her freedom on the line, Anatomy of a Fall's accused is unwaveringly unapologetic in her insistence to put herself first — as it's plain that both the prosecutor (Antoine Reinartz, Irma Vep) and defence attorney (Swann Arlaud, About Joan) on the case can see — and Hüller at her steeliest best, always devastatingly naturalistically so, is formidable in the part. She's the one with the Academy Award nod for acting; however, the up-and-coming French talent playing her son is also exceptional. In fact, as Daniel, who couldn't be more conflicted about the nightmare situation that he's been thrust into, Graner is a revelation, frequently via his expressive face and posture alone. If Scenes From a Marriage met Kramer vs Kramer, plus 1959's Anatomy of a Murder that patently influences Anatomy of a Fall's name, this would be the gripping end result. Tearing into a relationship — and tearing it apart — feels nothing less than brutal in Triet's hands; every realisation about human nature in love and life that resounds along the way feels decidedly accurate, though. There's an aspect of Gone Girl to her masterful feature, too. While this isn't a film with a "cool girl" monologue, the societal expectations placed upon women, and on mothers, are firmly pushed to the fore. Take note of the fact that cinematographer Simon Beaufils (Antoinette in the Cévennes) is often looking up at Hüller as well: whatever Sandra did or didn't do, whatever Daniel does or doesn't choose to believe, and wherever audiences land — again, there's no simple resolution here — being a victim, or allowing herself to be seen that way, isn't part of the character's anatomy.
UPDATE, Tuesday, June 18, 2024: Priscilla is available to stream via Stan, YouTube Movies, iTunes and Prime Video. Yearning to be one of the women in Sofia Coppola's films is futile, but for a single reason only: whether she's telling of teenage sisters, a wife left to her own devices in Tokyo, France's most-famous queen, the daughter of a Hollywood actor, Los Angeles high schoolers who want to rob, the staff and students at a girls school in the American Civil War, a Manhattanite worried that her husband is being unfaithful or Priscilla Presley, as the writer/director has across eight movies to-date, no one better plunges viewers into her female characters' hearts and heads. To watch the filmmaker's span of features from The Virgin Suicides to Priscilla is to feel as its figures do, and deeply. The second-generation helmer is an impressionistic great, colouring her flicks as much with emotions and mood as actual hues — not that there's any shortage of lush and dreamy shades, as intricately tied to her on-screen women's inner states, swirling through her meticulous frames. Call it the "can't help falling" effect, then: as a quarter-century of Coppola's films have graced screens, audiences can't help falling into them like they're in the middle of each themselves. That's still accurate with Priscilla, which arrives so soon after Elvis that no one could've forgotten that the lives of the king of rock 'n' roll and his bride have flickered through cinemas recently. Baz Luhrmann made his Presley movie in Australia with an American (Austin Butler, Once Upon a Time in Hollywood) as Elvis and an Aussie (Olivia DeJonge, The Staircase) as Priscilla. Coppola crafted hers in North America with a Brisbanite (Jacob Elordi, Saltburn) in blue-suede shoes and a Tennessee-born talent (Cailee Spaeny, Mare of Easttown) adopting the Presley surname. The two features are mirror images in a hunk of burning ways, including their his-and-hers titles; whose viewpoint they align with; and conveying what it was like to adore Elvis among the masses, plus why he sparked that fervour, compared to expressing the experience of being the girl that he fell for, married, sincerely loved but kept in a gilded cage into she strove to fly free. For the leads playing their titular parts, the two Presley portraits of the 2020s far are also star-making pictures. If Spaeny becomes her director's new muse, it's much-deserved based on her turn as an excited and longing teen, then the isolated high-school senior and stuck-at-home girlfriend who's so controlled that she's instructed to dye her hair the same black that Elvis sports (by him), then the wife and mother virtually living a separate life. In fact, she was recommended by Kirsten Dunst (The Power of the Dog), Coppola's muse since her debut feature, aka Spaeny's co-star in 2024's upcoming Civil War. Although finding someone who could take the role across a decade and a half, and be as genuine as a smitten teen, a fed-up woman deciding to claim her own life and everything in-between wouldn't have been easy, Priscilla's Venice International Film Festival Volpi Cup for Best Actress-winning choice is sublime. Priscilla Beaulieu is just 14 when she's invited to a party at Elvis' home in West Germany, where she's an army brat with a strict dad (Ari Cohen, Fargo) in the service and he's a 24-year-old donning the uniform solely because he's been drafted. Asked if she likes Elvis by one of his pals, her response is: "of course, who doesn't?". She subsequently can't help falling, as is to be expected of a girl being paid attention by one of the biggest stars on the planet. In the giddy aftermath of their first meetings, during their early courtship and when Elvis heads back home, Coppola gets her The Beguiled and On the Rocks cinematographer Philippe Le Sourd roving over fabrics and handwriting, two staple details in her work, to assist in showing the heady passion that pulsates through Priscilla. As her films keep demonstrating, you can glean much about someone by the textures that they surround themselves with, the way they communicate via the written word, and the care they take with each. Here, you can tell how Priscilla's namesake initially feels like she's living in a fantasy come true. As witnessed through Priscilla Presley's eyes — as adapted by Coppola from Priscilla's 1985 memoir Elvis and Me, and boasting an also-brilliant Elordi as the brooding and volatile Elvis — this romance is never a fairy tale, however. She swoons. She pines. She begs her parents (with Succession's Dagmara Dominczyk as her mother) to let her visit Graceland, and then to move there. She does what Elvis says, and shapes herself by his wishes and whims. She acts in the 50s-trained mould, with its firmly defined gender roles, as he also does. Priscilla spies the period, its expectations and demands, but it also spots the imbalance in power that goes beyond social norms. Leaving Elvis' music off the Phoenix-supervised soundtrack wasn't the original plan, after Coppola sought permission from his estate and was denied, yet it has a potent effect: as tunes other than his echo, and not only from the time — a Ramones cover of 'Baby, I Love You' and Dan Deacon's 2007 track 'The Crystal Cat', for instance — the film divorces itself from his perspective, and from what was accepted in the era. From the moment that it starts with red toenails upon shag carpeting, then, until it closes with swinging gates and one of the greatest songs that Dolly Parton has ever written (and a sentiment that never rings false), Priscilla is what many Coppola flicks are: an account of a woman trying to discover herself in restrictive circumstances where her existence is defined by a man. The picture's protagonist is The Virgin Suicides' siblings cooped up in their home, and Lost in Translation's left-behind spouse. She's Marie Antoinette's partner to royalty, complete with an unhappy bedroom life — the Presleys' romance is chaste when Priscilla is younger, then Elvis remains largely uninterested when she's older — and Somewhere's adoring youth in a star's shadow as well. Coppola sees the limits placed upon the women before her camera, the abodes they're trapped in and how they pass the time. In a revelatory fashion, she's well-aware that so much of Priscilla's life with Elvis was filled with just that as he went on tour, made movies in Los Angeles, and had gossip all aflutter about affairs with Speedway's Nancy Sinatra and Viva Las Vegas' Ann-Margret: Priscilla on her lonesome passing the time. While Coppola has never made a feature that's less than excellent, Priscilla is among her most-accomplished. Every inch always means something in the director's oeuvre, and proves immaculate and intimate. Such truths from her filmography resound again here to perfection, with exquisitely ravishing aesthetics — also thanks to costume designer Stacey Battat, who has worked on every one of the helmer's pictures since Somewhere, as well as Nightmare Alley production designer Tamara Deverell — helping to amplify the picture's emotional intensity. Coppola's little-less-conversation approach finds its action in glances and stares, and in being all shook up by what's not uttered. It's absorbing and mesmerising, heartbreaks, hardships and all. Priscilla herself wouldn't want anyone aching for her experience, but she'd surely hope for the crucial feat that Priscilla overwhelmingly achieves: ensuring that viewers feel as if they've lived it.
If you're all about that low-key life, then look away now, because you're not going to find it at Pop Masters: Art From the Mugrabi Collection, New York. Instead, the art exhibition — which will be residing in the Gold Coast's HOTA (Home of the Arts) until Sunday, June 4, 2023 — is a vibe of everything bold, beautiful and even a little brash, making it a perfect addition to the locale literally known as The Glitter Strip. The show, which takes its name from the private collection of art collector Jose Mugrabi, will bring Big Apple cool to Queensland's coastal capital. On display in this world-exclusive, first-time-in-Australia exhibition are pieces by Andy Warhol, Keith Haring and Jean-Michel Basquiat (pictured below), as well as a crew of contemporaries like Katherine Bernhardt, Kwesi Botchway, George Condo, Damien Hirst, Kaws, Joel Mesler, Richard Prince, Tom Sachs, Julian Schnabel, Mickalene Thomas and Tom Wesselmann. [caption id="attachment_880980" align="alignnone" width="1920"] Jean-Michel Basquiat 1985 ©️ Lizzie Himmel. Artwork ©️ Estate of Jean-Michel Basquiat. Licensed by Artestar, New York.[/caption] Does this add a mustn't-miss arty vibe to the state of sunshine, shopping strips and soaring roller coasters? Absolutely. However, if you're concerned about wasting precious beach time, you'll be happy to hear that HOTA is also offering an after-hours event. Held on Friday May 19, from 6.30–10pm, Up Late will give guests the chance to enjoy the exhibition in a whole new light (well, technically dark). Completing the concrete jungle experience, expect an evening of DJs spinning old-school Brooklyn-influenced hip hop, pop-up performances and delish food and drinks — specifically, hot dogs, pretzels, standout cocktails and even a five-course dinner, all inspired by the Empire State. Pop Masters: Art From the Mugrabi Collection, New York is on at HOTA until Sunday, June 4. For further details and to book tickets, head to the website.
It's a bloody glorious setup: Nicolas Cage, actor of a million unmissable facial expressions, star of almost every movie he's asked to be in (or so it can seem) and wannabe bloodsucker in 1988's must-be-seen-to-be-believed Vampire's Kiss, playing the dark one, the lord of death, the one and only Dracula. In Renfield, that stellar idea makes for frequently bloody viewing — cartoonishly, befitting an OTT horror-comedy with Nicolas Cage as Dracula. And the pièce de résistance that is Cage getting his fangs out as the Bram Stoker-created character, who was inspired by the IRL 15th-century Wallachian prince Vlad the Impaler? It is indeed glorious. The Transylvanian is the latest part he was born for, after stepping into his own shoes in The Unbearable Weight of Massive Talent, getting revenge over a pet pig in Pig, milking alpacas in Color Out of Space and screaming while dousing himself in vodka in Mandy (and, well, most things on his four-decade resume). Some movies have learned a simple truth, however: that putting Nicolas Cage in front of a camera and letting him unleash whatever version of Cage the film needs isn't always enough. That disappointment is usually on everything but Cage (see: his entrancing work in the otherwise average-if-lucky Willy's Wonderland, where he wordlessly battled demonic animatronics and made viewers wish he was around in the silent era), but Renfield has pre-emptively staked that lesson through its own heart. As the title makes plain, Cage's Dracula isn't the lead character. Instead, the long-suffering, insect-eating servant played by the feature's other welcome Nic, The Great's Nicholas Hoult, is in the sunlight. Accordingly, The Lego Batman Movie and Robot Chicken director Chris McKay doesn't even try to get his feature by on the Cageness of it all alone. That's a miscalculation. In fact, it's up there with the flick's Robert Montague Renfield pledging allegiance to the vampire that started all vampire obsessions. Renfield is at full power when Cage is front and centre, and feels like its blood is slowly being drained when he's out of the frame. Rocking lush red velvet threads and a devilish stare, Cage couldn't be better as Dracula, proving both Renfield's instant drawcard and its reason to keep watching. He gives the script's ultimate toxic boss angle hilarious bite, too, because that's the storyline. After several lifetimes of doing the undead master's bidding, Renfield realises that finding people for the Count to sink his chompers into, cleaning up the mess afterwards — there's always a mess — and generally dealing with his chaos isn't fun, fulfilling or healthy. Getting invincibility and immortality by eating bugs doesn't bother him, but the demands that go with it do. The script from Ryan Ridley (Rick and Morty, Community) based on a story by Robert Kirkman (The Walking Dead, Invincible) has Renfield come to that epiphany by attending a New Orleans support group for codependent relationships, then deciding to be his own person again. If only escaping Dracula was that easy, as over a century of movies — and Stoker's OG text — have established. There's a coming-of-age slant to Renfield's quest to work out who he is if he leaves the darkness behind, chooses life and matures into a post-offsider existence (while coming-alive-again isn't a term, that's what it is as well). There's also a hefty shadow cast by What We Do in the Shadows given that unhappy vampire familiars are a part of both Taika Waititi and Jemaine Clement's side-splitting movie and the also-ace American TV spinoff. But McKay and company don't trust that there's enough legs in the Nic-and-Nic double act, either, or that putting them in Shadows-meets-Dracula territory gets the blood pumping. Their solution: also making Renfield about NOPD traffic cop Rebecca (Awkwafina, The Little Mermaid) and the mob family she's trying to take down. Her vengeance-fuelled feud hones in on the obnoxious Tedward Lobo (Ben Schwartz, in Parks and Recreation's Jean-Ralphio mode if he was a gangster) — and, of course, Renfield and Drac get in the middle. He may be fresh off a big-screen stint in The Menu, but Hoult was in somewhat similar territory a decade ago in zom-rom-com Warm Bodies. Even when he's tasked with delivering explanatory narration like this is Zombieland, being the likeably dreamy lead in a light-hearted twist on a horror-genre staple suits him, although not as much as irreverent takes on royal history as in The Great and The Favourite. Still, in Renfield he's at his best when he's bouncing off Cage. The entire cast is, including Schwartz, Shohreh Aghdashloo (Mrs Davis) as Teddy's all-controlling crime matriarch mum and Brandon Scott Jones (The Other Two) as Renfield's 12-step-group's leader. Cage is just having that much of a blast. While he knows he's in a comedy, he also blends camp and menace in an iteration of Drac that's gleefully happy being fiendish. As the old cliche goes, he could read the phone book in the cape and prove mesmerising. No one recites from 20th-century lists of landline numbers. Renfield spouts wisdom from a self-help book for a scene instead, and it's a nice gag. That moment stands out because it's a rare — Renfield doesn't ever suck, but it's nowhere near as funny as a Cage-starring Dracula comedy should easily be. Slickly shot and content with being amiable, it isn't anything as much as it should be, whether that's an odd-couple flick, a viscera-splashing horror parody, a crime caper, a superhero affair (cue Renfield's supernatural fighting skills) or, in a plot thread flirted with but never committed to, a romance. In not wanting to tie its fortunes to the entire reason that anyone is buying a ticket, this addition to Dracula's lengthy on-screen resume doesn't want to be any one thing, and it shows glaringly. Count Dracula is the Guinness World Records-confirmed most-portrayed literary character, giving Cage plenty of past competition — Max Schrek (Nosferatu), Christopher Lee (the Hammer flicks), Udo Kier (Blood for Dracula), Klaus Kinski (Werner Herzog's Nosferatu the Vampyre), Gary Oldman (Bram Stoker's Dracula), Richard Roxburgh (Van Helsing), Adam Sandler (the Hotel Transylvania movies), Luke Evans (Dracula Untold) and Claes Bang (TV miniseries Dracula) all included. It might be daunted about its own focus, but Renfield surprisingly isn't daunted by that cinema and television history, in one of its other marvellous but oh-so-brief touches. Early on, McKay inserts Cage and Hoult into Tod Browning's 1931 Dracula. Their faces replace Bela Lugosi and Dwight Frye's, and it's a wonder. Leaning into Cage as Dracula far heartier than Renfield does would be glorious, and what Renfield leaves viewers wanting — but it's teasing a Universal Classic Monsters-style effort with Cage baring his teeth that sparks all the yearning.
UPDATE, December 4, 2020: Carol is available to stream via Stan, Google Play, YouTube Movies and iTunes. Telling a slow-building tale of forbidden romance, Carol is a study in clashes, contrasts and control. Within its story and sumptuous sights, everything bristles against something else, is challenged by a counterpart, and has to find a way either to work within, or burst beyond, orderly confines. That's true of the character (Cate Blanchett) that gives the movie its name, and the shopgirl, Therese Belivet (Rooney Mara), who becomes infatuated with her. It's equally true of their attempts to connect in the conservative 1950s, and of the way the film brings their efforts to life. Actually, in making his latest feature — following the likes of Velvet Goldmine and I'm Not There — director Todd Haynes hits the jackpot when it comes to matching his style to the story. An adaptation of Patricia Highsmith's 1952 novel The Price of Salt, Carol doesn't just recount a narrative considered groundbreaking at the time of publication, though writer Phyllis Nagy does a stellar job of translating the content for the screen. More than that, Haynes and company take every ounce of emotion within the book, then carefully infuse it into every aspect of the film, from its warm colour palette and fondness for lingering shots to its sweeping score and elegant performances. Think of every moment, be it an image framed through a car window or a long look at gloves left behind, as an expression of the feelings the movie's characters can't always convey, or the words they can't always say. There's plenty left unspoken between Carol and Therese after they cross paths in a department store toy section just before Christmas. A friendship blossoms, and then something more, during dinners, visits and a road trip. Yet everything seems to conspire against them, thwarting them from embracing their love freely. Carol's pal Abby (Sarah Paulson) is cautious, her estranged husband Harge (Kyle Chandler) and Therese's boyfriend Richard (Jake Lacy) disapprove, and society is far from accepting. The combination of restraint and passion that Haynes perfected in 2002's Far From Heaven bubbles up again here, with the filmmaker once more showing his prowess for probing sentiments forced to simmer below the surface. Watching the way he makes the material his own — continuing his fascination with complex stories of identity and repression, as well as his ability to ensure every frame seethes with beauty and meaning — it's almost impossible to believe that any other director could've done the material justice. Haynes isn't the picture's only source of radiance, of course, with his technical team — particularly cinematographer Edward Lachman (Howl) and composer Carter Burwell (Fargo) — helping the exquisite-looking feature come together. And then there's Blanchett and Mara, both sharing the spotlight despite the film's title seeming to indicate otherwise. Believing their pain and desire is easy, and the pair more than earn the award nominations that keep coming their way. Sure, you've seen on-screen love stories before, but cinema romances this aching and consuming are all-too rare.
UPDATE, February 12, 2021: Portrait of a Lady on Fire is available to stream via Stan, Google Play, YouTube Movies and iTunes. In Portrait of a Lady on Fire, Celine Sciamma tasks audiences with literally watching paint dry — and it's riveting. Viewers don't merely stare as the pigment settles, and they don't devote the whole film to glaring at a canvas. Still, in this sumptuous, striking romance, observing artist Marianne (Noémie Merlant) as she gazes at her latest creation couldn't be more crucial. She agonises over every brush stroke as if her soul depends on it, because it does, in a way. Her heart does at the very least. On an island in Brittany near the end of the 18th century, Marianne has been commissioned to paint a portrait of the betrothed Héloïse (Adèle Haenel). But how does anyone do justice to the face of the woman they've fallen hopelessly in love with? Hardly a blushing bride-to-be, Héloïse doesn't want to get married to an Italian man that she has never met, and she certainly doesn't want to sit for an artwork marking the occasion. She has previously refused to comply for another artist, making painting her traditional wedding portrait a tricky prospect. Accordingly, Marianne is enlisted by Héloïse's Countess mother (Valeria Golino) to be her daughter's new companion, to scrutinise her closely every chance she can, and then to craft the picture from memory in secret. As the women spend time together, walking by the sea as the wind swirls and slowly sharing aspects of their lives, their feelings simmer, then bubble, then boil heatedly. When Portrait of a Lady on Fire depicts Marianne peering obsessively at her picture of Héloïse — even wiping off the paint and beginning again when she's discontent with what's staring back — it shows her lost in thought and swept up in the throes of affection. And, because Sciamma is a gifted visual storyteller and Merlant a great actor, the film makes clear the significance of these moments without overplaying a single element. Watching paint dry is important, because every speck solidifies into a permanent token of how Marianne feels about Héloïse. Naturally, she's determined to convey those feelings in as precise and perfect a way as possible. Given the period, place, prevailing societal attitudes and expectations placed upon women, this portrait is the only enduring way that she can immortalise their love — and the weight of that truth is always heartbreakingly apparent. Equally beautiful and bold, Portrait of a Lady on Fire is a film that balances the reality of impossible circumstances with otherwise hopeful glimmers, as has become the French writer/director's custom. It's that dynamic that made Sciamma's last feature, girl-gang movie Girlhood, simultaneously perceptive, exuberant and emotionally raw, traits that are essential here, too. The solace that Marianne and Héloïse find in each other's arms in stolen blissful moments proves both tender and sizzling. Their yearning, inner awakenings, and struggle to contain their infatuation within such restrictive confines is palpable. And the fact that their lives aren't their own to decide — no matter how fiercely independent Marianne is, and encourages the more pragmatic Héloïse to be — constantly tints their restrained romance with an unflinchingly bittersweet hue. Bringing all of the above to life in a movie that's the epitome of slow-burning — pun intended, although a portrait of a lady does indeed catch on fire in the film — Merlant and Haenel are a dream duo. Their performances are so measured yet still so heaving with feeling, and their interplay so exacting yet still so quietly expressive, that they could escape the entire feature without saying a word. Writing and directing, Sciamma has penned intricate dialogue for them to speak, though. They say much without uttering a thing, and they also swap meaty exchanges about classic tales, memories and harsh truths. Sciamma won this year's Cannes Film Festival Best Screenplay award for her efforts, as well as acclaim and applause since; however her exceptional script wouldn't burn as brightly without her two leads. Thematically, narratively and emotionally, this could never just be a lush romantic drama brimming with uncomplicated passion and desire. In her first period-set tale, Sciamma was always going to confront the minutiae of life for women of the era — it's pivotal to understanding how the requirements placed upon her characters are so incompatible with their happiness, and why they must relish what brief joy they can. That said, Portrait of a Lady on Fire always looks like a lush romantic drama, whether its gorgeous imagery is watching paint dry, enjoying the scenery, or getting as lost in Marianne and Héloïse as they are in each other. Befitting a movie about a painter and a portrait, every frame could be hung on a wall. An exquisite piece in every way and one of the year's very best, this film earns all of the obvious fiery terms, because it sparks, blazes and simply sets the screen alight. https://www.youtube.com/watch?v=Bn_-YoG69Sw
Easter egg hunts might typically be restricted to the back garden, but this year ice cream giant Ben & Jerry's is staging its own virtual search to give away 50,000 free scoops across Australia and New Zealand. The global ice cream company has partnered with digital platform Block V for the experience in the lead up to the holiday season. After signing up to the platform, Aussies can hunt down virtual eggs on their phone and then exchange them for chunk-filled frosty treats in-store. Then, all you need to do is decide whether it's going to be a scoop of strawberry cheesecake, choc chip cookie dough, English toffee crunch or triple caramel chunk. In Australia, the virtual eggs — known as vatoms on Block V — will be hidden close to scoop stores. You'll need to find them between now and Tuesday, April 6. So, Sydneysiders will want to look near Bondi Beach, Chatswood, Manly, and Hoyts at Blacktown, Broadway, Penrith and Wetherill Park — while Melburnians should scope out Burwood Brickworks, Flinders Lane, Melbourne Central and St Kilda, plus Hoyts at Chadstone Shopping Centre, The District Docklands, Eastland Shopping Centre, Greensborough Plaza and Highpoint Shopping Centre. In Queensland, you'll need to peer around Pacific Fair, Surfer's Paradise, Mooloolaba and Noosa, and Adelaide residents will be searching around Norwood.
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). Earlier this week Time Magazine announced Donald Trump as their Person of the Year, which, if you needed reminding, is pretty indicative of how this insane year has played out. How to deal with it all? With green, apparently. Greenery (PANTONE 15-0343) has just been named as Pantone's 2017 Colour of the Year. The inoffensive neutral shade was chosen by Pantone's colour experts not only because it's a "fresh and zesty yellow-green shade" but because of the role it plays in our modern society as a connection to nature and vitality. Referencing the year that was, Pantone executive director Leatrice Eisemen says that Greenery provides "us with the reassurance we yearn for amid a tumultuous social and political environment...it symbolises the reconnection we seek with nature, one another and a larger purpose." It's also symbolic of new beginnings — but perhaps that's being a bit too optimistic. At least Pantone was able to settle on just one colour this time. Last year, for the first time, it chose two colours to receive the title: Rose Quartz and Serenity.
Watching the first trailer for Alien: Romulus, can anyone hear you scream? The answer to that question depends on where you are and who you're with, of course — we're presuming that you're not in space — but the sneak peek itself firmly wants to unsettle. There's an eerie derelict space station, screaming, blood and plenty of facehuggers in this initial look. Behind the lens, albeit producing rather than directing, Ridley Scott (Napoleon) is also involved. Alien: Romulus is the seventh Alien film, and the ninth including the Alien vs Predator movies, and will arrive in August just over seven years since Alien: Covenant. While Scott originated the space-thriller saga back in 1979, then returned to it with 2012's Prometheus and 2017's Alien: Covenant, now Evil Dead, Don't Breathe and The Girl in the Spider's Web filmmaker Fede Álvarez is on helming duties. Based on the debut glimpse at the flick, however, there's no doubting that he's taking his cues from Scott's work. The setup: when space colonisers go a-scavenging through an abandoned space station, they get more than they bargained for. Given Álvarez's background in horror, it comes as no surprise that he's tapping into the genre for his Alien effort, just as Scott did with his. Álvarez also wrote the screenplay, reteaming with Rodo Sayagues, who he worked with on Evil Dead and Don't Breathe — and who directed Don't Breathe 2. Priscilla's Cailee Spaeny leads the group of folks doing battle with vicious extra-terrestrials, starring alongside David Jonsson (Rye Lane), Archie Renaux (Shadow and Bone), Isabela Merced (Madame Web), Spike Fearn (Aftersun) and feature first-timer Aileen Wu. Separate to Alien: Romulus, the Alien franchise is also expanding to TV, with a new series from Fargo's Noah Hawley in the works, as set three decades before the events of the first film. Featuring Sydney Chandler (Don't Worry Darling), Alex Lawther (Andor), Essie Davis (One Day) and Timothy Olyphant (Justified: City Primeval), it isn't expected until 2025. Still, with all things Alien set to stalk across both the big and small screens, staying away from this saga isn't in anyone's futures. Check out the first teaser trailer for Alien: Romulus below: Alien: Romulus releases in cinemas Down Under on Thursday, August 15, 2024.
Hangry is defined by the masses as the irrational, though very understandable, rage you feel when you are very hungry. Hangry you doesn't understand what's going on, why this is happening or what to do next. Hangry you just wants to yell and yell and yell. What you really need is to sit down, take a moment, eat a huge sandwich or inhale an entire pizza and maybe nap it off. But that's often easier said than done — life gets in the way. This is especially true for parents because they've made life and that life is often full of demands, which can also coexist with little, but still very strong, hanger. So, on family outings, when the rage of hunger strikes for all, it's all too tempting to call it a day and go home. But, rage no more. We've been doing some research for you with our mates at American Express, zipping around town with some rent-a-kids, flashing our American Express® Card and finding the perfect spots that welcome children (and raging adults yelling about sandwiches) so your hangry brain doesn't have to think for you. Got yourself in another dining situation and need some guidance? Whatever it is, we know a place. Visit The Shortlist and we'll sort you out.
Damian Griffiths, local Brisbane go-getter and owner of newfangled eateries Alfredo's Pizzeria and Chester Street Bakery and Bar (among a whole list of others) has finally opened the doors on his new hole-in-the-wall, artisan doughnut bar in the Valley — with the apt name Doughnut Time. Taking over a sectioned-off corner of Alfredo's on Alfred Street, and with design by Alex Lotersztain (who's provided interiors and accoutrements for most of Griffiths' other joints), Doughnut Time has started serving up its "hand-dipped artisan doughnuts" today. If Chester Street's doughnut offerings are anything to go by (think blueberry crumble, key lime, and passionfruit meringue varieties), we're only too excited to see (taste) the sure-to-be-mod delicacies that Griffiths' dedicated doughnut shop has come up with. We're crossing our fingers for more desserts converted into doughy, iced-and-garnished circular confections of your dreams, and perhaps a good old-fashioned jam doughnut, oozing with tongue-burning strawberry conserve straight out of the oven. The Doughnut Time Van is also set to hit the road soon, inevitably guaranteed to increase Brisbane's doughnut obsession with every kilometre. The bottom line is: expect to leave Doughnut Time's Valley store sticky-fingered and happily ready to sell your soul to Ned Flanders in a devil's outfit. Find Doughnut Time at 39 Alfred Street, Fortitude Valley. Open Tuesday to Saturday, 8am until sold out. Via The Courier Mail.
For most Australians, the past few days have been unprecedented: not since 1952 has the country experienced the death of its official head of state. Whether your main relationship to Queen Elizabeth II is watching The Crown or seeing her face on Aussie coins and $5 notes — and whether you follow the royal family's move through the media or not at all — the monarch's passing has unsurprisingly monopolised the news. It's also now the reason for a new one-off public holiday. Prime Minister Anthony Albanese has announced today, Sunday, September 11, that Aussies will get a day off to commemorate the Queen. Mark Thursday, September 22, 2022 in your diary — that's being designated as the country's National Day of Mourning. On September 22 there will be a public holiday for the National Day of Mourning for Her Majesty The Queen. — Anthony Albanese (@AlboMP) September 10, 2022 "It will be a one-off national public holiday. That's to allow people to pay their respects for the passing of Queen Elizabeth," the Prime Minister said on the ABC's Insiders. "I spoke to all premiers and chief ministers yesterday and I'm writing to them formally this morning, they will have received their letters by now. They have all agreed that it's appropriate that it be a one-off national public holiday," Albanese continued. The Prime Minister has announced Thursday 22 September will be a public holiday for the National Day of Mourning for Queen Elizabeth II. — Annastacia Palaszczuk (@AnnastaciaMP) September 11, 2022 The public holiday will come three days after the Queen's funeral, which will take place on Monday, September 19 Australian time. And, the new day off means that Victorians will get a four-day long weekend, given that Friday, September 23 is already a public holiday for the AFL grand final. Aussies in other states who do the Monday–Friday grind will still have to work on the Friday, however, unless you take annual leave. Thursday, September 22, 2022 is now a public holiday in Australia, for a National Day of Mourning for the Queen. Top image: Elizabeth: A Portrait in Part(s).
Being called a ‘couch potato’ may not be so insulting after all. You’d never leave yours if you had such a killer view from your living room. Somewhere on Japan's Mount Rokko, five white sofas sit elevated upon a lovely hillside, with full views of lakes, trees and gorgeous mountain scenery. Visitors can easily spot them and climb their ladders to enjoy the views from the top. The ‘garden sky project’ is artist Hidemi Nishida's contribution to Rokko Meets Art, an annual outdoor art festival in Kobe, Japan. Featuring plenty of playful installations like these sky seats, the celebration encourages visitors to interact with art, nature and each other. Via Spoon & Tamago.
Independent Byron Bay-based craft brewer Stone & Wood is getting some bigger boots, launching its brand new major brewing facility at Murwillumbah in northern New South Wales. Sitting 40km north of its first brewery in Byron Bay, the brand new brewery has been in the works for 18 months — now with a a 50-hectolitre brewhouse ready to brew up more of that sweet, sweet Pacific Ale that Australians are apparently guzzling by the bucketload. According to The Shout, S&W have been struggling to keep up with Pacific Ale demand lately; Australian beer enthusiasts are chugging PA quicker than the dudes can brew it. Opening the new brewery in addition to their Byron flagship, co-founders Brad Rogers, Ross Jurisich and Jamie Cook quashed any beard-stroking suspicion that their new batches will be lower quality for their unwavering fans. "We want to reward the loyalty of those guys by giving them as much beer as they want," Jurisich told The Shout. "Once they're comfortable that they've got enough, then we'll start looking outside of that." Sounds like the most demanding, squawking nest of hungry chicks in the bar business. "We've continued to try and expand the brewery here for the last four years, to try and keep up with demand, and it really has gotten to a point where we are unable to put any more tanks into this place," said Cook. Local distribution is the priority for S&W, with the S&W trio noting their dedication to their geographically immediate market. "We're a local brewery and we want to make sure that we maintain that local connection with our backyard. Our backyard really is from Northern Rivers through to South East Queensland," said Jurisch. Now the brewery has opened its doors, the S&W team will get that Pacific Ale under customer demand control before tackling the Jasper Ale and Lager. Plus, the team have unveiled a brand new beer to celebrate the new instalment: the Cloud Catcher. With the brewery about to phase out the core brews from the Byron HQ and the promise of a bar to open at the new brewery, the S&W have even unveiled a new motto: "Born and raised in Byron Bay, growing up in Murwillumbah". Via The Shout.
We know what you’re thinking. This is going to be an article full of leprechauns and ‘top o’ the morning to ya’s and embarrassing attempts to coerce you into kissing us under the pretence that we’re Irish. Well, you’re wrong. St Patrick’s Day may be around the corner but that doesn’t mean we have to celebrate in the style of so many supposed descendants of the Emerald Isle (if you’re pale and your great-great-great grandfather may have passed through Dublin in the1800s, that’s an excuse to wear a silly hat and drink green cocktails, right?). This year, we say commemorate the world’s favourite snake chaser in a way that would make your mammy proud. Brisbane is teeming with Paddy’s Day celebrations, and we promise none of them involve pretending you actually like Guinness. Irish Breakfast Irish cuisine isn’t all about potatoes and soda bread, y’know. Queen Street cafe, Room With Roses is busting the carbs-on-carbs stereotype this St. Patrick’s Day with its $37 dinner special. Choose from Rib Fillet with Irish whisky cream or homemade corned beef and finish off with a slice of Bailey’s cheesecake. Treacle Cafe is also going green with a two-course lunch and beer deal over the Paddy’s Day weekend and if you’re suffering from your own personal potato famine, O’Connor’s in Windsor can always be relied on for a generous portion of hot chips. They import their cod and haddock all the way from the North Atlantic for that special Celtic taste. Paint The Town Green Where true blue and emerald green merge, the St. Patrick’s Day Parade is the centrepiece of Brisbane’s Irish Festival, which runs until March 17. The floats start their round at 10.30am on Saturday, March 15 on the corner of George and Elizabeth streets and move throughout the city. This year is extra special as the Parade celebrates its 25th year so don’t forget to sport your best shamrock-hued outfit. Cheers! If you have an unstoppable urge to dress up as a leprechaun and inflict your painful Irish impression of an Irish accent on unsuspecting victims, who are we to stop you? The city’s favourite Irish pub, Mick O’Malley’s is open from 10am on Saturday, March 15 to coincide with the St. Patrick’s Day Parade and promises a ‘full day of good Craic until the wee hours of the morning’. For us non-Gaelic folk, that roughly translates as live performances from Queensland Irish Association Pipes and Drums and Brisbane Irish band Murphy’s Pigs and plenty of good ol’ merriment. Irish Murphy’s goes one better with its week-long St. Patrick’s Day Festival. Running up until the day itself, the George St bar hosts a series of live music performances and a ‘Craic’n Paddy’s Eve Party’ as well as the obligatory pints of Guinness. The Fox is also celebrating St. Paddy with a themed Soho Sunday night featuring the rather worryingly sounding green beer and performances from Slow Lovers and Brisbane DJ Gatling Gun.
This article is part of our series on the diverse highlights of NZ's Canterbury region, from city to snow. To book your Christchurch trip, visit the 100% Pure New Zealand website. Serving beer out of a bus sounds like a next-level food truck about to hit the streets of Melbourne (and, honestly, a great business idea, liquor licensing laws aside), but Smash Palace is a bit more complicated than that. The bus doesn't move per se — it mostly stays parked in a vacant lot — but, as is the beauty of having a bar on wheels, it can be moved at any time. Welcome to Christchurch: where bars are mobile and most things are temporary. "We ... knew that a lot of Christchurch was, and still is, empty land," says Smash Palace owner Johnny Moore. "So we wanted to find a way to occupy that empty land." Like all good purchases, the bus was bought late one night on the internet. Finding a place to put it wasn't quite so easy. The site that was eventually found — an empty block on a busy corner of the CBD border — was disused. The bus bar forms the centrepiece of the lot, serving beer and burgers, with the addition of mulled wine and hot water bottles over winter. Circus-like coloured lights hang around the outdoor tables and undercover areas, making it more like a beer garden or a market than a booze bus. Originally designed to be temporary and provide Christchurch with a pub-like place to meet, drink and start conversations, Smash Palace has now been open for just over two years. People just really bought into the concept and what it gave to the community, says Johnny. "I think it’s the spirit of the place, making do with what you’ve got." As is the transitory nature of Christchurch at the moment, pop-up bars, shops and institutions make up a large percentage of the city. It's an exciting time for small business owners and those wanting to start something in Christchurch. "Anyone who's here wants to be here," says Johnny. "For younger people it's the land of opportunity. Whatever you can dream can happen at the moment."
Woolloongabba's South City Square precinct keeps getting bigger. Meet Los Felix Taco Stand, its latest addition, which heroes Southern Californian-style Mexican dishes as paired with mezcal, tequila and margaritas. Now open and trading from lunch through to dinner five days a week — from Wednesday–Sunday — Los Felix is The Talisman Group's latest venture, too. The hospitality company is mighty fond of this patch of Logan Road, with the aforementioned The Wright House set to become part of its stable, alongside already-existing Italian bar and eatery Sasso, Chinese Peruvian joint Casa Chow, Palm Springs-inspired gin-pouring garden bar Purple Palm, and European-influenced wine bar and wine shop South City Wine — and now this. Taco fans can stop by for an openair bite, choosing from a menu overseen by Talisman's Head Chef Gabriele Di Landri, who has teamed up with San Miguel de Allende-born chef Aldo Lara. The latter is currently Head Chef at Sydney's hatted The Dolphin Hotel, and is known for consulting for Australian Mexican restaurants (see also: Carbón, Sonora and Santa Catarina). Here, he's also taking inspiration from Tijuana. Those tacos come served in soft corn tortillas with six varieties of fillings, starting with carne asada with guacamole and red onion, Baja-style beer battered snapper with chipotle mayonnaise, and orange confit pork carnitas with jalapeños. There's also lamb shoulder barbacoa, chipotle-style chicken tinga with shaved cabbage and pickled onion, and portobello mushroom with smoked mayo and then more mushrooms — wild and pickled — as well. Tuna aguachile tostadas, guacamole and chips, and Tijuana loaded fries — which includes chipotle mayo, pickled jalapeños and bacon — are similarly on offer. And for dessert, there's churros dusted with cinnamon sugar, then paired with ancho-infused chocolate sauce. To wash all of the above down, diners can pick from those aforementioned spirits and margs — which come in classic, Tommy's and frozen varieties — plus beers from Mexico and soft drinks.
Whether it celebrates music, performances or film, every arts festival is a gift. When it's brand new and combines all three, it's like Christmas. And, when it also boasts Solange's return to Australia, it's the adult equivalent of scoring the pony or bike that you always wanted when you were a kid. The event ticking all of those boxes? Volume, the newly announced fest that'll take over the Art Gallery of New South Wales this spring When it debuts from Friday, September 22–Sunday, October 8 at the Sydney gallery, Volume will hero the cutting edge and the contemporary in all of its chosen artforms — and, given that it's calling itself a festival of sound and vision, that's where it'll be focusing. Solange has the headline slot, but the Grammy–winning R&B singer-songwriter has ample company, including Sampa The Great, Mount Eerie and Sonya Holowell. [caption id="attachment_738150" align="alignnone" width="1920"] Max Hirschberger[/caption] Also taking to the stage: everyone from Black Belt Eagle Scout, crys cole, Datu Arellano, Fuji|||||||||||ta and Hamed Sadeghi to Jeff Parker, Joe Rainey, Kim Moyes, Lonnie Holley and Maissa Alameddine, and the list keeps going from there. Via Dean Hurley, KMRU, Lea Bertucci, Loraine James, Megan Alice Clune, R Rebeiro and salllvage, Volume will also host the world premieres of seven new music recordings, all commissioned by AGNSW. All up, the fest will showcase 27 local and international musicians, with the venue's music and community curator Jonathan Wilson putting together the impressive roster of talent behind the microphone. That program includes an experiential live music performance series called Play the Room, plus local and international composers creating and playing new scores courtesy of the fest's Playback sessions. [caption id="attachment_881769" align="alignnone" width="1920"] Jordan Munns[/caption] And, thanks to the gallery's new North Building, the setting is as stunning as the lineup. The Tank, which is a former-WWII oil tank-turned-art space, will host shows — and give its acoustics a workout — as will the 13-metre-high atrium and sculpture gallery spaces. Volume's film and performance lineups will be announced in August, with AGNSW's film curator Ruby Arrowsmith-Todd picking the moving-image works and the venue's curator of contemporary art Lisa Catt doing the honours with the dance performances. Expect 50-plus music, film and performance events in total — some free, some ticketed, and with the program running during the day and into the evening. [caption id="attachment_906009" align="alignnone" width="1920"] Art Gallery of New South Wales, Jenni Carter[/caption] "While the visual arts have traditionally been the Art Gallery's focus, our expansion, through the Sydney Modern Project, has created an exceptional opportunity for us to extend our programming as part of our new curatorial narrative to include more cutting-edge live music, film and performance. Volume is the manifestation of this vision," said Art Gallery of New South Wales director Michael Brand, announcing the new festival. "Featuring some of the most compelling artists of our time, Volume sets a new standard for music curation in public art museums and is the most exciting performative live music and art festival to be staged in Sydney." [caption id="attachment_880684" align="alignnone" width="1920"] Art Gallery of New South Wales, Iwan Baan[/caption] VOLUME 2023 LINEUP: Solange Sampa The Great Mount Eerie Sonya Holowell R. Rebeiro Toni Muñoz Datu Arellano KMRU Lonnie Holley crys cole TENGGER Maissa Alameddine Sumn Conduit Loraine James Jeff Parker Kim Moyes Joe Rainey Mourning (a) BLKstar Lea Bertucci Black Belt Eagle Scout Hamed Sadeghi Megan Alice Clune Oren Ambarchi salllvage FUJI|||||||||||TA Naretha Williams Dean Hurley Volume runs from Friday, September 22–Sunday, October 8 at the Art Gallery of New South Wales, with ticket pre sales from 10am on Tuesday, July 18 and general sales from 10am on Wednesday, July 19 — head to the festival website for further details. Top image: Ibrahem Hasan.
Getting Brisbanites tasting top-notch cocktails from award-winning venues around the world has been Living Room Bar's game for a few years now. The watering hole inside the W Brisbane hotel teamed up with acclaimed Barcelona bar Paradiso — aka the best bar on the World's 50 Best Bars list for 2022 — for a special menu featuring the Spanish spot's globally famous beverages the same year that it won that accolade. Now, it's enlisting bartending talents closer to home; however, when Matt Whiley from Sydney's Re is involved, every tipple is an inventive creation. Re is no stranger to the World's 50 Best Bars list itself, placing 46th in 2021. In 2022, it made the 51–100 longlist in 87th spot. One of the reasons that the Harbour City venue — which is currently making a move to new digs in the New South Wales capital — earns so much love is its sustainability-focused approach. Reducing waste by using ingredients that'd normally be discarded is Re's angle, and an important one. That ethos comes through at Conscious Cocktails, as the menu that's kicking off on Thursday, May 30, 2024 at Living Room Bar has been dubbed. On offer for six months, it'll evolve over that period, always with reducing refuse at its core. Potato skins, pineapple rind, pumpkin seeds, cauliflower cream, carrot peel: expect to find them all featured. Take the Re Lamington Negroni, for instance, which uses a cacao husk vermouth blend alongside raspberry gin, Campari and coconut oil. Or, there's also the Re Margarita Spritz, with an entire mandarin going into the sip, plus tequila and mandarin kosho (it can also be enjoyed sans booze). You can be forgiven for wanting to order the Malt Disney for its name alone — and if you do, burnt potato skin, carrot vinegar caramel, whisky and malt vodka await your tastebuds, as does a malt cloud. Blackened pumpkin seeds are an ingredient in The Seed Money, the roasted cauliflower cream pops up with bread caramel in Space Plant 60, while salad leaves and caramelised white chocolate are among Tip of the Iceberg's necessities. And, opt for the Shroom Service for a libation with onion ash, mushroom honey and pineapple skin. Whiley has worked on the menu with Living Room Bar Bar Manager Francesco Squllacioti, and will continue to do so as the seasons change over the six-month run (because each one brings with it a new batch of ingredients that can be saved from becoming waste). The venue is also taking its commitment to sustainability beyond the pair's tipples, printing the menu on paper that was once coffee cups, using coasters made from 100-recent recycled plastic waste, composting its culinary waste that isn't part of Conscious Cocktails onsite and donating excess food to OzHarvest. "My passion for sustainability began ten years ago when I was offered ten trays of strawberries and ended up making 50 litres of strawberry wine. Gradually, I realised 'why isn't every bar in the world doing this?'," explains Whiley. "Collaborating with Francisco, we identified ten–12 ingredients going to waste in the hotel — our mission now is to transform these into something desirable and delicious, showing that food waste can be luxurious. I want people to leave thinking 'that was delicious', feeling happy, satisfied and knowing they've helped the planet." Matt Whiley's Conscious Cocktails hit the menu at W Brisbane's Living Room Bar, 81 North Quay, Brisbane from Thursday, May 30, 2024 for six months — head to the venue's website for further details and bookings.
What’s better than having an espresso bar in an old loading dock? Adding a gallery space out the back, obviously. That’s just what happened at Loading Dock Espresso – they’ve joined forces with the Sunny Coast’s Just Us Gallery and have created yet another space in Brisbane to look at lovely works of art – with the added perk of easily acquiring a perfectly brewed cuppa joe in case your caffeine levels drop to unmanageable lows. Just Us throws its doors open this Friday (actually, rolls up the rickety garage door), and it’s going to be a little something special. Exhibiting for the first time outside of his homeland of the U! S! A!, Scott Toepfer brings his Furthest Horizons exhibition to the Dock, coinciding with the Australian launch of his book, Chasing Horizons. With a penchant for capturing the idyllic American West, Toepfer works for the likes of Converse and Harley Davidson and has had work featured in Monster Children, amongst many others. It’s the American dream! The upcoming weather is perfect for a road trip to nowhere, and after viewing Furthest Horizons it’ll seem like you’re on Route 66 as opposed to the M3.
When JK Rowling sat in an Edinburgh cafe and jotted down the first Harry Potter book more than two decades ago, she couldn't have guessed just how magical her life would become — or how she'd escape from her ordinary existence. We can't all follow in her literary footsteps, but we can now try to escape HP-style. No, not into the novels or movies. No, not via broomstick, portkey, apparating or the floo network. Rather, if you're in Melbourne, you can attempt to find your way out of a Harry Potter-inspired escape room. Let's be honest: it sounds like the kind of place you don't want to escape from, doesn't it? While getting out is the aim of the game at Trapt's new Alchemy rooms, enjoying the experience is too. Here, you'll "practise spells and enchantments and test your magical skills," according to the website, aiming to "discover the mythical substance and Elixir of Life, the Philosopher's Stone, before time runs out." Trapt is also quick to state that this isn't an official HP offering, but you can't bring up spells, wizarding and the title of the first Boy Who Lived book without nodding to the room's obvious inspiration. Make that rooms, with two identical spaces available — to meet demand, because you know there'll be more than a little. In addition, the Lonsdale Street establishment is also serving up an appropriate array of beverages at the bar — both alcoholic and non-boozy, including Flying Cauldron butterscotch beer, the blueberry and cardamom-flavoured Exhibito Noctis, and Potion of Fire spiced rum. And if you're after a journey into more than one themed realm while you're there, there's also a spy room, a prohibition-set offering that's all about bootlegging and moonshine, and an Alice in Wonderland space as well. It's not the first time an Australian escape room has tried to give muggles a magical experience, with Sydney's Break the Code announcing its own back in 2016. Alas, at present, it's still listed as coming soon on the site's website, although it does boast Indiana Jones, Avatar and Lost-themed rooms. Find Alchemy at Trapt, The Basement, 377 Lonsdale Street, Melbourne, or visit the venue's website for further details.
It's the ultimate in work-life balance, an antidote to non-stop after-hours emails and Slack messages, and a guaranteed way to ensure what happens at work stays at work. In Apple TV+'s mind-bending new thriller series Severance — which plays like Black Mirror meets the Charlie Kaufman-penned Being John Malkovich and Eternal Sunshine of the Spotless Mind, with Wes Anderson's aesthetic if he designed soulless office complexes, plus sprinklings of everything from George Orwell to also-excellent 2020 TV effort Devs — switching off when clocking off at Lumon Industries is easy. There's a brain implant for exactly that, and it's a condition of employment on "severed" floors. Accordingly, when quittin' time comes for Macrodata Refinement division employee Mark (Adam Scott, Big Little Lies), he physically steps into a tiny, shiny elevator to descend back into his after-hours life — but the version of him that works for Lumon won't recall anything beyond the company's walls. The instant that the one-person lift plummets at the end of the day, it goes back up for Mark's "innie", as his office-bound consciousness is dubbed. Voila, it's clocking-on time once more. For Mark's "outie", as the rest of his brain is labelled, the reverse occurs. Each day, he enters an elevator, hops out immediately, then drives to the suburban estate he calls home and repeats the process the next morning. Mourning the death of his wife, he's consciously chosen to separate his work and home selves in the most drastic of ways, giving him an eight-hour-a-day reprieve from his grief. But while it may sound like a dream escape — from Mark's pain, and for any employee eager to reclaim mental real estate from their job — this dark, twisty and instantly gripping series is firmly dystopian. Severance's attention-grabbing premise springs from creator Dan Erickson, a TV first-timer, and understands how most folks feel about office life. The show is knowing in its lead casting, too, given that Scott is best recognised for two workplace comedies: the joyous hug that is Parks and Recreation, as well as the acerbic, astute and soon-to-return Party Down. But as savvily and evocatively directed by Ben Stiller in its first three season-one episodes (and again in its last three, with Kissing Candice filmmaker Aoife McArdle helming three in the middle), Scott's new series dwells in 'be careful what you wish for' territory. For the part of Mark's brain that blanks out work, Severance initially seems like heaven. For the half that only knows the office, it's hell. The series begins with Mark two years into his time at Lumon, and newly installed as a division head after Petey (Yul Vazquez, The Outsider), his workplace BFF, leaves suddenly. One of his first tasks: onboarding Helly (Britt Lower, Future Man), who awakes in innie form for the first time sprawled atop a conference table. The camera gazes down, the eerie tone resembles leaping out of a nightmare but being unable to pick if you're still dreaming, and she hears Mark asking questions. Helly has queries herself, including: "am I livestock?". The severance process is jarring for newcomers, but they're expected to adjust swiftly. Innie Helly hasn't gotten that memo, however — and no, Party Down fans, neither her nor Mark are having fun yet. He grapples with his new role and the sudden loss of Petey, with his cold, unsevered boss Harmony Cobel (Patricia Arquette, The Act) and her omnipresent, also-unsevered assistant Mr Milchick (Tramell Tillman, Hunters) scrutinising every move, and his fellow severed MDR employees Irving (John Turturro, The Plot Against America) and Dylan (Zach Cherry, Shang-Chi and the Legend of the Ten Rings) handling Lumon life by being controlling and competitive, respectively. As for Helly's innie, she starts waging war on the new world order she definitely didn't sign up for, including writing briskly denied resignation requests to her outie. From The Truman Show and The Matrix to The Office and Office Space, Severance's list of influences is lengthy. It's Kafkaesque and Lynchian, too, and wandering its labyrinthine hallways — corridors designed like a maze to keep Lumon departments apart — is like being trapped in a surreal workplace version of Twin Peaks' red room. Indeed, every production design and cinematography choice enhances the feeling of being trapped in an off-kilter and deeply unnerving corporate purgatory. It's there in the 70s- and 80s-style technology, the green-and-white colour scheme, and the camera placement that flits between claustrophobic and cooly expansive. Lumon's innies don't have the choice, but Severance is also a series to willingly get lost in. Apple TV+ is dropping episodes week to week, following a two-instalment premiere, but the compulsion to lap up more of its unsettling mysteries springs quickly. Just like other standout shows of the past few months, such as Yellowjackets and Station Eleven, the desperation to piece together Severance's puzzles echoes strongly while watching — but this meticulously made head-trip is in no rush to unveil its answers. Given the wealth of wonders to be found within its frames — and the allure of its slow-drip secrets, including exactly what MDR is doing as its workers sort through screens of "happy" and "scary" numbers — it's hardly surprising that Severance isn't in a rush. It also boasts Christopher Walken (Percy vs Goliath) putting his distinctive on-screen presence to great use as another of Lumon's severed wager-earners, and is home to stellar performances across the board, including Scott's latest everyman turn, Turturro playing the office pedant with aplomb, a compellingly icy Arquette and the mesmerising Tillman. And, crucially, equally calling out, questioning and satirising today's ideas about work is always on the show's agenda. With a wry sense of humour, Severance sees the nine-to-five grind as the hellscape it can be, probes the control we've relinquished for paycheques and pokes fun at everything that's become normalised about the modern workplace. The hold our jobs have over our lives, the cult-like worship that large companies demand from underlings, the awkward office exceptions and social conventions, and these always clocked-on times in general: none of them escape this perceptive and addictive series' attention. Not so fond of the corporate treadmill? As it immerses, engages and intrigues, Severance truly understands. Check out the trailer for Severance below: The first three episodes of Severance's first season are available to stream via Apple TV+, with new episodes dropping weekly.
Music lovers all over the country have been holding their breaths for the much-awaited Parklife lineup announcement. And yesterday they were able to exhale with utter excitement at the acts that are set to hit the stages around Australia in late September and early October. We have a double VIP pass to giveaway in each city that Parklife will be making an appearance. Lucky winners of the VIP tickets will not only gain access to the exclusive Garden Bar, which offers such treasures as toilets, phone chargers, massages and the chance to catch up with Parklife artists, but they'll also get free drinks and a Parklife Mixtape, and be able to skip the ever-dreaded queues. To go in the running, just head to the Concrete Playground Facebook page and leave a comment under this story telling us which artist you want to see most, and which city you want tickets for. Entries will close at noon on June 21. Parklife dates and venues:Parklife Brisbane - Saturday, September 29 at Botanic GardensParklife Sydney - Sunday, September 30 at Centennial ParkParklife Perth - Monday, October 1 at Wellington SquareParklife Melbourne - Saturday, October 6 at Sidney Myer Music Bowl and Kings DomainParklife Adelaide - Sunday, October 7 at Botanic Gardens Discounted presale tickets ($25 off in all cities except Adelaide, which is $17 off) are available from 12pm on June 21 until midnight on June 25. Head to parklife.com.au for more info.
Thought you’d be eating vacuum packed meals in space? Think again. Fruit and veges could now be part of everyday space cuisine as part of EDEN’s (Evolution and Design of Environmentally-Closed Nutrition Sources) latest research initiative to grow fruit and veges in outer space with LED lights. The German Aerospace Centre (DRL) has picked up new Heliospectra LED lighting technology which the company has developed to help researchers explore conditions that can be used to grow fruit and veges in outer space. These space greenhouses could potentially function and feed a crew millions of miles above the clouds and prove particularly useful in harsh environments like a greenhouse module on Mars, or on slightly closer turf at the Neumayer Station III in Antarctica. One of the current projects at the German institute investigates testing the greenhouse module in the hostile Antarctica environment where a team lives in total isolation for nine months straight. Researchers hope to discover the ways whereby food could be produced for the crew and investigate how plants influence humans in isolation. [via inhabitat]
After revealing the first four titles from this year's program back in mid-September, the Brisbane International Film Festival has just unveiled its entire 103-film 2021 lineup. Brissie cinephiles, get ready to spend 11 days in the city's cinemas watching everything from Edgar Wright's latest, an Oscar Isaac-starring gambling drama and this year's Berlinale Golden Bear winner, through to flicks based on Twitter threads, new works from acclaimed directors and Nicolas Cage's latest OTT effort (yes, another one). Those aforementioned highlights include Last Night in Soho, which sees Shaun of the Dead filmmaker Wright embrace psychological thrills; The Card Counter, starring not only Isaac but Tiffany Haddish (Girls Trip); and Bad Luck Banging or Loony Porn, owner of the best movie title you're likely to see anytime soon. And, it also covers Zola, the wild drama based on that viral 148-tweet thread; Vortex, the latest film from Love's Gaspar Noe; Memoria, which sees Thai filmmaker Apichatpong Weerasethakul (Cemetery of Splendour) team up with Tilda Swinton for his English-language debut (and for BIFF's closing night slot) — and Prisoners of the Ghostland, where Cage joins forces with inimitable Japanese director Sion Sono (Why Don't You Play in Hell?, Tokyo Tribe). In total 81 features and 22 shorts are on the revamped BIFF's bill, screening at New Farm Cinemas, The Elizabeth Picture Theatre, Reading Newmarket, Dendy Coorparoo, Palace James Street and GOMA's Australian Cinémathèque between Thursday, October 21–Sunday, October 31. Still sticking with numbers, that includes four world premieres and 26 Australian premieres among the feature lineup — and, across both full-length and short films, 150 sessions in total. Other must-sees: the already-announced The Drover's Wife The Legend of Molly Johnson, with the Leah Purcell-starring and -directed film kicking off this year's festival; Petite Maman, the eagerly anticipated new film from Portrait of a Lady on Fire's Céline Sciamma; and The Worst Person in the World, the Norwegian comedy-drama that picked the Best Actress prize at this year's Cannes Film Festival. From the just-revealed newcomers to the lineup, Australian documentary River, Hugo Weaving and Tilda Cobham-Hervey-starring Aussie thriller Lone Wolf, and eagerly awaited drama Bergman Island from Mia Hansen-Løve (Things to Come) all sit alongside Andrea Arnold's (American Honey) documentary Cow, Ryûsuke Hamaguchi's Japanese duo of Drive My Car and Wheel of Fortune and Fantasy, and sublime German fantasy-drama Undine. Plus, Viggo Mortensen jumps both behind and in front of the lens with Falling, Alicia Vikander leads immigration drama Blue Bayou, Wyrmwood: Apocalypse serves up an Aussie horror sequel and the original version of The Witches is getting a retro screening.
So, I guess it's been a while since Myspace taught us HTML and horrible dancing babies set the standard for viral videos. Today, Facebook turns ten years old, and with this milestone they bring us one of the most sophisticated (and downright pretty) social media apps to date. With a clean, image-based design and multipurpose usability, the recently launched Facebook Paper may well be the future of the gargantuan Zuckerberg empire. The differences between the current Facebook app and Facebook Paper (not to be confused with the existing beautiful notebook app Paper) are enormous. There's no trademark blue colouring, the feed is horizontal and self-refreshing, and through a dynamic design you have access to not only your friends' updates and photos, but separate sections of your choosing. These include subjects like news and current events, the latest in art and design, and a section of trending online comedy tactfully titled 'LOL'. Though this is a welcome change for many lovers of news and design out there, the app is by no means mandatory — a clever move to avoid people kicking up a fuss like the great Timeline debacle of 2011. However, that's not all Facebook is giving us for their birthday. In a showing of enforced sentimentality, they've created a personalised video (A Look Back) for each user. Featuring your oldest photos and most popular status updates, the video plays for just over a minute with a strange and uplifting musical track that makes you feel like you're the female lead of a romantic comedy finding her feet in the Big Apple. For many, this feels a little amiss as no one feels all that nostalgic about their drunk teenage photos or sarcastic status updates about Girls quite yet. All in all, like the platform itself, Facebook's birthday is a mixed bag. They've given us a little to cringe about from the past, and a lot to look forward to in the future. Facebook Paper is available for iOS devices in the Apple App Store. It is currently only available in the US but, as always, there are ways to get in early.
When Julia Ducournau's first film hit cinemas back in 2016, it garnered plenty of headlines. When reports start circulating about people passing out during your movie, that tends to happen. Following a vegetarian veterinary student who starts hungering for something much meatier when she heads to college, Raw definitely isn't for the easily queasy. It's also one of the best movies of the past decade, with the French filmmaker debuting with a film that's intense in multiple ways, and also surprisingly relatable. With her second feature, Ducournau is going to earn even more attention. Titane premiered at the 2021 Cannes Film Festival and, as announced on Sunday, July 18, it has just nabbed the prestigious event's coveted Palme d'Or. That's an exceptional feat for any director, but it's historic in this case. The movie's win marks only the second time ever that a female filmmaker has won the fest's top prize, and the first time a woman has ever earned the gong solo. Jane Campion is the only other female filmmaker to receive the Palme d'Or, back in 1993 for The Piano — and when she won, she shared it in a tie with Farewell My Concubine's Chen Kaige. The highly valued prize was first introduced back in 1955, which means that a long list of men have taken it home over the past 66 years. Ducournau's film was named 2021's best flick of the fest by a jury chaired by filmmaker Spike Lee (BlacKkKlansman), and also featuring fellow directors Mati Diop (Atlantics), Jessica Hausner (Little Joe) and Kleber Mendonça Filho (Bacurau); actor and filmmaker Mélanie Laurent (Oxygen); actors Maggie Gyllenhaal (The Deuce), Tahar Rahim (The Serpent) and Song Kang-ho (Parasite); and singer-songwriter Mylène Farmer. Lee was so excited to announce the winner, he let it slip at the beginning of the ceremony — before the night's other gongs were announced. Like Raw, Titane doesn't hold back with its concept. The official festival synopsis describes it as a film that sees a father reunited with the son who has been missing for ten years following a series of unexplained crimes— but that's really the most simplistic description possible. Starring Vincent Lindon and Agathe Rousselle, it also sees the latter play a character with quite the car fetish, and morphs into Cronenbergian body horror territory from there. Ducournau's Cannes win marks the second time a female director has made history this year, after Chloé Zhao became the first woman of colour and second woman ever to win the Best Director Oscar for Nomadland back in April. At Cannes, a heap of other movies picked up shiny trophies, too — with the Grand Prix shared by Asghar Farhadi's A Hero and Juho Kuosmanen's Compartment Nº6, the Jury Prize split between Apichatpong Weerasethakul's English-language debut Memoria and Nadav Lapid's Ahed's Knee, and Best Director going to Leos Carax for his Adam Driver-starring musical Annette. The Best Actress prize was awarded to Renate Reinsve for The Worst Person in the World, while Caleb Landry Jones won Best Actor for his titular role in Australian drama Nitram. Check out the trailer for Titane below: Titane doesn't currently have a release date Down Under. We'll update you when one is announced. Top image: Carole Bethuel.
Given how 2020 has turned out, we can all be forgiven for hoping that next year is much, much brighter. In Sydney, that'll happen literally. After cancelling its 2020 festival due to COVID-19, Vivid has announced that it'll make a comeback in 2021, returning with another jam-packed lineup of light installations, live music and interesting discussions. When Vivid re-emerges next year, it'll do so with one big change: a later time slot. Usually, the luminous fest's events and city-wide glow mark the end of autumn and the beginning of winter; however, in 2021, it'll run from August 6–28 instead. Whether you're a Sydneysider in desperate need of a bit more light in your life, or you're located elsewhere and contemplating local 2021 holidays — seeing that Australia's international border is likely to stay closed for some time — you can now look forward to a late-winter feast of projections, tunes and talks. Exactly what the program will hold hasn't yet been announced, with the lineup usually unveiled a few months before the event. [caption id="attachment_761801" align="aligncenter" width="1920"] Jordan Munns[/caption] If it had gone ahead in 2020, this year's Vivid was set to be headlined by US neo-soul singer and poet Jill Scott. The festival cancelled before it released its full lineup of gigs, installations, light shows and other cultural events. As well as a change of date, it's sensible to expect that moving around Vivid might look a little different in 2021, too. The event hasn't announced anything along those lines but, in 2019, it attracted more than two million attendees. That's quite the crowd in general, and even more so in these pandemic-afflicted times. In terms of restrictions, New South Wales has been easing them, though — including announcing just this week that outdoor music gigs will be able to host up to 500 people from Friday, October 16, and that outdoor venues can double their capacity to one person per two square metres. Vivid Live 2021 will take place from August 6–28, 2021. For more information, visit the event's website. Top image: Yaya Stempler.
Get ready to see 23 words get engraved on a pivotal piece of jewellery: "one ring to rule them all, one ring to find them, one ring to bring them all and in the darkness bind them". The Lord of the Rings: The Rings of Power has been renewed for a third season, and Sauron's efforts to make the One Ring will be its focus. Yes, Prime Video's prequel series will move closer to the events of The Hobbit movie adaptations and OG live-action Lord of the Rings films. And yes, to do so, there'll be a time jump in its narrative. The streaming platform has announced that the fantasy hit will return for a third season, which is currently in pre-production. To The Hollywood Reporter, it also revealed where the story will head. The War of the Elves and Sauron will be in full swing, as will the Dark Lord's efforts to forge an item to help in his quest for dominance: the ring that becomes so crucial in the books penned by JRR Tolkien. When the new season of The Lord of the Rings: The Rings of Power will arrive hasn't yet been revealed. Whenever it shows up, the season will continue exploring Middle-earth's history — telling a tale that's taken the elves, dwarves, orcs, wizards and harfoots to everyone's streaming queue, and also featured talking and walking trees, giant spiders and Sauron's chaos. Set in the fantasy realm conjured up by Tolkien — as unrelated animated movie The Lord of the Rings: The War of the Rohirrim, which hit cinemas in late 2024, also is — The Lord of the Rings: The Rings of Power dives into Middle-earth's Second Age. In season one, a young Galadriel (Morfydd Clark, Saint Maud) had a mission to hunt the enemy, after her brother gave his life doing the same. She saw fighting for fate and destiny as the work for something greater. A young Elrond (Robert Aramayo, The King's Man) was part of that journey, and the big bad who needed staving off was indeed Sauron (Charlie Vickers, The Lost Flowers of Alice Hart). Since then, the show has started charting how the rings were forged, as well as Sauron's rise and the impact across Middle-earth. So, it's a battle between good and ascending evil, then, as the Dark Lord keeps pushing his shadowy influence. If you're a little rusty on your LOTR lore, the Second Age lasted for 3441 years, and saw the initial emergence and fall of Sauron, as well as a spate of wars over the coveted rings. Elves feature prominently, and there's plenty to cover, even if Tolkien's works didn't spend that much time on the period — largely outlining the main events in an appendix to the popular trilogy. The Rings of Power remains separate to the big-screen Lord of the Rings revival that was first announced in 2023 and now has new movie Lord of the Rings: The Hunt for Gollum in the works. If you're a LoTR fan, there's no such thing as too much for this franchise, though — like breakfast for hobbits. There's obviously no trailer for The Lord of the Rings: The Rings of Power season three yet, but check out the trailer for season two below: The Lord of the Rings: The Rings of Power streams via Prime Video. Season three doesn't yet have a release date. Read our review of season one.
Mona Foma, MONA's wild and weird summer music and arts festival, is back for 2018. And it's set to eclipse all previous incarnations, with the festival adding a series of Launceston events to the usual Hobart lineup. The supercharged twin-city program will feature 11 days of thought-provoking performances, celebrating creativity in forms that defy categorisation. The expansion to Launceston offers a little taste of the festival's future — in 2019, Mofo will relocate to Launnie entirely. If you've never visited Launceston, Mofo is the perfect excuse to make a weekend trip to this gem of a town. While the festival will obviously keep your schedule pretty packed, you should definitely make some time to explore Mofo's future home. To guide you in the right direction, we've teamed up with Mazda3 to round-up the best places to eat, drink and lay your weary head. Go on, take a detour from the humdrum of daily existence and inject a little adventure into your life. [caption id="attachment_642025" align="alignnone" width="1920"] Harvest Market.[/caption] EAT AND DRINK Launceston is steadily gaining a reputation as a food destination. Visit some of the city's cafes and restaurants and you'll soon understand why. No visit to Launnie would be complete without a Saturday morning trip to the Harvest Market. This outdoor market, which blossoms in the summer months, features stall upon stall of fresh produce, baked goods and coffee. Get there early to nab a pastry from Sandy's Sourdough before they sell out and keep an eye out for the retro caravan, Wanderlust, which dishes up innovative vego meals. In need of a caffeine hit? Make your way to nearby Sweetbrew, a quaint cafe serving up some of the city's best coffee. If you're looking for a more substantial morning meal (you'll need the energy for all the Mofo craziness), Cuccina has you covered. And you'll fall hard for its legendary sweet chilli eggs. Cafe Mondello, with its all-day brekkie menu, is another great choice. In the evenings, the food trucks lined up along High Street are the perfect place for no-fuss dining — and you can take full advantage of the warm summer nights. Track down Turkish Tukka, for incredible kofte and gozleme, and The Crepe Caravan for its moreish Nutella pancakes. If you're after casual eats but prefer sitting at a table, make a beeline for Burger Got Soul. This insanely popular burger joint is famous for its veggie and chicken burgers — for very good reason. If you have a bigger budget, book in for a meal at Stillwater, one of Tassie's most lauded restaurants. Set in a historic mill, this Launceston stalwart dishes up impeccable fare year in, year out. Meat fanatic? Try Stillwater's sister restaurant, Black Cow Bistro, a local favourite known for its great steaks. DO Running from January 12 to 14, Mofo's first Launceston program features cutting-edge performances that are bound to set your mind on fire. Watch as Gotye join forces with the Ondioline Orchestra to pay homage to renowned French electronic composer, Jean-Jacques Perrey. This vibrant performance will be presented in a double bill with Skin Migration by Tannery, the Tasmanian Taiko and Leather Orchestra that makes mind-blowing sounds out of Japanese drums and leather instruments. Also hitting town is Monumental, a riotous dance performance by Canadian dance company, The Holy Body Tattoo, accompanied by music from post-rockers, Godspeed You! Black Emperor. Expect a raucous score, light sculptures and eclectic film projections. Rounding out the Launceston events is a massive free Block Party on January 14 (you'll just need to register on the website). There'll be music, art, drinks and wood-fired meats by MONA's Heavy Metal Kitchen. [caption id="attachment_642027" align="alignnone" width="1920"] Peppers Seaport Hotel.[/caption] STAY If you're in Launnie for Mofo, you'll probably want your accommodation to be right in the thick of things — to maximise the festive and adventurous atmosphere. For a comfortable stay that won't break the bank, the centrally-located Batman Fawkner Inn is a winner. The historic building was converted into a 40-room hotel with all the trimmings — air conditioning, free Wi-Fi and ensuite bathrooms. Prefer something fancier? Try the Areca Boutique Hotel. It has spacious rooms, comfy beds, stunning views over the city and Tamar Valley and it's still fairly affordable. If you're looking to splurge, book into the heritage Auldington Hotel. A convent in its previous life, this charming hotel boasts spacious rooms with contemporary furnishings and local art on the walls. Peppers Seaport Hotel, located on the waterfront, is another good choice. The rooms here have sweeping river views and are decorated — fittingly — with a nautical theme. Mona Foma 2018 will take place at venues across Launceston from January 12 to 14, at MONA from January 19 to 21 and across Hobart from January 15 to 22. Personalise your next adventure via The Playmaker, driven by Mazda3.
From The Muppet Christmas Carol to The Santa Clause to The Nutcracker and the Four Realms, Disney has long been fond of Christmas films. And now that the huge entertainment company is about to launch its own streaming platform, we can foresee plenty more festive Mouse House flicks in movie-lovers' futures — starting this November with Noelle. Vying to become your next seasonal favourite, Noelle stars Anna Kendrick as the titular character, who also happens to be the daughter of Kris Kringle. When her dad retires, her brother Nick (Bill Hader) is supposed to take over the reins (and reindeer). But, after he gets even colder feet than usual at the North Pole and heads south to become a yoga instructor, it's up to the perennially perky Noelle to save the day. Festive film fans can look forward to Kendrick being oh-so-bubbly, Hader in the slacker mode he plays so well and Billy Eichner as the Kringle siblings' sarcastic IT worker cousin Gabriel. Based on the trailer, this streaming flick is firmly aiming for feel-good territory — not just because it tasks one of Hollywood's most likeable actors with salvaging Christmas, but because it's directed by rom-com veteran Marc Lawrence (the filmmaker behind Two Weeks Notice and Music and Lyrics, and the writer of Miss Congeniality and its sequel). Get festive watching the trailer below: https://www.youtube.com/watch?v=DBDnQkQUTGU Noelle will be available to stream on Disney+ when it launches Down Under on November 19.
When the theatre powers that be wondered if Moulin Rouge! could leap to the stage from the screen, the answer was simple: yes it can can can. And when the hit Broadway version notched up 14 Tony nominations, another question arose. Could Moulin Rouge! The Musical become the first Australian-produced show to win the coveted Best Musical Tony Award? Again, yes it can can can. After being delayed due to the pandemic, the 74th Annual Tony Awards were held on Monday, September 27 Australian time, recognising the best that theatre had to offer in the 2019–20 season. And, Moulin Rouge! The Musical did indeed emerge victorious. Including Best Musical, it took out ten gongs in total. Produced by the Sydney-based Global Creatures — and marking the first Australian-produced show to originate on Broadway — Moulin Rouge! also nabbed prizes for Best Direction of a Musical (f0r Alex Timbers), Best Choreography (Sonya Tayeh), Best Orchestrations (Justin Levine with Matt Stine, Katie Kresek and Charlie Rosen), Best Performance by a Leading Actor in a Musical (Aaron Tveit) and Best Performance by a Featured Actor in a Musical (Danny Burstein). And, it won Best Scenic Design in a Musical (Derek McLane), Best Costume Design in a Musical (Catherine Zuber), Best Lighting Design in a Musical (Justin Townsend) and Best Sound Design of a Musical (Peter Hylenski) as well. The Tonys sweep comes as Australians will finally get to see the stage production later this year, after its long-awaited local premiere season in Melbourne was delayed due to lockdown. It was set to open in mid-August, but is now selling tickets for shows from early November in line with Victoria's roadmap out of stay-at-home conditions. When it was announced back in 2016 that Moulin Rouge! was being turned into a stage musical, fans around the world thought the same thing in unison: the show must go on. Since then, the lavish production hit Broadway in 2019, and now has a date with Melbourne's revamped Regent Theatre. Based on Baz Luhrmann's award-winning, Nicole Kidman and Ewan McGregor-starring movie — which celebrates its 20th anniversary this year — the stage musical brings to life the famed Belle Époque tale of young composer Christian and his heady romance with Satine, actress and star of the legendary Moulin Rouge cabaret. Set in the Montmartre Quarter of Paris, the film is known for its soundtrack, celebrating iconic tunes from across the past five decades. The stage version carries on the legacy, backing those favourites with even more hit songs that have been released in the two decades since the movie premiered. Moulin Rouge! The Musical wasn't the only production soon headed to Australia to nab a Tony, with Jagged Little Pill the Musical also collecting two ahead of its Sydney premiere in December. Elsewhere at the high-profile awards, A Christmas Carol nabbed five gongs in the play categories, while The Inheritance picked up four. Moulin Rouge! The Musical is due to make its Australian debut at The Regent Theatre, at 191 Collins Street, Melbourne from November — depending upon Victoria's COVID-19 restrictions at the time. To buy tickets, and for further details, head to the production's website. Images: Matthew Murphy.
The eco-friendly craze has spread like wildfire in the past several years, and now the movement is even targeting the minds of young kids. Designer Leo Corrales and Precidio Design Inc. have developed Juice in a Box, a reusable juice box for children as an alternative to drinking the typical one-time-use juice boxes. The Juice in a Box containers are made of reusable plastic and come equipped with both a lid and straw, and are the perfect size to fit in packed lunches to bring to school. The outside of the containers cater to young children, featuring cartoon characters and colourful designs. Recently proposed at the International Home and Housewares Show, the design is aimed at making kids conscious of their impact on the environment from a young age so they continue eco-friendly practices throughout their entire lives. Getting the 'go green' initiative instilled in young minds may be what it takes to make a significant impact in long-term sustainable living.
We've almost made it to the end of this chaotic year. Holidays are looming ever closer, and it's time to hang out with friends and fam, recharge and reflect — potentially doing so at beaches, in ocean pools, while hiking or chilling out in parks — and maybe logoff from social media for a bit. And Pantone is suggesting we do so surrounded by 'life-affirming' coral. Living Coral (PANTONE 16-1546) has just been named as Pantone's 2019 Colour of the Year. The energising — and appropriately summery — shade was chosen by Pantone's colour experts not only because it "provide[s] comfort and buoyancy in our continually shifting environment", but because it encourages lighthearted activity and pursuit of fun — exactly what we're all hoping to do over the next couple of months (and, ideally, throughout the New Year). Of course, coral is associated with nature, too, in animals (like flamingos) and in Australia's famous Great Barrier Reef. While we doubt it was on the minds of Pantone's colour experts, the colour is timely due to the recent, reinvigorated fight for emergency action on climate change in Australia. Hundreds of school students, just this Wednesday, descended on Canberra's Parliament House to demand action on climate change and to stop the Adani coal mine — a proposed Queensland mine, which, if it goes ahead, could have huge impacts on the Great Barrier Reef. Then there's Living Coral's reinvigorating nature — it's said to energise and enliven. So paint your room in it, cover your body in it or just buy some snazzy coral socks — it might help you get through this crazy messed up world in 2019.
With Queensland's COVID-19 cases still remaining low over the past month — including zero new cases since May 28, and only five active cases in total as at June 1 — the state is continuing to relax a number of coronavirus-related restrictions. Since the beginning of May, limits have been eased in stages, as per the government's roadmap. And from midday today, Monday June 1, they're loosening once again. As well as allowing unlimited regional travel within Queensland, the state's cultural institutions can reopen, as can its cinemas. Restaurants, bars and cafes are allowed up to 20 customers — and you can go out for just a drink. But there are, of course, some rules. These new restrictions are set to remain in place until at least July 10, with the government assessing whether to loosen them further before that date. So, what exactly can you do? We've broken it down. The below information is correct as of Monday, June 1. We'll update as any new announcements are made. Can I see my friends and family? Yes, visiting your friends and family is allowed, and has been since early May. You now have 20 people in your home, including those you live with, and gatherings of up to 20 people outdoors — which includes picnics, personal training, hiking, swimming and non-contact sport. Social distancing measures should be followed at all times and 1.5 metres should be kept between you and other people. Can I have a dinner party? Yes, you can — as long as no more than 20 people are in attendance in total. A picnic in a park? Yes, you can have a picnic in a group of up to 20 people. And, you will no longer need to stay within 150 kilometres of your house, with Queenslanders permitted to travel statewide. More on that below. If you're looking for a few local spots, though, here's a rundown. [caption id="attachment_703974" align="aligncenter" width="1920"] Brisbane City Council via Flickr[/caption] How about exercising in a park? Yep, as long as you're with a maximum of 20 people. Brisbane City Council-run outdoor communal gym equipment and playgrounds reopened last month, too, as well as skate parks, BMX tracks, and basketball and tennis courts. And non-contact sport — such as kicking the footy, yoga, tai chi and bootcamps — are all allowed. What other exercise can I do? Fishing, jet skiing and boating are already allowed, as are walking and bike rides. Other permissible social outdoor sport activities include swimming, throwing a frisbee in the park, and playing golf or tennis. Non-contact community sporting activities, both indoors and outdoors, are also allowed from June 1 — with 20-person limits Can I take my pet out for a walk in the park? You sure can. Taking your pet for a walk is considered exercise. Are gyms open? Yes, gyms can now reopen — as can health clubs and yoga studios. Just because your favourite gym is allowed to reopen, however, doesn't mean it will, so check with the venue before making the trip. If you prefer exercising outside, outdoor bootcamps and personal training sessions can now have a maximum of 20 people. What about driving to go for a hike or bike ride? Yes, whether you're staying relatively local or venturing further afield. Here are five scenic walks within 50 clicks of the CBD, if you're keen to explore your own backyard. Here's a list of local bike rides, too. And, here are a few of Queensland's best multi-day hikes, should you want to combine your exercise with an overnight stay now that that's also permitted — more on that next. [caption id="attachment_768822" align="aligncenter" width="1920"] Brisbane City Council via Flickr[/caption] Can I go on a holiday to a coastal/regional town? Yes, you can now travel to anywhere in Queensland. And, you can stay overnight (or for multiple nights) — including camping and other accommodation, such as caravan parks. Queensland's borders remain shut, though, with the government set to next review the closure at the end of June. Queenslanders can still leave to head interstate, but require a permit to return back to the state. Need some inspo? Here are some of our favourite glamping retreats, beachside camping spots and cabins near Brisbane — and our favourite Queensland country towns to visit, whether for a day-trip or a longer stay. What about a trip overseas? Not yet. At the moment Australia's borders are closed, but the Federal Government has flagged the potential of trans-Tasman travel bubble in step three of the Roadmap to a COVIDSafe Australia — which could happen as early as July. Can I visit restaurants, bars and cafes? For dine-in service, yes — at cafes, restaurants and pubs. They're now allowed to open for a maximum of 20 dine-in customers, with one for every four square metres. And dine-in can now include a meal or just sitting down for a drink (you do have to remain seated at a table, rather than standing around a bar). From midday on Friday, June 5, cafes, restaurants, pubs and hotels with more space will also be allowed to permit 20 people per defined area, rather than just 20 customers in total in their entire space — but only if they have an approved COVID Safe Industry Plan in place. If you're still keen on takeaway, the answer is still yes — and at bars, too. Many are even offering delivery. Food courts remain closed to seated patrons, but you can buy takeaway food from an eatery in a food court. Can I go out for a takeaway coffee? Yes. But, if you'd like to stay indoors as much as possible, here are some of our favourite roasters offering delivery. Can I go shopping? Yes, you can go shopping. That said, not all shops are open and some have changed their opening hours, so we suggest giving them a call before you head out. The four-square-metre rule applies to all retail spaces, with patrons advised to keep a 1.5-metre distance. Can I get a haircut, my nails done or a spray-tan? Hairdressers and barbers have been allowed to remain open during lockdown — but you might want to contact your favourite in advance to see if it is trading. Both services must adhere to the four-square-metre rule, and take a record of names and contact details of each customer for contact-tracing purposes. Beauticians and nail salons were allowed to open in May, and can now have a maximum of 20 people inside. Spray tans, tattoo parlours and spas are now allowed to reopen, again with a 20-person limit. Will art galleries and museums be open? Yep, galleries and museums are allowed to reopen with 20-person limits. Most Brisbane venues are yet to announce their reopening plans, so check their websites before heading in. Historic sites, arcades, zoos, concerts, theatres, arenas, auditoriums, stadiums and outdoor amusement parks are also allowed to reopen, with 20 people allowed inside at a time. Again, checking online before making the trip is advised. What about going to the cinema? Drive-in cinemas in Queensland are already allowed to operate and, given that patrons are practising social distancing by viewing films from their cars, there is no limit on the number of vehicles they can have. Southeast Queensland's only permanent drive-in cinema at Yatala is now screening films seven nights a week. Indoor cinemas are now allowed to reopen in Queensland as well, but most are yet to set a reopening date. Palace's cinemas will reopen on July 2; however much of the industry is still working towards a mid-July relaunch. Can I go to church? Yes, all places of worship will be allowed to open for small religious ceremonies of up to 20 people. Weddings can also have up to 20 people, in addition to the couple and the celebrant. Funerals can have up to 50 mourners, whether indoors or outdoors. If you have more questions, visit Queensland's online COVID-19 hub. 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. Top image: Photographer: Tony Smith; supplied by Tourism and Events Queensland
Attention BLACKPINK fans around Australia — and get ready for love — because 2023 just got a whole lot better. As initially announced back in 2022 and now officially locked in, the world's most successful female K-Pop group are heading Down Under this winter, hitting Australia mere months after a rather huge gig: headlining Coachella 2023. Last year, the dates for the [Born Pink] World Tour were unveiled in a post on Instagram, revealing that the tour was kicking off in Seoul before moving through the US and Europe. As revealed then, come June 2023, BLACKPINK will spend the final leg of the tour performing over two nights in Melbourne (Saturday, June 10–Sunday, June 11) and two nights in Sydney (Friday, June 16–Saturday, June 17). A one-night stint in Auckland, however, has been ditched. "Due to unforeseen logistical challenges, the originally announced Auckland show will no longer be feasible," according to the tour announcement. [caption id="attachment_887179" align="alignnone" width="1920"] Jiya & Arcam[/caption] BLACKPINK's two Melbourne shows will take over Rod Laver Arena, while their Sydney gigs will unleash their pink venom at Qudos Bank Arena. Fans around the rest of Australia, we bet you wanna show your BLACKPINK love, too — so you have trips to the New South Wales or Victorian capitals in your future. The tour supports BLACKPINK's latest album BORN PINK, which released in September 2022. It also comes after 'Pink Venom' made history by becoming the biggest release by a female group or solo artist this decade. First, then tune debuted at number one on Spotify's global top songs chart. Then, it racked up over 7.9-million streams within the first 24 hours. And on YouTube, the official music video reached 100-million views quicker than any video by a female group ever, including 90.4-million views notched up in the first 24 hours. Also the most-subscribed music act on YouTube thanks to their 84 million-plus followers, and the most- followed girl group on Spotify, BLACKPINK will head through Asia first before hitting Australia. And if you can't make it or don't manage to nab tickets, there's always the Coachella livestream in April. BLACKPINK [BORN PINK] WORLD TOUR AUSTRALIAN DATES: Saturday, June 10–Sunday, June 11 — Rod Laver Arena, Melbourne Friday, June 16–Saturday, June 17 — Qudos Bank Arena, Sydney BLACKPINK's [Born Pink] world tour heads to Australia in June 2023. The Frontier members' pre-sale runs for 24 hours — or until the allocation is all snapped up — from 11am AEDT for Sydney and 1pm AEDT f0r Melbourne on Wednesday, February 8, with general sales from 12pm AEDT for Sydney and 2pm AEDT for Melbourne on Thursday, February 9.
