UPDATE, APRIL 4: Due to concerns around the coronavirus, Sony has announced that Morbius will no longer release on its initially scheduled date of Thursday, July 30, 2020, with the film now hitting cinemas on March 18, 2021. 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. When Venom took a Spider-Man villain, gave the character its own film and made a colossal amount of money — ranking seventh at the global box office for 2018 — other movies in the same vein were always going to eventuate. Next up is Morbius, which repeats the first two parts of the above equation in the hope that the third part (aka piles and piles of cinema-goers' cash) will also follow. With Joker this week scoring 11 Oscar nominations, the most of any film this year, it's a good time to be in the comic book villain movie game. Former Suicide Squad Joker and Dallas Buyers Club Oscar-winner Jared Leto leads the charge in Morbius, playing a figure also known as the "Living Vampire". The backstory: suffering from a rare blood condition and dedicating his life to trying to save others from the same disease, Dr Michael Morbius (Leto) subjects himself to an experiment in an attempt to find a cure — and ends up with vampire-like superhuman abilities. Made by Sony, the studio that owns the rights to Spider-Man and its associated characters — unlike the rest of the Marvel Cinematic Universe's figures, who are owned by Disney — Morbius forms the second film in its own Marvel Universe after Venom. Yep, there are now two big-screen superhero realms stemming from the company's comics. And, as the just-dropped trailer for Morbius shows, they're actually connected. Thanks to a piece of graffiti, it looks as though Morbius takes place after 2019's Spider-Man: Far From Home, and a well-known face from Spider-Man: Homecoming shows up here as well. Just how else the film will tie into Sony's Marvel Universe or the MCU is yet to be seen; however, given that the Tom Hardy-starring Venom 2 also hits cinemas in 2020, it's safe to expect that there'll be some links between those two flicks at the very least. As well as bringing Leto back into the comic book movie fold after Joaquin Phoenix stepped into the Joker's shoes, Morbius also features Adria Arjona (6 Underground), Tyrese Gibson (the Fast & Furious franchise), Jared Harris (Chernobyl) and Matt Smith (The Crown) — with Life director Daniel Espinosa behind the camera. Check out the trailer below: https://www.youtube.com/watch?v=uezFNUDKXhk&feature=youtu.be After being delayed from its original release date of July 30, 2020, Morbius will now open in Australian cinemas on March 18, 2021.
Films about the holocaust will never be considered easy viewing. Revisiting one of the darkest chapters of human history is a confronting experience, as is facing the specific details of the atrocious deeds committed. Some movies try to temper their bleakness by honing in on unlikely heroism, like Schindler's List, or the comedy of tragedy, like Life is Beautiful, or offering a child’s view of events, like The Boy in the Striped Pyjamas. Hungarian filmmaker László Nemes does none of this. Son of Saul doesn’t just contemplate challenging material — it is designed to immerse viewers in the horrific ordeal that was life in a concentration camp. While charting the daily misery of Jewish prisoners might sound familiar, it's the inner workings of the Sonderkommando that are thrust into the spotlight here. Those unacquainted with the term may be startled to discover its meaning, referring to a unit of detainees that assisted the Nazis with the very worst aspects of their final solution. Sonderkommando workers escorted their fellow inmates into the gas chamber, then cleaned up the aftermath. Their compliance was coerced, unsurprisingly; by hastening the deaths of others, they avoided their own for a few months. In a film fictional in its specifics but inspired by actual testimonies in the book The Scrolls of Auschwitz, Saul Ausländer (Géza Röhrig) is one of many men caught in this unfortunate situation — but when he tries to help a boy that crosses his path, he stands out from the rest of the group. Over the course of a turbulent 24 hours in 1944, he attempts to find a rabbi to give the child a proper burial. As he's searching, endeavouring to evade the camp's guards in the process, other members of the Sonderkommando plot their own larger acts of rebellion. Though there's no doubting the powerful nature of this story, Nemes' stylistic choices prove just as potent as the predicament he explores. It is impossible not to notice the feature's boxed-in aesthetics and constrained atmosphere, nor its concerted efforts to ensure the audience feels as trapped and claustrophobic as the on-screen characters. The filmmaker shoots in the Academy aspect ratio of 1.375:1, and keeps the camera as close as possible to his protagonist. The parallels he's trying to cultivate might be obvious, but that doesn't lessen their intensity. For viewers and Saul alike, there is simply no escape. Nemes isn't the feature's only standout, however — and while the writer-director is forceful in his approach, his leading man offers an understated counterpart. In his first film role, and in a performance conveyed through mannerisms more than dialogue, Röhrig makes Saul's struggle seethe beyond its historical context. Striving to aid another, even in difficult circumstances; putting someone else's needs before our own; choosing empathy, not just endurance. Ultimately, aren't these the things that make us human?
The secrets trade is booming. Julian Assange and WikiLeaks have proved the incredible consequences of when confidential information shows up where it's not supposed to, as well as the accompanying newspaper sales spikes. Rupert Murdoch no longer wants to rely on the whims of a third party and last week introduced the Wall Street Journal's SafeHouse. SafeHouse is News Corporation's online attempt at replicating the success of WikiLeaks. The website aims to increase whistle-blowing on wrongdoing, whether that be individual, corporate or governmental. The site encrypts your personal information so that your leaking of documents doesn't get back to you (anonymity is offered but not preferred as oftentimes information without a background is useless from a journalistic standpoint). If your information is juicy enough it will get coverage in the Wall Street Journal. So what's the catch? Questions over the motives of establishing such a site have been raised. Rupert Murdoch and his broadcasters have traditionally treated WikiLeaks and Assange with incredible disdain, with Fox News broadcaster Bill O'Reilly saying Assange "is a sleazeball...bent on damaging America". Why the sudden turnaround? Is the Wall Street Journal slighted over the New York Times traditionally getting the better (read: more scandalous and destructive) information from WikiLeaks? Or, as security analysts and conspiracy theorists alike think, is it all a trap? Security analyst, Jacob Appelbaum, was quoted as saying that the site had a "laundry list of amatuerish security flaws", with no guarantee your personal details or anonymity are safe. The website also holds the dubious disclaimer that your identity as a source is anonymous except under "extraordinary circumstances". With no definition of "extraodinary circumstances" provided, what does it entail? Does it include getting asked by the government to give up the information? Does it include selling the source's details to the highest bidder? The absense of such fine print flexibility is what made WikiLeaks what it is - a safe haven for the tell tale and leaker. If not a deliberate trap, the security concerns and disclaimers could make SafeHouse a fruitful hunting ground for a US government who's had enough of people knowing their confidential goings-on. Either way, if Murdoch wants more secrets, he might have to start being a bit nicer to Assange. [via Fast Company]
Since 2007, Korean designer Yvette Yang has been exploring the boundaries between image and text with 'fashion font'. Each year, she creates a new typography out of the season's fashion statements, mixing and matching ideas by hand to maximise the chance of discovering successful graphics. The designs are carefully compiled collages made up of jackets, pants, dresses, skirts, shirts, shoes, hats and jewellery that have been clipped, flipped, cropped and rotated. Yang's project aims to imbue the alphabet with a meaning derived from images, rather than from the arrangement and rearrangement of letters, as well as to record changes in fashion over time. 'Image is message . . . One alphabet delivers various messages,' her website states, 'as it contains many different items and trends.' 'Fashion font' has appeared in a high school textbook in South Korea and in publications far and wide, including Italy's Out of the Box and China's Modern Weekly. Yang has taught 'font image creating' workshops to students in Seoul and collaborated with Vogue South Korea on a font to present Chanel's 2009 collection. All five of the alphabets that she has put together since 2007 can be viewed in detail on her official site. Images: Fashion Font [Via PSFK]
UPDATE, Friday, July 7: Limbo streams via ABC iView from 8.30pm on Sunday, July 9. When Ivan Sen sent a police detective chasing a murdered girl and a missing woman in the Australian outback in 2013's Mystery Road and its 2016 sequel Goldstone, he saw the country's dusty, rust-hued expanse in sun-bleached and eye-scorching colour. In the process, the writer, director, co-producer, cinematographer, editor and composer used his first two Aussie noir films and their immaculately shot sights to call attention to how the nation treats people of colour — historically since its colonial days and still now well over two centuries later. Seven years after the last Jay Swan movie, following a period that's seen that character make the leap to the small screen in three television seasons, Sen is back with a disappearance, a cop, all that inimitable terrain and the crimes against its Indigenous inhabitants that nothing can hide. Amid evident similarities, there's a plethora of differences between the Mystery Road franchise and Limbo; however, one of its simplest is also one of its most glaring and powerful: shooting Australia's ochre-toned landscape in black and white. Going monochrome in a place that's so connected with a red-, orange- and clay-heavy palette is a visually spectacular choice. Doing just that in a film made in Coober Pedy, the globally famous "opal capital of the world" that's known for its underground dwellings beneath the blazing South Australian earth, is a bold decision, too. Sen strips away the colour to heighten the details — and also makes an emotionally and thematically loaded move. In every second, in every image that Limbo has flicker across the screen, there's no escaping the contrast that lingers plain as day as the audience watches on. There isn't meant to any reprieve, of course. As a stranger once more rides into town western-style within one of the auteur's movies, this is another rich, impassioned and affecting feature about the vast chasm between being Black and white in Australia, and it refuses to see hurt, pain and unspeakable loss with anything but the clearest of eyes. Limbo's setting: the fictional locale that shares its name, unmistakably sports an otherworldly topography dotted by dugouts to avoid the baking heat and hasn't been able to overcome the murder of a local Indigenous girl two decades earlier. The title is symbolic several times over, including to the visiting Travis Hurley (Simon Baker, Blaze), whose first task upon arrival is checking into his subterranean hotel, rolling up his sleeves and indulging his heroin addiction. Later, he'll be told that he looks more like a drug dealer than a police officer — but, long before then, it's obvious that his line of work and the sorrows he surveys along the way have kept him hovering in a void. While he'll also unburden a few biographical details about mistakes made and regrets held before the film comes to an end, this tattooed cop with wings inked onto his back is already in limbo before he's literally in Limbo. Travis has been dispatched to give Charlotte Hayes' vanishing a fresh examination; her brother Charlie (Rob Collins, The Drover's Wife The Legend of Molly Johnson) is quick to say that exactly that should've happened 20 years prior. Back then, the investigation was brief, with fingers pointed swiftly and lazily at Limbo's First Nations men — sometimes even by each other simply to get the law off their own backs. "I don't talk to cops, especially white ones," is the initial response now. When Travis approaches Charlie's estranged sister Emma (Natasha Wanganeen, The Survival of Kindness), she's equally unwelcoming. But as the detective's line of cold-case questioning also draws in Joseph (Nicolas Hope, Black Snow), the brother of the now-dead prime suspect from all that time back, Charlotte's siblings and the new badge in town have no choice but to keep crossing paths. In the movie's deeply biting script, there's no doubting that Charlotte's case would've been handled differently from the outset if she was white — and that the racially motivated blame directed towards Charlie and Limbo's other Indigenous scapegoats has left irreparable scars. As in Mystery Road and Goldstone, Sen unpacks what such disdain for First Nations lives means in outback Australia; the fractures its causes in lives and locations; the impact upon generations that follow; and the way that this horrific state of affairs haunts at a personal, community and national level alike. Actually, perhaps it's more accurate to say that Limbo dwells with these ideas and truths, steeping in and sitting in purgatory beside them. There are some answers to be found in the film's narrative, but also no easy answers. Not just because Travis gets caught in Limbo longer than he expects or wants due to car troubles, there's no straightforward route out, either. With his layered, pointed and soul-searing stories that make perceptive use of silence (and make every word of dialogue count), Sen is an exceptional screenwriter. That's true when he's returning to familiar parts but never merely retracing his own footsteps; Limbo is the cinema equivalent of stopping on another trail in the same desert to Mystery Road and Goldstone, rather than hitting the next town in line. The auteur is one of Australia's foremost talents at every skill he plies behind the camera, in fact — and his way with actors is among them. Under his gaze, Baker is in career-best form, which is no minor feat given the actor's extensive career, plus his impressive fellow recent homegrown turns in 2017's Breath, 2020's High Ground and 2022's Blaze. Beneath close-cropped hair and wire-rimmed glasses, there's such weariness and heaviness to his portrayal, all while playing a man whose investment in the case and connection with Charlie, Emma and the former's son Zac (expressive first-timer Mark Coe) manages to surprise himself. Again shooting in Coober Pedy, as they both did for TV series Firebite, Collins and Wanganeen also give weighty performances that say so much even when they're uttering little, including about the yearning that everyone has to be seen, recognised and appreciated for who they are. Limbo's cast is contemplative in a film that's purposefully meditative — and for a filmmaker unwilling to shy away from the toll that racism constantly has, plus grief and Australia's inequitable justice system, as he ruminates. As a cinematographer, Sen's work is just as meticulous, motivated and moving. As an editor, he's exacting while knowing when to savour the moment. And Limbo is indeed a breathtaking feature to savour, staring intently as it does at harsh realities turned into a strikingly crafted and stunningly performed Aussie crime thriller.
In a week that already gave our nostalgic hearts hope for a reunion of The Nanny, here comes an even better piece of news: Daria, your favourite late 90s realist gal, will be finding her way back to our screens thanks to MTV. Big mood. The news comes as part of MTV's announcement that it's launching a new production unit, MTV Studios, which'll be working on a number of reboots. As well as Daria, other past TV hits getting the revival treatment include Aeon Flux and The Real World. The new outfit will also work on several new reality shows, but it's probably safe to say cult fave Daria is the one to get fans most excited. Feminist icon Daria Morgendorffer blessed our screens with smarts, satire, sardonicism and being a general slacker from 1997 to 2002, with the show revolving around her acerbic cynicism and its disconnect with the teenage girl world she lived in. And, even though it's been nearly two decades since the show went off the air — running for 65 episodes, plus the pilot, two specials, and made-for-television films Is It Fall Yet? and Is It College Yet? — she is very far from forgotten if yearly Halloween costumes are anything to go by. Melburnians certainly haven't been letting the character slip from their memories, with not one but two parties dedicated to the series taking place in 2017. The new reboot will be called Daria & Jodie, and it'll follow your gal and her friend Jodie — another character from the original series, and one of Daria's classmates at Lawndale High School — as they "take on the world with their signature satirical voice while deconstructing popular culture, social classes, gender and race", according to MTV. Written by Grace Edwards (Inside Amy Schumer, Unbreakable Kimmy Schmidt), you can probably rest assured that this is one reboot that won't ruin the original (we're looking at you, Charmed — although, to be fair, that new witchy series won't air until later this year). Stay tuned for premiere date information, and start kicking about in those old black Doc Martens again to celebrate. Via Variety.
If you consider yourself a Lord of the Rings fan — of JRR Tolkien's books, Peter Jackson's movies or both — then one TV series has sat at the top of your most-anticipated list for the past few years. That'd be Amazon Studios' new LOTR show, bringing the beloved property from the page to the cinema to your TV. A five-season series was first announced in 2017, then received the official go-ahead in mid-2018. In case anyone thought that the new program would just be a simple rehash, it was revealed back in 2019 that it wouldn't simply be remaking events already covered by the movies, with show's official Twitter account hinting at spending time in Middle-earth's Second Age. If you're a little rusty on your LOTR lore, the Second Age lasted for 3441 years, and saw the initial rise 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. Knowing when the new series will be set is all well and good, but that description is still rather scarce on details. Thankfully, Amazon has now dropped an official synopsis for the show that provides more information. "Amazon Studios' forthcoming series brings to screens for the very first time the heroic legends of the fabled Second Age of Middle-earth's history," it confirms. "This epic drama is set thousands of years before the events of JRR Tolkien's The Hobbit and The Lord of the Rings, and will take viewers back to an era in which great powers were forged, kingdoms rose to glory and fell to ruin, unlikely heroes were tested, hope hung by the finest of threads, and the greatest villain that ever flowed from Tolkien's pen threatened to cover all the world in darkness." https://twitter.com/LOTRonPrime/status/1349519737655611392 Yes, you can expect Sauron to feature, and to give the show's main figures some trouble. "Beginning in a time of relative peace, the series follows an ensemble cast of characters, both familiar and new, as they confront the long-feared re-emergence of evil to Middle-earth," the official synopsis continues. "From the darkest depths of the Misty Mountains, to the majestic forests of the elf-capital of Lindon, to the breathtaking island kingdom of Númenor, to the furthest reaches of the map, these kingdoms and characters will carve out legacies that live on long after they are gone," it also advises. Exactly when Amazon's series will arrive on screens hasn't yet been revealed but, pre-pandemic, it was originally expected to drop sometime in 2021. It is currently in production, though — in New Zealand, of course. A huge number of cast members have been announced, however — plus some talent behind the scenes. Among the actors traversing Middle-earth are Tom Budge (Judy & Punch), Morfydd Clark (Saint Maud), Ismael Cruz Córdova (The Undoing), Joseph Mawle (Game of Thrones), Cynthia Addai-Robinson (The Accountant), Maxim Baldry (Years and Years), Peter Mullan (Westworld), Benjamin Walker (Jessica Jones) and comedian Lenny Henry. And, the series is being overseen by showrunners and executive producers JD Payne and Patrick McKay, while filmmaker JA Bayona (A Monster Calls, Jurassic World: Fallen Kingdom) directs the first two episodes. Amazon's new Lord of the Rings series will hit screens sometime in the future — we'll update you with release details when they come to hand.
Light, art and photography – it's a proven winning combination. Australian artist Denis Smith is a professional light painter whose Ball of Light project combines traditional long exposure photography with continuous movements of lights directed by the artist. Surreal, glowing orbs are captured in peaceful yet unlikely places – a cemetery, a mountainside, a beach. Eerily they hover between land and sky, buzzing with strange energy and varied hues. Would you believe that Smith doesn't use Photoshop to edit these incredible images? Smith says "there is so much post processing of photography today, I wanted to create something that was real, yet unreal. No pixels are added or subtracted from the Ball of Light images." [Via Flavorwire]
It's a comfort food staple and a favourite of dairy lovers, and it needn't only be on the menu when you're in your own house. That humble dish: the cheese toastie. When everyone's go-to dairy product is placed between two slices of bread, then warmed to its edible oozing point, it becomes a gooey force that cannot be contained — and it'll soon be on offer at Melt Brothers' new Chermside location. Brisbane's dedicated cheese toastie joint first opened its doors back in 2016, starting in the CBD, then also launched a now-closed Mt Gravatt venue. It currently operates in two inner-city spots: the Myer Centre and Post Office Square, until its Westfield Chermside food court site starts serving up sandos from Monday, January 9. Clearly, this chain's love of the best thing you can do with sliced bread knows no bounds — so it's spreading. Bringing Melt Brothers' dairy-filled delights to the shopping centre's first level, underneath the cinemas, the Chermside location will dish up the same delicious menu while also ensuring that northsiders don't have to hit the CBD to live out their melted cheese dreams. This is the first time that the brand has headed to this side of town, and it'll trade seven days a week at its new digs. That includes sangas till 8.30pm during late-night trading on Thursdays, plus bites till 7pm on Fridays. Cheese fiends can grab all-day fare like the three-cheese Mouse Trap, and the bacon and egg-filled Morning Glory, or stop by for a M.C. Cheesy (with macaroni and cheese). Melt Brothers also does non-cheesy items, including avo toast with or without eggs or smoked salmon, bagels, hash browns, and fries. Clearly, the mozzarella sticks keep the theme going. Find Melt Brothers' new store at Westfield Chermside, Gympie Road, Chermside, on level one beneath the cinemas, from Monday, January 9 — open from 7am–5pm Monday–Wednesday, 7am–8.30pm Thursday, 7am–7pm Friday, 8am–5pm Saturday and 9am–4pm Sunday. Head to the chain's website and Facebook page for further details.
One-shot movies fall into two categories. Some hide their edits to make it appear as though they've been filmed in one continuous take, such as Alfred Hitchcock's Rope and the Oscar-winning Birdman. Others achieve the feat without resorting to cinematic trickery, including historical drama Russian Ark and Iranian thriller Fish & Cat. Either way, the intended effect is the same. By presenting an unbroken image free from cuts and interruptions, filmmakers try to plunge the audience so deeply into the on-screen action that they simply can't bear to tear their eyes away. Wandering from a Berlin nightclub to a cafe to a life or death bank heist, the adrenaline-fuelled Victoria joins the fold, unfolding in a single, unstaged take. Like all films that employ this technique, there's no denying the underlying technical wizardry on display in this heart-pounding German thriller. But writer/director Sebastian Schipper does more than simply jump on the latest movie-making bandwagon. Indeed, in his skilled hands, Victoria rarely feels like a gimmick. As the titular Spanish traveller (Laia Costa) catches the eye of the flirtatious Sonne (Frederick Lau) during a night out, and then tags along with him and his mates as they make the leap to the wrong side of the law, the uncut footage endeavours to take the audience along for the ride. Describing cinematographer Sturla Brandth Grøvlen's camera as one of the film's characters might be a cliché, but it's fitting. Victoria doesn't just want to make viewers watch its protagonist's wild night. It wants them to feel like they're in the thick of the frenzy, experiencing every single moment along with her. Here, variety and movement is key. While the screenplay crafts its own convincing dramas of the criminal and romantic kinds, it's not just the real-time story and changing locations that offer up a few unexpected elements. Equally unpredictable is the way Schipper uses the frame. Sometimes the visuals are claustrophobically precise and tight, while other times they're coasting and loose. The images lurch and circle, simultaneously going with the narrative's flow and creating their own momentum, and mimicking the feature's freewheeling mood while imparting their own urgency and personality as well. Of course, with the film clocking in at 138 minutes, Victoria's style does eventually threaten to overstay its welcome. Thankfully, Costa's naturalistic performance offers the pick-me-up fatigued audiences might need, even when she appears to be tired herself. The cast's improvised efforts add another layer of realism to a movie that could've just been the latest one-shot stunt. Instead, it's one of the most absorbing, surprising films we've seen in quite a while.
Ever wondered exactly what goes into training a guide dog? Love the idea of cute pooches helping people? Eager to spend as much time surrounded by four-legged cuties as possible? You can tick all of the above boxes at the Guide Dogs Queensland Open Day — and, given that the organisation doesn't let people peek behind the scenes often, you'll be getting a glimpse at something extra special. From 10am on Saturday, September 10 at Bald Hills, Brisbanites can see where the magic happens — where adorable pups grow into life-changing companions for people who are blind or have low vision, that is. You'll meet dogs of all ages and watch training demonstrations, and also get guided through sensory experiences with the vision team. Winning prizes is up for grabs as well, and so is nabbing a bite. For kids, there'll also be a play zone. Tickets cost $10 for adults. The joy of being swarmed by so many puppers who'll go on to do so much good — well, you can't put a price on that. Top image: Guide Dogs Queensland.
The year was 1997. For the first time, Fortitude Valley's music scene came together to celebrate. Around the inner-city suburb, Valley Fiesta was born. A quarter century later and the event is still going strong, albeit after running in plenty of different formats over the years — and it's back in 2022 to celebrate its 25th birthday with 45-plus acts hitting stages across 13 venues. 2022's Valley Fiesta will run from Friday, November 25–Sunday, November 27, showering Fortitude Valley with live tunes, and giving Brisbanites a helluva way to spend the last weekend of spring. On the lineup: a whole heap of musicians to see, events dedicated to jazz and art, a carpark party, a laneway fest within the fest and even a food fiesta. Leading the music bill: Holy Holy, Gordi, Kian, WIIGZ and Alter Boy, all as part of an entirely free program. They're joined by Jess Day, Safety Club, Scraps, Radium Dolls, Dulcie and more, in venues spanning The Sound Garden, Fortitude Music Hall, outdoors at The Brightside, Woolly Mammoth, Ric's Backyard, Kickons and 4ZZZ. The jazz afternoon will showcase both existing and up-and-coming talent, while the arts session will be filled with creative workshops. Bringing the fun to the Winn, Bakery and California laneways is the returning Hidden Lanes Festival, running as a pop-up event, while King Street will host the King Street Food Fiesta on the Friday night to get this year's Valley Fiesta started. The program also includes a night of voice, circus, burlesque and drag artists; Quivr DJs doing their thing multiple times; a cultural celebration of People of Colour; and the return of 4ZZZ's legendary carpark party. VALLEY FIESTA 2022 LINEUP Holy Holy Gordi WIIGZ Jess Day Safety Club Scraps Radium Dolls KIAN Dulcie Cloe Terare Dean Brady Ash Lune Dulcie DANCINGWATER Andy Martin Moss I Was Eros Arig Guppy Doggie Heaven Images: Dave Kan.
A burger, frites and beer feast is landing on Little Stanley Street, with Fritzenberger launching its fourth Brisbane venue on the popular South Bank strip. Joining fellow burg-slinging sites in Petrie Terrace, Wilston and Albany Creek, the newcomer opens its doors at 4pm on Friday, July 24 — and plenty of the growing chain's favourite dishes will be on the menu. That means burgers, obviously, including the fritzen burger — which is made with grass-fed beef, aged cheddar, lettuce, tomato, onion and Fritzensauce. You can also tuck into a buttermilk chicken burger (as made with a southern fried chicken thigh fillet), or go vegan with the mushroom schnitzel burger (which heroes a panko-crumbed, swiss cheese-filled portobello mushroom). Cheeseburgers and bacon burgers are also on offer, and this new location will also boast some fresh additions to its burg lineup. Fritzenberger makes just as big a deal about frites, which you can season as you like from the sizeable range of in-house salts. Go for the loaded frites, and they'll come covered in Twisties salt — plus cheese sauce, candied bacon, green onions and Fritzensauce. You can also eat your way through a serving of sugar frites, aka cinnamon sugared churro-style frites paired with hot Nutella sauce. Yes, that's dessert sorted. The chain's mac 'n' cheese balls will be available, too, as will an expanded variety of wings — and so will Fritzenberger's core range of beers. This isn't just a burger and frites joint, after all, but a company that brews its own hoppy beverages. Its own pale ale, lager, IPA and cider will pump through four taps, while another four will rotate through small-batch and other local brews. Open daily from 12–8pm, Fritzenberger South Bank can seat 110 people — indoors or, if you prefer a stint of people-watching, outdoors as well.
Don't know how to tackle Sydney all in one go? If you're just in town for FIFA Women's World Cup 2023™, there's a lot to see and not much time. You've to got be smart, pick the highlights and plan ahead. Luckily, we've got it all sorted — the best spots to eat, drink and be merry, the walks, even the shopping breaks. It's an itinerary jam-packed with all the greatest hits and up-and-coming spots, new discoveries, cultural adventures. There's even an incredible day trip into the mountains. Game on, let's go. [caption id="attachment_773326" align="alignnone" width="1920"] Hamilton Lund[/caption] DAY ONE — QUINTESSENTIALLY SYDNEY BREAKFAST AT THE GROUNDS Kick it off with a trip to The Grounds. The CBD venue beckons with a beautiful vintage-style front, neon signage and warm timber interior features. They serve up every brekkie you could want, from buttermilk pancakes with roast banana, poached pear and ricotta to brown rice porridge with ginger chicken and shiitake. Perhaps you prefer the King Crab omelette with caviar, Turkish eggs or a simple bakery basket of fresh baked goods, preserves and mascarpone. For sipping, there's coffee, house-made sodas, wholesome smoothies and breakfast cocktails. The Alexandria location has a similar vibe, plus a garden and laneway to explore, with regular installation pieces. EXPLORE THE CBD Start at Hyde Park, meandering along pleasant paths, avenues of Hill's Figs and towering palms, and past the Anzac Memorial and Archibald Fountain. At the Art Gallery of NSW, wind down to the Botanic Gardens for a waterside wander surrounded by native and exotic plants. Walk to the Opera House and Circular Quay for stunning views to the Harbour Bridge and Lunar Park. Watch the ferries as you make your way towards The Rocks, a historic area with some of the oldest European settlement remains and an open-air archaeological site. Explore winding streets of characterful pubs, cafes and markets. Do you still have some energy to burn? Walk up and over to Darling Harbour and Chinatown, and duck back into the city for the Queen Victoria Building. DINNER AND DRINKS AT ICONIC LOCALES Bennelong is Sydney Opera House's grand dining experience, in a soaring, cathedral-like space overlooking Circular Quay and the Harbour Bridge. It's a theatre of the senses, each dish a feast for the eyes. Legendary executive chef Peter Gilmore is inspired by modern European culinary tradition and the flavours of the Asia-Pacific region, as well as the finest, exclusively sourced heirloom produce. Gilmore's menu at this award-winning restaurant changes seasonally. Winter highlights include a mud crab congee and poached yabbies with finger lime. For mains, it's hard to go past the Kurobuta aged pork rack with pink radicchio, pear, pickled onion and prune. Desserts are delightful spins on Aussie classics: Cherry Jam Lamington, The Chocolate Crackle and pav. Oh, and the wine list is an award-winner, too. For a tipple, head downstairs to the Opera Bar. Their specialty? Cocktails: spritzes, canned, house-made signatures and zero alc. Enjoy free live entertainment and the Euro-chic menu of executive chef Fernando Sanchez, overseen by Matt Moran. Think, pumpkin feta arancini, pizzas, oysters – everything you want for the harbourside high life. For elevated views, head to The Glenmore. It has over a century of history, but the old bones have been spruced up to present a trendy all-day drinking hole and rooftop bar. Snack on share plates of grilled baby octopus and cheesy polenta chips, or finish the night with a chocolate tortilla with banana, peanuts and caramel. With a wine list of Australian and international bangers and the harbour view, you'll be here until the small hours. [caption id="attachment_557477" align="alignnone" width="1280"] Bondi to Coogee Walk.[/caption] DAY TWO — BEACHES AND BOUTIQUES BONDI TO COOGEE WALK This popular coastal trail can get busy in high summer, so winter is perfect to take it at your own pace. You can walk the whole 6 kilometres to get a real sense of the coastline's scenery or stop off at any of the beaches along the way – including Tamarama and Bronte. Starting at Bondi, walk along the promenade of this iconic beach and follow the path up to the clifftop trail. Stop at lookouts to take in the view, wander past Bondi Icebergs swimming club and Mackenzie's Point, and gaze down at rocky shorelines and crashing waves. Continue on past Tamarama Beach to Bronte's pale sands, blue water and green parkland. You'll find loads of cafes for a quick juice or coffee before you push on to Coogee. Stay for a celebratory drink or head back to Bondi. BRUNCH AT SPEEDOS Is this "The World's Most Instagrammable Cafe"? Visit and see. The all-day menu at Speedos has picture-perfect plating bursting with colour, seasonal produce and mouthwatering brunch options. From creamy coconut porridge, chilli scrambled eggs and caramelised banana pancakes to power bowls, crispy chicken burgers and refreshing acai, it's all photo-ready for your gooey egg-shot or eye-catching organic veg dish. Wash it all down with their bold fresh juices or hot bevs stencilled with messages of positivity. With sweeping beach views, cool sea breezes and the scent of delicious food, everything here is geared to make you look and feel good. SHOPPING AT THE INTERSECTION Time to hit the shops. Skip the standard Pitt Street stores and instead explore the iconic and historic Intersection at Paddington. Here, you can browse all the best high-end Australian fashion labels and brands in one easy location at the intersection of Glenmore Road and Oxford Street. These charming tree-lined streets are dotted with cosy cafes and hole-in-the-wall art galleries. And just down the road is another massive shopping centre – Broadway Sydney. It's perfect if you need to pick up non-designer fare. By the coast, you can splurge at Westfield at Bondi Junction, a mecca for retail therapy including, well, Mecca! It's also home to M.A.C. and Sephora. Browse the boutiques of Australian designers like R.M. Williams and Peter Alexander, and international luxury brands including Chanel, Dior, Gucci, Prada and Tiffany & Co. Whether you're all about a Swarovski splurge, prefer a sportswear spend at Lorna Jane or opt for tabletop competition at Good Games, it's here. And if you need to take a break from reality, book in for Freak VR. DINNER IN INNER EAST You're spoiled for choice with amazing dining in these trendy neighbourhoods. In Surry Hills, there's the internationally acclaimed Firedoor. Chef Lennox Hastie is renowned for his mastery of flame and smoke, using no gas or electricity but celebrating ingredients and techniques. For something more casual, the newly opened B.S. Pasta Palace (formerly Bar Suze) offers fun, New York Italian dining, while Gogyo slings authentic ramen and The Rover serves up oysters, cocktails and British-inspired bistro food. The current stars of Potts Point are innovative yakitori spot Chaco Bar and Dear Sainte Éloise, with its Euro bistro classics and cracking wine list. [caption id="attachment_864075" align="alignnone" width="1920"] Nikki To[/caption] DAY THREE — MULTICULTURAL MAGIC FUN IN THE OUTER SUBURBS Sydney's more than beaches and the CBD. There are cultural clusters to explore. Head to Harris Park, aka, Little India. Along the main streets, you'll find a cluster of restaurants and cafes, shops for saris, fabric, jewellery and groceries from India and Pakistan. Get a taste of Mumbai at Chatkazz Restaurant and south Indian cuisine at Billu's Indian Eatery to mention just a couple. Bankstown is one of Sydney's most ethnically diverse areas, a centre of Lebanese culture with other influences including Egyptian, Palestinian, Vietnamese and Turkish. It's home to Sydney's first baklava shop and numerous specialty stores, including Valley View Continental Groceries and Spices. Grab something fresh from one of the Lebanese bakeries and restaurants, such as Khalil's Lebanese Pizza for za'atar-covered manoush and Afandi Cafe for nabulsi knafeh. Cabramatta, or Cabra to the locals, is a renowned centre for Vietnamese culture and home to food that Australia's best chefs will travel for. Take a food crawl with cuisine from all over Vietnam, Cambodia, Laos, Thailand and China. There's so much pho and banh mi to choose from, and everyone has their go-to spot. Tan Viet noodle house is renowned for its crispy skin chicken, Vinata's Hot Bread for its beloved banh mi, and Phu Quoc for DIY rice paper rolls. Check out the market and Pai Lau gate, and immerse yourself in a little slice of Vietnam. DAY FOUR — BEYOND THE BORDERS DAY TRIP TO THE BLUE MOUNTAINS Sydney is a stone's throw from breathtaking natural wonders, with the Blue Mountains just an hour and a half's drive away. Stop at the Hydro Majestic, built as a health retreat in the early 20th century, and enjoy refreshments at the Boiler House Cafe overlooking spectacular mountains and valleys. Then head back down the mountain to Leura, with its Bygone Beautys Teapot Museum, walks to Leura Cascades and beyond, and numerous spots to eat, including the award-winning Leura Garage. Don't go past Katoomba, famed for Scenic World and its views of the World Heritage Listed Blue Mountains National Park. If visiting Sydney for the FIFA Women's World Cup, be sure to check out the FIFA Fan Festival™ Sydney, taking place from Thursday, July 20 till Sunday, August 20 at Tumbalong Park, Darling Harbour. Check out the website for the full schedule of events. Top Images [in order]: Destination NSW, Jacques Bopp, Unsplash, NEO Photo. Images [in order]: Hamilton Lund, Dollar Photo Club, Nikki To, Destination NSW
Instead of Gen V, you could call this spinoff The Boys Jnr and it'd fit in an array of ways. The superheroes are younger, with the series' eight-episode first season focusing on students attending Godolkin University, rather than adults who've been there, done that and are weathering the brutalities of life as grown caped crusaders. The minutiae of Gen V's characters' lives is firmly teen-centric as a result, including dates and crushes, dorms and lectures, making new friends and peer pressure, and the like. Obviously, their worries largely aren't of the world-weary, years-of-existential-malaise kind, but span making friends, scoring the right classes, wanting to be popular, breaking curfew, navigating social media, body image, sex positivity, morning-after regrets, dealing with overbearing parents and plotting out the future. There's nothing smaller about the hefty, hearty, utterly gleeful splashes of gore and violence, however — the eager amounts of guts and penises, too — in the latest show inspired by Garth Ennis and Darick Robertson's comic book. Streaming from Friday, September 29, Prime Video's next dive into this satirical superhero world is The Boys but in college, the same chaos, carnage and characteristic raucousness all included. Slotting into the Vought Cinematic Universe after the OG series (which has dropped three seasons, with a fourth on the way) and the animated The Boys Presents: Diabolical, Gen V stems from the 'We Gotta Go Now' storyline, sporting youthful leads but zero tone and vibe changes. So springs an OTT coming-of-age tale that's gruesome, irreverent, subversive, funny and, yes, filled with bodily fluids. Set at the same time that The Boys' fourth season will take place when it hits — its episodes have been filmed, but no release date has been locked in yet due to Hollywood's 2023 strikes — Gen V follows the blood-bending Marie Moreau (Jaz Sinclair, Chilling Adventures of Sabrina) as she scores a university place that could change everything that she knows. Stuck under the cloud of a past tragedy until now, her scholarship to the Vought-approved God U is the ticket to her dreams, with becoming the first Black woman in The Seven her ultimate aim. Her approach going in: putting her head down, working hard and securing a path beyond the facility that's been her home for much too long. She's warned what will occur if she doesn't succeed, with more time spent institutionalised the only other option that superhero organisation Vought foresees. Before Marie arrives at God U, Gen V begins with her backstory, plus with the reason that doing her best is so important. The show's developers Craig Rosenberg, Evan Goldberg and Eric Kripke, all The Boys alumni, also establish that their adolescent angle is as essential as caped crusaders and diving back into havoc caused by the corrupt mega-corporation that is Vought. When a young woman has Marie's distinctive powers, how do they manifest? When she reaches puberty and gets her first period. In opening moments set eight years earlier, just as A-Train (Jesse T Usher, Smile) is welcomed into Vought's top-tier superhero crew, there's a body count, emotional scars that Marie will never get over, and also an ultraviolet start to the series' exploration of compound V-dosed kids who were given the drug by their mums and dads to turn them into something special, only to be forced to live with the consequences. Accordingly, college's everyday trials and tribulations were never going to be the only challenges in store once Gen V steps foot on campus, and Marie with it; more follow. Academic disappointment comes early, when hotshot Crimefighting Department head Professor Rich Brinkerhoff (Clancy Brown, Ahsoka) won't let her into her dream course, but that soon seems like a minor woe. As Marie rooms with Emma Meyer (Lizze Broadway, Based on a True Story), who can scale down her size, fitting in doesn't come easily. And when she meets the resident cool clique, including literally hot number one-ranked pupil Luke 'Golden Boy' Riordan (Patrick Schwarzenegger, The Staircase), his persuasive girlfriend Cate Dunlap (Maddie Phillips, Teenage Bounty Hunters), the magnetic Andre Anderson (Chance Perdomo, also Chilling Adventures of Sabrina) and the gender-shifting Jordan Li (Never Have I Ever's London Thor and Shining Vale's Derek Luh), she swiftly discovers that everything at her new school isn't what it seems. There will be blood by the bucketload — even if Marie's powers weren't tied to it, this is a VCU entry — plus secrets, lies, class clashes and life-and-death stakes. And, in a show that also gives its characters a mystery to chase, there's also a creepy underground facility known as The Woods that Marie, Emma and their pals keep being drawn to. Gen V delivers a savvy balance of wild fun and perceptive smarts as well, in a series that plays like The Boys mixed with The Sex Lives of College Girls, Scooby Doo, Wednesday and Buffy the Vampire Slayer. Like the latter pair, it's highly cognisant that growing up is weird and hellish. It similarly knows how to use fantasy and horror — here, being a caped crusader at a sinister uni that specifically trains them, rather than the ultimate goth girl or vanquishing the undead while living on a hellmouth — to explore the many struggles that accompany facing maturity. While a few key cameos pop up from its predecessor, Gen V's is 100-percent focused on the franchise's newbies, their supe and uni experiences, and the shady happenings around them — which is a pivotal move. Indeed, that's what makes it a perfect The Boys spinoff, and never an easy facsimile, lazy wannabe or unsubtle reminder of what else exists in the broader saga. Gen V dwells in the same realm with the same atmosphere and same bite, but always dons its own personality, is committed to telling its own characters' tales and proves genuinely keen to broaden the Vought Cinematic Universe. Tearing into what's become the biggest type of on-screen stories right now is still the same mission, complete with blatant Marvel digs, yet it's done in a story that puts the ups and downs of being a teen in this situation first and foremost. It's no wonder, then, that Gen V is as entertaining as The Boys to watch. It's also no surprise that Marie and her classmates easily earn the same investment as Billy Butcher (Karl Urban, Thor: Ragnarok), Hughie (Jack Quaid, Oppenheimer), Frenchie (Tomer Capone, One on One), Kimiko (Karen Fukuhara, Bullet Train) Mother's Milk's (Laz Alonso, Wrath of Man), Starlight (Erin Moriarty, Captain Fantastic), Maeve (Dominique McElligott, The Last Tycoon) and company. Alongside confidence, strewn-around viscera and its sense of humour, casting remains one of this core franchise's talents, especially with Sinclair, Broadway, Perdomo, Thor and Luh. And any X-Men or The New Mutants comparisons? Just as The Boys knowingly smashed through its Avengers and Justice League commonalities, so does this new sharp, cynical and imaginative chip off the old block. Check out the trailer for Gen V below: Gen V streams via Prime Video from Friday, September 29.
When August arrives this year, the Melbourne International Film Festival will celebrate its 70th-anniversary edition — and it's planning to give one lucky filmmaker an enormous gift. To commemorate the longest-running film fest in the southern hemisphere's huge milestone year, the event is launching its own film prize. Cannes has one, and the Venice and Berlin film festivals, too, and now MIFF is joining the party to the sum of $140,000. From a pool of up to ten films, all of which will screen at the fest as part of the new MIFF Film Competition, one movie will be chosen to win the Best Film Award. And if that $140,000 sum sounds like a lot of money, that's because it is. In fact, it's the southern hemisphere's richest feature film prize. Indeed, Sydney Film Festival also has a competition and an accompanying gong, which the New South Wales film fest launched back in 2008 — but while MIFF is setting up its own prize 14 years later, it's more than doubling the amount of cash on offer. MIFF's award will cover all types of feature-length films, spanning fiction, documentary, animation and combinations of the above — and they'll also need to screen at the fest as an Australian premiere (so they won't also be able to show at other fests first, including at the Sydney Film Festival in June). And, the MIFF Film Competition will be focusing on emerging filmmakers, with the official selection also limited to a director's first or second feature-length films. A jury comprised of prominent international and Australian guests will pick the winning feature, with further details about who'll sit on the panel in 2022 — and which films they'll be choosing between — set to be announced closer to MIFF's Thursday, August 4–Sunday, August 21 dates. As for when you'll find out who wins, that'll be revealed at the fest's closing night soiree on Saturday, August 20. [caption id="attachment_769568" align="alignnone" width="1920"] Tony Zara / Dean Walliss[/caption] Announcing the MIFF Film Competition and MIFF Best Film Award, festival Artistic Director Al Cossar said that "the competition will recognise and amplify the new, the next, the breakthrough and the best in-screen from Australia and across the globe, bringing incredible films and filmmakers to Melbourne – and making MIFF truly unmissable in 2022 and beyond." The hefty new award is being supported by the Victorian Government, and is one of two new gongs for this year — with MIFF also introducing the Australian Innovation Prize, which'll recognise an outstanding Australian creative within a festival film that plays in the MIFF program. That award is designed to span a large number of roles, including the winning film's director, technical or creative lead, or other craft positions. MIFF's new prizes come after two tricky years for the fest, with the event screening solely online in both 2020 and 2021 due to the pandemic. They also now see MIFF become the only film festival in the southern hemisphere with its own film competition, screen content financing market, commissioning fund and talent programs. Movie buffs, August clearly can't come fast enough. The 2022 Melbourne International Film Festival will run from Thursday, August 4–Sunday, August 21. The festival program will release in July — we'll update you when further details are announced.
Set in the backstreets of suburban Brisbane, Trent Dalton's award-winning 2018 novel Boy Swallows Universe is destined to become an Aussie classic. In fact, it already is. As everyone who has read it as quickly as they possibly could knows — because they couldn't get enough of it, obviously — it follows a young boy, his prophetic brother and his jailbreaking best friend as they navigate the heroin-filled underworld of 80s Queensland. And, it's been winning heaps of fans for good reason. Boy Swallows Universe also nabbed admirers new and old when it came to life on the stage in Brisbane in 2021 — and that isn't the only adaptation this beloved book is getting. Next stop: Netflix, with the streaming platform announcing that it's turning the novel into an eight-part streaming series with an Aussie cast and crew. Exactly when it'll hit your queue hasn't yet been revealed, and neither has the lineup of actors who'll be stepping into the story, but this page-to-screen future must-see already boasts a heap of talent. Screenwriter John Collee (Master and Commander, Happy Feet, Hotel Mumbai) is doing the honours, while the show's executive producers include Troy Lum (The Water Diviner, Saving Mr Banks, Mao's Last Dancer), Andrew Mason (The Matrix, The Water Diviner), Sophie Gardiner (Howard's End, Chimerica), Kerry Roberts (Foe, Boy Erased), and Aussie actor and filmmaker Joel Edgerton (The Underground Railroad, The Green Knight). In a statement announcing the news, Dalton said "that sound you hear is my heart exploding. Internal fireworks popping and flashing in pinks and purples and golds. Let me scrape my jaw from the floor and whisper those words again and make sure this dream is true: BOY SWALLOWS UNIVERSE IS BEING ADAPTED FOR THE SCREEN FOR NETFLIX!". He continued: "an epic multi-part limited television series traversing the darkness of the Australian suburbs and the fabric of the human heart and stretching to the edges of the universe and our wildest dreams. My boyhood potty mouth always comes out in times like these. I start dropping random whispered F-bombs around the house. Talking to myself before mirrors in the bathroom and such: "How the flippin' heck did it all come to this'." Dalton also stepped into the backstory behind the book. "When I was a boy, my three older brothers and I found a secret underground room beneath the outer-western Brisbane house of a dangerously successful Queensland heroin dealer whom my mother loved with all her heart," he advised. "Inside that secret room was nothing but four brick walls and a rotary dial red telephone. I never understood as a boy why that phone was in that room or who could possibly be on the other end of that line. In 2018, I wrote a book called Boy Swallows Universe that suggested that phone existed for magic. I wrote about all the very real things I saw as a kid growing up in the outer suburbs of Brisbane, Queensland, Australia, in the 1980s: drug addiction, drug dealing, ex-cons and ex-killers, imprisonment, poverty, violence and love. So much love. And so much hope. So much discovery of hope through the power of love." On the page, Boy Swallows Universe has snagged a slew of local awards, including Book of the Year, Literary Book of the Year and Audio Book of the Year at the 2019 Australian Book Industry Awards. The novel, which has sold a hefty amount of copies in Australia alone — 160,000 in 2019, when the play was announced — was also longlisted for Australia's most prestigious literature prize, the Miles Franklin Award. And, this news has been in the works for some time, with Harper Collins selling the television rights to the novel back in 2019. Edgerton has been set to produce the show since then — but if you've been waiting to actually lock your eyes on a Boy Swallows Universe series, now it's finally happening. Boy Swallows Universe will hit Netflix as an eight-part series sometime in the near future. We'll update you with further information, including a release date, when it's announced. Top image: Boy Swallows Universe stage production, David Kelly.
Since it opened in June this year, the Mori Building Digital Art Museum: teamLab Borderless has become one of the hottest tickets in Tokyo. Given that the 10,000-square-metre site is filled with immersive, kaleidoscopic digital art — think walls filled with floating flowers, rooms dedicated to dazzling light and music shows, and sitting in a space pummelled with digital waves — it's easy to see why. It's a permanent addition to the city's Odaiba district, but the folks behind it are spreading their love to another part of the country. They're also taking up temporary residence in a castle. From November 22, 2018 to January 6, 2019, teamLab will unleash teamLab: Digitised Kōchi Castle at the historic site that gives the exhibition its name. Located in the city of Kōchi on the nation's Shikoku island, Kōchi Castle dates back to 1601, when it was originally built after a huge battle. While parts burned down in 1727, it was rebuilt and restored between 1729–1753, and remains a significant place. In fact, it's the only castle in Japan where the castle tower and almost all of its central structure are still intact. For Digitised Kōchi Castle, teamLab will do what it does best, transforming the space using interactive digital art projected onto its surfaces. That'll allow the artistic outfit to completely alter the castle without actually physically altering it — and for the artworks to react to human presence, meaning that you'll likely never see the same thing twice. Specifically, visitors can expect everything from a field of glowing oval balls under lit-up trees, with the balloon shapes changing colour when they're pushed; to animals made of flowers roaming the walls of the structure, dissipating when people get near; to simulated waves ebbing and flowing across the castle's fusuma sliding doors. A 500-metre expanse of stone wall will also be lit, shining and fading slowly as if the castle is breathing, while there'll be plenty more illumination brightening up the 417-year-old building. If you'll be finding yourself in Japan during the pop-up exhibition's nearly two-month window, tickets cost a highly affordable 1500 yen, or around $18.25 Australian. Early bird tickets, which are on sale now until November 21, are JPY1300 / AUD$15.80. Like teamLab's other creations, Digitised Kōchi Castle isn't just about light, but also about sound too — however to give the exhibition an extra glow, it'll only run in the evenings, from 5.30–9.30pm. teamLab: Digitised Kōchi Castle runs from November 22, 2018 to January 6, 2019 at Kōchi Castle, Kochi Park, Marunouchi 1-2-1, Kochi City, Kochi. For more information, visit the exhibition website. Images: teamLab.
Perhaps you're keen to check out Studio Ghibli's upcoming theme park. Maybe you're desperate to hit up a Super Nintendo theme park, too. You could've always wanted to walk across Shibuya's famous scramble crossing — or you might be eager to sing karaoke in a ferris wheel. Fancy simply eating and drinking your way around all the ramen joints and izakayas possible? That's perfectly understandable as well. Whichever reason (or reasons) are motivating your dream Japanese holiday, they're all achievable again — including hitting up that Studio Ghibli park when it starts spiriting fans away at the beginning of November. Today, Tuesday, October 11, for the first time since the beginning of the COVID-19 pandemic, Japan has reopened its borders to individual international tourists. And no, you no longer need to book a package through a travel agency, or abide by the country's pandemic-era visa restrictions, to enjoy your getaway. Suitcases at the ready, eager travellers. The move comes after two-and-a-half years of border restrictions, and came into effect at 12am on Tuesday, October 11 Japanese time. Prime Minister Fumio Kishida announced the news back in September, advising that the country has previously "flourished through the free flow of people, goods and capital," as per Reuters. "COVID-19, of course, interrupted all of these benefits, but from October 11 Japan will relax border control measures to be on par with the US, as well as resume visa-free travel and individual travel," he continued. That means that visitors to Japan can now make their own travel arrangements — a huge change to the most recent rules. Until May, the country was closed to international tourists. Then, the Japanese government started trialling in letting strictly controlled package tours, including with Australian tourists. Next, in early June, it broadened those entry requirements to allow in visitors from a heap of nations under the same rules. And, from early September until now, it permitted travellers, including from Down Under, to make the journey even when they aren't on guided tours, as long as they have organised their flights and accommodation through a travel agency. Also now in effect: dropping the visa requirement, which applies to visitors from nations that weren't required to obtain tourist visas before the pandemic — including from Australia and New Zealand. So, in several ways, heading to Japan has returned to the pre-COVID-19 status quo. Japan has also ditched its daily cap on international arrivals, which was most recently set at 50,000. There are a few caveats, though. You do need to provide one of two forms of proof regarding the pandemic to enter. You'll either need you will need to have a valid COVID-19 vaccination certificate with at least three doses noted, or show proof of a negative COVID-19 test taken within 72 hours prior to departure (and that test has to be a PCR, not a rapid antigen test). And, there's also a COVID-19 questionnaire to fill out. Wondering what to do in Japan? Check out this Concrete Playground Trips package, which'll take you on a cultural tour from Kyoto to Tokyo. Japan's new border rules came into effect on Tuesday, October 11. For further details about visiting Japan and its border restrictions, head to the Government of Japan website. Feeling inspired to book a getaway? You can now book your next dream holiday through Concrete Playground Trips with deals on flights, stays and experiences at destinations all around the world.
For a quarter of a century, one of the biggest parties in Brisbane has taken over The Wickham each year, as well as the road outside. That shindig: LGBTQIA+ festival Big Gay Day. Over the years, everyone from Mel C to Boy George and The Veronicas have hit the stage at the annual excuse to shut down a Fortitude Valley street, bringing big names the fest's way. In 2025, the headlining honours go to Peach PRC and The Presets. The two Australian favourites will help mark Big Gay Day's 25th birthday on Sunday, May 4, aka one of the best ways to make the most of the Labour Day long weekend. Alongside the pair — with The Presets doing a DJ set — this year's event will also feature Harry K unleashing his Outrage.us Block Party on The Wickham's beer garden, Paul Wheeler returning to MC, and everyone from Jimi The Kween to Kayty Banks. To match its big birthday, 2025's festival also has a fitting theme: Y2K. So, as well as commemorating an event that harks back to the turn of the 21st century and is clearly still going strong, you can soak in the 00s-era vibe. If you want to dress to fit the part, that's up to you. [caption id="attachment_873174" align="alignnone" width="1920"] Rainbow Republic[/caption] Big Gay Day 2025 remains in May, where it largely has taken place of late — even if it moved to October in 2023 "due to scheduling conflicts with neighbouring stakeholders", swapping places with The Wickham's also-annual Little Gay Day. The event also spans multiple performance spaces, food trucks, themed pop-up bars and plenty of partying people — and, for the third year in a row, Big Gay Day gets to enjoy The Wickham's $3.1-million revamp, which added a weather-proofed beer garden to the venue. Raising money for LGBTQIA+ charities is also on the lineup, with Open Doors Youth Service — Queensland's only dedicated LGBTIQ+ Sistergirl and Brotherboy youth service, catering to 12–24 year olds, which is also turning 25 this year — 2025's recipient. [caption id="attachment_901540" align="alignnone" width="1920"] Ben Sullivan[/caption] Big Gay Day 2025 Lineup Peach PRC The Presets (DJ set) Jimi The Kween Gogo Bumhole The David Kayty Banks Lazy Susan Vybe Mandy Moobs Freya Armani Reef vs Beef Femme Follies Poof Doof Mega Drag Harry K presents Outrage.us Block Party MC: Paul Wheeler
The last six months or so have been huge in the streaming world, with Disney joining the fold, Apple making the leap as well, Britbox announcing its impending arrival in Australia, FanForce TV kicking off this week and short-form, mobile-only platform Quibi launching just days ago. That means there's certainly no shortage of things to watch while we're all staying indoors. But, although most offer free trials, you'll still need to fork out some cash if you want to commit to a particular service — or several. From 7am on Saturday, April 11, Apple TV+ is bucking that trend — temporarily, at least. The platform is making a number of its original TV shows and movies available for anyone to watch for free without a subscription. You'll need an Apple ID to access the service, but binging your way through seven of Apple TV+'s series and one of its movies won't cost you a cent. Titles on offer include M. Night Shyamalan-executive produced thriller Servant, which follows the eerie aftermath of a family tragedy; feel-good anthology series Little America, featuring dramatisations of real-life tales about US immigrants; astronaut drama For All Mankind, as set in an alternative history where the USSR beats the US to the moon; and feature-length wildlife documentary The Elephant Queen, which is narrated by Chiwetel Eljiofor. https://www.youtube.com/watch?v=xCke0hXoCf8 Or, you can check out the Hailee Steinfeld-starring comedy Dickinson, get nostalgic with a new version of Ghostwriter and watch the Peanuts crew in Snoopy In Space. For younger viewers, pre-school series Helpsters comes from the folks behind Sesame Street. To access the Apple TV+ app, you'll need an iPhone, iPad, Apple TV, iPod touch or Mac — or you can do so via select Samsung and LG smart TVs, plus Amazon Fire TV and Roku devices. Apple hasn't revealed how long the free content will be available, other than noting that it's for a limited time. To watch Apple TV+'s free content, or to find out more, visit the service's website.
There's saying how you feel, and then there's living it. For those working in creative fields, there's also another way to go a step further. That'd be act of making art that truly reflects your thinking and outlook. You could call it Attitude As Form — as Brisbane gallery Artisan is. In their latest exhibition, as co-curated by Beau Allen and Miriam Carter, they expose a diversity of ideas and approaches, all harnessed within the creation of contemporary jewellery. The show is designed take current approaches to fashion, art, craft and design, and then reflect and respond to them within the field of adornment. An eclectic array of all sorts of wonderful, wearable creations is the end result, as tinkered with and toiled over by 22 practitioners from across Australia and New Zealand. Here, you won't just be seeing the product of their hard work, but of their deep contemplation, too.
Anyone whose daily commute takes them down Broadway has probably noticed some big changes over the past few years. The space just opposite the UTS Tower building is being developed into an 'icon of 21st century living' as part of the Sydney Central Park project. While construction takes place, Sydney residents will be treated to a suite of four installations by Australian artists Brook Andrew, Mikala Dwyer, Claire Healy & Sean Cordeiro and Caroline Rothwell. It's a temporary public art project called Artists In Residence, turning heritage Irving Street Brewery yard buildings and brick stack into concrete canvases, from April 2011 for a year or two. The first work is Brook Andrew's 'Local Memory' and comprises 18 3-metre high protraits snugly fitted into the grid formed by the building. But who are they? People who worked in or were associated with the brewery’s history, living, working and witnessing change on the brewery site between 1909 and 1998. Neon frames border each portrait, lighting up at night time in a series of programmed sequences. Of his subjects, Brook says "These people are often the forgotten ones of societies whose importance in work and lifestyle has little or no public memory, let alone the intimate social and cultural lives they lived and legacies within local families and brewery production." Brook was a featured artist at last year's Biennale of Sydney, and you might remember tackling the moral dilemma of 'To jump or not to jump" on his jumping castle war memorial installation on Cockatoo Island.
If The Phantom of the Open was part of a game of golf, rather than a movie about the club-flinging, ball-hitting, bunker-avoiding sport, it wouldn't be a hole in one. It couldn't be; perfection doesn't suit the story it's telling, which is as real and as shaggy — as so-strange-it-can-only-be-true, too — as they can possibly come. That other key factor in spiriting dimpled orbs from the tee to the cup in a single stroke, aka luck, is definitely pertinent to this feel-good, crowd-pleasing, happily whimsical British comedy, however. Plenty of it helped Maurice Flitcroft, the man at its centre, as he managed to enter the 1976 British Open despite never having set foot on a course or played a full round of golf before. It isn't quite good fortune that makes this high-spirited movie about him work, of course, but it always feels like a feature that might've ended up in the cinematic long grass if it wasn't so warmly pieced together. When Maurice (Mark Rylance, Don't Look Up) debuts on the green at the high-profile Open Championship, it doesn't take long for gap between his skills and the professionals he's playing with to stand out. In the words of The Dude from The Big Lebowski, obviously he's not a golfer — although what makes a golfer, and whether any sport should be the domain of well-to-do gatekeepers who reserve large swathes of land for the use of the privileged few, falls into The Phantom of the Open's view. So does a breezily formulaic yet drawn-from-fact account of a man who was born in Manchester, later settled in the port town of Barrow-in-Furness in Cumbria and spent much of his life as a shipyard crane operator, providing for his wife Jean (Sally Hawkins, Spencer), her son Michael (Jake Davies, Artemis Fowl), and the pair's twins Gene (Christian Lees, Pistol) and James (Jonah Lees, The Letter for the King). Maurice had never chased his own dreams, until he decided to give golfing glory a swing. For audiences coming to all this anew, director Craig Roberts (Eternal Beauty) clues viewers in from the get-go, via a recreation of an 80s TV interview with Maurice. The film's key figure chats, looking back on his sporting efforts after his attempts at golf have clearly earned him a level of fame, but he'd also rather just sip a tea with six sugars. That's an easy but pivotal character-establishing moment. He's a cuppa-coveting everyman accustomed to finding sweetness in modest places, which aptly sums up his whole approach to his middle-aged pastime. The jovial humour of the situation — in caring more about his beloved tea than talking on the television — is also telling. Using a screenplay by Simon Farnaby (Paddington 2) based on the actor and writer's 2010 biography of Maurice, Roberts laughs along with and never at his protagonist. He affectionately sees the wannabe golfer's eccentricities, and also values the new lease on life he's eagerly seeking. That quest starts while watching late-night TV, after Michael advises that the shipyard where both men work — and Jean as well — will be making layoffs. With Bridge of Spies Oscar-winner Rylance dripping with sincerity and never cartoonish quirkiness, Maurice eyes the game on-screen like a man having a life-altering and surreal epiphany. Befitting anyone who's ever had a sudden realisation, he's instantly convinced. That he has zero know-how, nor the cash for the right attire, equipment and membership to the local club to practice, doesn't put him off. Neither does filling out the Open entry form, where he instructs Jean to tick the 'professional' box because that's what he wants to be. On the ground at Royal Birkdale Golf Club in Southport, he swiftly attracts attention for hitting 121 — the worst score ever recorded — with the press, as well as tournament bigwigs Keith Mackenzie (Rhys Ifans, The King's Man) and Laurent Lambert (Farnaby, Christopher Robin). "The world's worst professional golfer" gets slung Maurice's way, alongside other descriptions and titles, the movie's own moniker included. But with the competitive disco-dancing twins as his caddies, he isn't dissuaded. As seen in fellow recent comedy The Duke — another seemingly tall but genuinely true tale about an ordinary fellow battling the establishment — The Phantom of the Open becomes a caper, in fact. Maurice makes new putts at re-entering the Open aided by disguises and accents, hijinks ensue again and again, and his determination to strive for something better rarely fades. There isn't much in the way of drama amid the on-the-course larks, but some springs at home. While Jean remains supportive, as do Gene and James, Michael gets embarrassed about his dad being made a joke — and there are also financial ramifications. As with The Full Monty, Eddie the Eagle and other thoroughly British underdog-focused stories, The Phantom of the Open earns all the terms it's striving for: nice, perky, funny, pleasant, sweet, moving and rousing, for starters. Another two that echo like a ball whacked convincingly with a club: entertaining and engaging. Roberts and Farnaby find the right mood, which recognises how ridiculous so many of the details prove — they'd be called contrived if a screenwriter had simply conjured them up — but keeps its heart with the Flitcrofts. Taking tonal cues from his best-known on-screen appearances in 2010's coming-of-age charmer Submarine and delightful streaming series Red Oaks, Roberts also appreciates how embracing a look, feel and era can shape a movie. The Phantom of the Open sees Maurice's efforts as firmly a product of the 70s, and plays up the period details everywhere it can, including on the soundtrack. A singular real-life character, a wild series of actual events, ABBA and other upbeat needle-drops, disco contests, 70s oddities galore, all that golf, a cartful of fantastical visual flourishes, slapstick upon slapstick: throw them all together and, again, the movie equivalent of a sand trap or water hazard could've resulted. Thankfully, Roberts knows how to mould all these pieces into something affable — albeit not particularly concerned with digging too deep, let alone needing a sand wedge — and also enlists the stellar Rylance. Even when The Phantom of the Open is at its silliest, he gives an earnest and charismatic performance that can last 18 holes, no matter how many triple bogeys and worse that Maurice hits. Crucially, he plays the prankster and dreamer as someone who knows to keep tap, tap, tapping even when stuck. A narrative like this always going to draw people in, of course, as gumption-fuelled against-the-odds tales tend to, but it wouldn't keep them cheering along without Rylance's both believable and endearing stint in the argyle vest.
There's a real change in social codes when you go out for a fancy meal. You have to dress appropriately, your table talk gets kicked up a notch, and above all, you're expected to be respectful and open to new experiences. But this doesn't come naturally to all of us; least of all to children. To celebrate the launch of their latest food issue, The New York Times invited six primary schoolers to one of New York's best restaurants. The resulting video is intended as a playful little piece of comedy — and it really is cute — but boy, we definitely relate to what these kids are feeling. Embarking on a seven-course tasting menu from critically-acclaimed French restaurant Daniel, the six vest-clad, headband-wearing children were treated to US$225 worth of Smoked Paprika Cured Hamachi, Crispy Japanese Snapper, Wagyu Beef Rib-Eye and more. Straight from the kitchen of respected chef Daniel Boulud, this food is seriously fancy. But that didn't stop these kids from speaking their mind. "I didn't like any of that stuff," said one child while digesting approximately $150 of Michelin-starred cuisine. "I can't wait 'til we have dessert," said another. Another ornately plated course is placed in front of them and one boy declares, "It looks like a little forest". For the record, it totally does. Though they might outwardly seem crass or impolite, each of their statements is remarkably similar to thoughts we've also had while at fancy restaurants. While most people would just accept convention and shut their mouths, our favourite mini-critic dressed in hot pink lets all it all out. "Why do I have two knives?" she asks. "This looks like soap. It tastes like soap. Why am I eating soap right now?" Maybe this is what fine dining needs; a little honesty now and then could really deflate some of that trademark foodie pretension. Either that or we should just not bother giving kids nice things at all. I guarantee they'd be just as excited about a Happy Meal. Via The New York Times.
After the year we've had, everyone could use a little extra dancefloor time. That's where White Claw Weekend is coming in, with a brand new series of live music sessions hitting coastal venues up and down the eastern seaboard this summer. Local acts like Roland Tings, Bag Raiders and Groove City are part of the stacked events calendar. They'll be taking over venues like Manly's newly refurbished Wharf Bar, Watson's Bay Boutique Hotel, Port Melbourne's Exchange Beach Club and Brisbane's urban playground, X Cargo. Harvey M will kick things off on Monday, December 27 in Port Melbourne before Dugong Jr takes over on Tuesday, December 28. Alice Ivy will wrap things up at the Exchange Beach Club on New Year's Day, before the party heads up to NSW's Wharf Bar with Mickey Kojak on Sunday, January 9. Wharf Bar will also host Chase Zera, Barley Passable and POOLCLVB across January 16, 23 and 30. Roland Tings and Groove City will perform at Watson's Bay Hotel on February 4 and 18, while Close Counters will perform in St Kilda on February 13. Bag Raiders will make their appearance at X Cargo on Sunday, March 27. Along with home-grown live tunes, the White Claw team will be bringing along plenty of alcoholic fizzy drinks to keep you cool through summer. Head to the White Claw website to keep up to date with the lineup and to buy tickets. [caption id="attachment_836974" align="alignnone" width="1920"] Wharf Bar[/caption] White Claw Weekend Acts Dugong Jr Harvey M Alice Ivy Mickey Kojak Chase Zera Barley Passable Poolclvb Groove City Roland Tings Close Encounters Bag Raiders White Claw Weekend will run from Monday, December 27 to Sunday, March 27 at various locations across Victoria, New South Wales and Queensland. Tickets are available via the White Claw website.
It can get pretty chilly in the depths of a Berlin winter. Just the thought of it makes me want to wrap up in woolly jumpers and cozy down with a cup of tea. Berlin commuters need brightening up on those grey days, and it's no wonder that art projects like this spring up. The video below documents how a group of guerilla knitters (disguised appropriately in hilarious knitted beards) installed a kaleidoscope of knitting in the carriage of one of Berlin's metro trains. The guerilla art practice is known as 'yarn-bombing' and is considered an easily-removed alternative to your garden variety spray can graffiti. The knitting in the Berlin U-Bahn carriage remained in tact for a day's circulation, after which it was removed by security. Three months of knitting, one hour of installation, a day's worth of cozy, woolly, technicolour joy – all gone. One of the artists said, however, that "I think we cheered up a fair amount of weary travellers on a gloomy January day!" https://youtube.com/watch?v=1XbdGkPCz8E [Via Wooster Collective]
UPDATE, January 8, 2021: It Comes at Night is available to stream via Netflix, Google Play, YouTube Movies, iTunes and Amazon Video. When It Comes at Night begins with a man gripped by an infection, viewers are primed to expect a particular type of horror film. Something frightening is clearly in the air, which only becomes more apparent after his spluttering culminates in a wheelbarrow ride towards a fiery end. Death and devastation lurk quietly in this sparse post-apocalyptic realm, and those who have managed to survive trust no one. It's dystopian thriller 101, leaving audiences waiting for zombies or monsters to rear their ugly heads. What they'll find instead is Jean-Paul Sartre's famous phrase brought to life on screen: hell is other people. That observation might seem obvious, but writer-director Trey Edward Shults isn't done toying with common existential worries. Playing on our collective fear of the unknown, he ramps up the atmosphere of suspicion and unease by purposely leaving the details of the film's catastrophic catalyst to the imagination. Whatever it was that sparked disaster isn't nearly as important as how those who remain deal with the fallout — and yet viewers can't help but wonder. It's a smart move, with Shults not only focusing attention on the tense interactions that follow, but mirroring the characters' uncertainty about each other. Here, stoic father Paul (Joel Edgerton), his wife Sarah (Carmen Ejogo), their 17-year-old son Travis (Kelvin Harrison Jr.) and dog Stanley hole up in their boarded-up house in the woods with canned food for sustenance and weapons at the ready. Then Will (Christopher Abbott) somehow stumbles through their locked door in the middle of the night, claiming to be looking for shelter for his own wife Kim (Riley Keough) and their young son Andrew (Griffin Robert Faulkner). It's telling that Shults' first film, the family reunion drama Krisha, also brought a group of people together and then revealed their true nature through conflict. It should go without saying that forcing strangers into close quarters in a traumatic situation rarely leads to a happy outcome, so the movie doesn't say it. Rather it shows it — terse, anxious and unsettling. Cue performances (some brooding, some itching with physicality) that demonstrate just how people bristle up against each other in times of great stress. Accordingly, jumps and bumps aren't anywhere near as terrifying as furtive looks, overheard whispers and what someone else might be plotting behind closed doors. With claustrophobic cinematography and an ominous score, It Comes at Night seethes with intimacy — not of the warm and friendly variety, but foreboding, unnerving and ruthless. Paranoid and uncomfortable, the characters squirm, yearn and threaten to turn on one another. Yet even that's not the most terrifying thing about what Shults has crafted. Instead, as the film lingers in dark hallways and thuds with nervous heartbeats, it's the fact that he has managed to taunt his viewers into feeling the exact same way. https://www.youtube.com/watch?v=m5aq1HClkq0
Imagine living in a capital city without its own major film festival. Or, welcome to Brisbane. After three years, the Brisbane Asia Pacific Film Festival has been cancelled, to be replaced by screenings throughout the year that will be tied to the Asia Pacific Screen Awards. Whether you're an avid cinephile and festival-goer with a stack of old film fest programs on their shelves (yep, hi!), or a casual Brissie movie fan eager to see more than superheroes and transforming robots monopolise the city's screens, it's terrible and downright unacceptable news. "After careful consideration and engagement with industry and partners, a decision has been taken to discontinue the standalone film festival format of BAPFF," reads a statement from the festival, which then goes on to mention a "focus on a more accessible, year-round APSA screening program". The organisation behind the industry-focused awards will instead put together a range of screenings with other like-minded events, as well as others when the APSAs roll around in November. Just what the latter will look like is yet to be revealed. If you're wondering what the APSAs are, that's completely understandable. The awards ceremony celebrated its 10th year in 2016, but they're hardly well-known by general cinema attendees. And if you're wondering why the Brisbane City Council and Screen Queensland, the two government bodies that provided the bulk of the funding for BAPFF in its three-year run from 2014 to 2016, would favour giving out shiny trophies (or hand-crafted "award vessels", as they're called) to actors, directors and other filmmaking folks over actually showing Brisbane viewers an array of international cinema, that's understandable too. It's worth remembering that this is the second major government-funded Brisbane film festival that has been scrapped in three years. When BAPFF came into existence, it was because the powers-that-be decided to cancel the successful, 22-year-old Brisbane International Film Festival. BIFF was popular and well-attended, providing Brisbane with its own equivalent of the Sydney Film Festival and Melbourne International Film Festival. Massive lines, initially down the Queen Street Mall when the festival was based in the former Regent Cinema, current hole in the ground, then around Palace Barracks, Centro and now-neglected Tribal Theatre, were common. Hey, there was even a sold-out and lively midnight session for The Human Centipede 2. Upon announcing BAPFF back in June 2014, Brisbane Lord Mayor Graham Quirk mentioned that it would be a "a high-calibre film event showcasing the filmmakers, films and documentaries of the APSAs". Does that sound familiar? It's certainly a comment that's all the more telling now, although it always was indicative of the preference for the industry event over an audience-centric fest. In shining a spotlight on cinema from the Asia Pacific, BAPFF scaled down the number of flicks on offer, from BIFF's 130-plus features to around 80. And, while it screened plenty of great titles over its brief existence — here's our list of picks from 2014, 2015 and 2016 — it didn't receive quite the same audience response as BIFF did. That's not a shock. There's a reason that BAPFF's now final fest included a healthy contingent of films from outside of the Asia Pacific, after all. Basically, first the city's major film festival was replaced with a smaller festival that was tied to the APSAs, with fewer films, a narrower scope and smaller audiences as a result. Now, because it wasn't successful — again, to the surprise of absolutely no one — that second festival is being dumped too. Saying that "this step is being undertaken to strengthen APSA as the Asia Pacific region's leading film competition, academy, ceremony and screening program that recognises and promotes the cinematic excellence and cultural diversity of the vast region," as today's announcement does, is both further proof that the awards have been deemed more important than the film festival, as well as a slap in the face to everyone that has supported both BIFF and BAPFF over the past 24 years. And, you know, to people who like going to the movies. Yes, more movies more often is a good thing. But, are we really going to get the equivalent of 80 new films that wouldn't be screened in Brisbane otherwise spread out over the year? You can bet that that won't happen. And, there's nothing like being immersed in a city-wide film festival that truly celebrates cinema from all around the world for a concentrated block of time. Brisbane will continue to host an array of other country-focused festivals, of course, as well as the Queensland Film Festival — which was actually started to help screen the kinds of movies that BAPFF was overlooking. If we sound angry, that's because we are. As everyone who loves film in Brisbane should be. What kind of place has a major international film festival for 22 years, replaces it with a smaller, Asia-Pacific focused cinema showcase for three years, and then decides to opt for neither after "engagement with industry and partners"? Note, audiences weren't mentioned there. "Give me Brisbane any day" might be the city's current slogan, but it's now a mocking taunt to cinephiles. Image: Lion, screened for VIP closing night at BAPFF 2016.
Search engines are so engrained in our daily lives that one particular engine has become synonymous with the very act of searching online. And, more than that, many folks also rely on their search engine of choice for other internet-based services and platforms — such as browsers, maps and email. One engine, Ecosia, isn't likely to become your new term for searching or help you out with a heap of other online services, and it's completely fine with that. Instead, the Berlin-based company is using at least 80 percent of its profits to benefit the planet, investing the revenue it receives from advertising into planting new trees. First founded back in 2009, the search engine has been gaining traction over the past decade, to the point that it has now planted more than 27 million trees around the world. The company is hoping that number will grow considerably by 2020, too, with a target of one billion trees. It claims that an average Ecosia user helps finance 41 trees per year, with a new tree funded every 1.1 seconds. And, if you're wondering if they actually follow through with their eco-conscious promise, the company publishes its monthly financial reports and tree planting receipts online — so you can see that your clicks and queries are making a difference. The cash it doesn't put towards new trees is used to pay its staff. As for the specifics, Ecosia supports projects in particular forest ecosystems that desperately needed new greenery, committing its funds to areas that rank in the 25 most threatened forests — where at least 70 percent of the original natural vegetation has been lost, for example. Peru, Indonesia, Madagascar, Tanzania and the African nation of Burkina Faso are among the locations currently supported thanks to a few simple keystrokes. Who knew just searching for "ways to help the environment" could actually help the environment?
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 and Brisbane (and, until the newly reinstated stay-at-home orders, Melbourne as well). 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=TIzchAe5H5A WAVES Waves begins with streaming sunlight, the scenic sights of South Florida, and a blissful young couple singing, smiling and driving. Their happiness is captured by fluid, enticing camerawork that circles around and around, and their exuberant attitude — the carefree feeling that comes with youthful first love — is mirrored by the use of Animal Collective's upbeat, energetic 'FloriDada' on the soundtrack. But this isn't a joyful movie. As the drama's name intimates, this contented moment is soon smothered by waves of tragedy and pain that ripple through the lives not only of high-school wrestling star Tyler (Kelvin Harrison Jr) and his girlfriend Alexis (Alexa Demie), but their loved ones, school and community. Following the breakdown of the pair's romance, Tyler's self-sabotaging struggles with injury and pressure, and the impact on those closest to them, Waves tells an immensely affecting tale of one African American family's ups and downs. While he already has the excellent Krisha and effective It Comes at Night to this name, writer/director Trey Edward Shults crafts his best work yet — a stunningly visceral, moving and profound drama that makes audiences feel every moment and plot development deeply. Also exceptional: Harrison's powerful performance, Taylor Russell as his younger sister Emily, Sterling K Brown as their domineering but well-intentioned dad and Hamilton's Renée Elise Goldsberry as their supportive stepmother, as well as the film's raw and resonant grappling with life, loss, love, and the chaos and emotion of being a Black teenager in America today. Read our full review. https://www.youtube.com/watch?v=lYl1DVIgbAg SHIRLEY Unlike the rest of us, Elisabeth Moss is having a great year — on-screen, at least. While the star of The Handmaid's Tale, Mad Men and Top of the Lake has actually enjoyed a fantastic past decade, she has turned in two of her best performances yet in 2020. First came her lead role in The Invisible Man, which twisted the classic horror tale in firmly modern directions, including exploring gaslighting and society's lack of willingness to believe women. Now, in Shirley, she steps into the shoes of horror and mystery novelist Shirley Jackson. This is a movie by Madeline's Madeline director Josephine Decker, though, so it as never going to be a standard biopic about the The Haunting of Hill House author. Indeed, Shirley is drawn from a fictional novel by Susan Scarf Merrell, stepping inside Jackson's home life with her husband Stanley Hyman (Michael Stuhlbarg) during a 1964 period when teaching aide Fred Nemser (Logan Lerman) and his wife Rose (Australian The Daughter star Odessa Young) come to stay. An agoraphobic who prefers her own company to that of others, Jackson's routine is unsettled by her new houseguests, although an unexpected connection springs with seemingly unlikely kindred spirit Rose. In telling this story, Decker is far more interested in capturing the essence of her subject and Jackson's sensibilities than slavishly sticking to facts, and her film all the better for it. The result is a subjective and engaging character study that's daring, disarming, dark and, unsurprisingly, anchored by a pitch-perfect Moss. https://www.youtube.com/watch?v=OqXRg9D9SXg&feature=emb_logo A WHITE, WHITE DAY When grief plays a pivotal part in a film's narrative, one of two things typically happen. Far too often, it's used as an easy crutch, deployed to quickly explain a character's poor actions without diving particularly deep (see: this year's Ben Affleck vehicle The Way Back). When mourning is thoughtfully unpacked and interrogated, however, the difference is immediately noticeable. And, that's the case with excellent Icelandic thriller A White, White Day. Set in a remote town and often noticeably cloaked in a thick fog (symbolising its lead character's loss-afflicted head and heart, too), the film follows widower Ingimundur (Ingvar Sigurðsson), an off-duty police chief struggling with the death of his wife. While assisting with caring for his eight-year-old granddaughter Salka (Ída Mekkín Hlynsdóttir) helps give his days purpose, after Ingimundur begins to suspect that his deceased spouse was unfaithful, he's rocked by more than bereavement-induced misery. Sigurðsson is phenomenal as a man overcome by his heartbreak and anger, and his scenes with young Hlynsdóttir are immensely tender and touching. What particularly stands out in this tense, haunting and all-round excellent movie, though, is director Hlynur Palmason's (Winter Brothers) striking visual storytelling — whether he's spending an hypnotic minute watching a rock tumble down a hill and off a cliff, staring at his central actor's expressive face, or splashing his frames with spellbinding bursts of colour amidst the rampant grey-hued frostiness. If you're wondering what else is currently screening in cinemas, check out our rundown of new films released in Australia on July 2 — and our full review of The Personal History of David Copperfield.
Since 2015, gin lovers around the country have tripped over themselves to get their spirit-loving fingers on a bottle of Four Pillars' Bloody Shiraz Gin — and that's before they've even had a sip of alcohol. The limited edition shiraz-infused concoction really is that good, so we thought you'd like to know that the next batch goes on sale on Tuesday, June 1. If you haven't come across the gin before, it's basically what it says on the label: gin infused with shiraz grapes. This gives the spirit a brilliant deep cerise colour and some sweet undertones (without a higher sugar content). That, along with its higher alcoholic content — 37.8 percent, compared to an average 25 percent in regular sloe gin — makes the Bloody Shiraz Gin a near-perfect specimen. It can be used in cocktails where you'd usually use your regular gin — or you can keep things simple with a G&T. Four Pillars initially created the game-changing gin when it came into a 250-kilogram load of shiraz grapes from the Yarra Valley. Experimenting, the Victorian distillers then steeped the grapes in their high-proof dry gin for eight weeks before pressing the fruit and blending it with the gin, and hoping like hell it would turn out well. It did. This year, Four Pillars is doing more than just selling the cult-favourite drop. Of course, you can still buy a bottle at selected bottle shops, in the Four Pillars online store, at its Yarra Valley distillery and at the Four Pillars Laboratory in Sydney — and you can even buy a limited-edition label version that comes in different packaging, too. But if you fancy something to nibble while you drink, the distillery is also releasing a new 'Made from Gin' range so you have something to snack on. Your choices: bloody shiraz grape and quince paste ($10), and bloody shiraz gin caviar ($25). The 2021 Four Pillars Bloody Shiraz Gin will go on sale around the country on Tuesday, June 1. Head to the Four Pillars website to buy a bottle.
Continuing in their recent goal-kicking trajectory of killer collaborations (Lorde, The Simpsons), MAC's newest collection is Rocky Horror Picture Show themed; celebrating 40 years of jumping to the left, stepping to the right, putting your hands on your hips and bringing your knees in tight. In one of the most logical collaborations in recent memory, the new MAC collection is extensive (because you do not achieve the look of a sweet transvestite from Transylvania with minimal makeup). You'll find glitter pots that'd make Columbia jealous, serious false lashes, a sculpt-and-shape powder for carving out those cheekbones, 'multi-changing pearl' nail lacquers and a superslick liquid eyeliner. Everything comes in slick black packaging, emblazoned with those iconic red lips, which you can recreate, by the way, with one of the four — yes, four — shades of crimson lipstick. The collection will be available online on September 29. The timing really couldn't be more perfect — with almost two months before Halloween, there's plenty of time for makeup and Rocky junkies to count their pennies. That much-pondered, never-yet-realised Frank costume idea just got a little bit more possible. Don't dream it. Be it. Via MTV, Refinery29 and beautezine.
Brisbane, gather your comrades and say hello to our newest late-night eatery and bar. You may have seen construction going down on ol’ Alfred St, but surprise surprise – the new kid on the block is not part of the A&C, Alfredos, Limes and Kwan Brothers cluster – but he is certainly ready to conquer his territory. Sourcing gin not from your grandmother’s top shelf, but from around the globe, Dutch Courage Officer’s Mess (DC for short) is here for the gin enthusiasts and out to woo new lovers. Any old-hat notions about gin shall be erased to make way for specialty gin-based cocktails and a 240-plus list of spirits and liqueurs in this British colonial-themed bar. Owner Matthew Hilan, a former Air Combat Officer in the RAAF and former executive director for Union Bank of Switzerland, says the venue is inspired by a period in history where military formality during the day would give way to carefree partying, socialising and unwinding at night in campaign tents and mess halls. The late-night bar will be open until late on Fridays and Saturdays featuring a share plate menu inspired by the colonial outposts of the British Empire in 19th century, and more than 240 liqueurs and spirits to wet the whistle including tasting flights and a ‘DC Passport’ to take you around the world. Friday, June 20 is the night to start exploring – we think we’ll start with the Spice Trade Punch.
Following a disastrous farewell show in their hometown, Pulp move to London in search of success. They find fame on the world stage in the 1990s with anthems like 'Disco 2000' and, 25 years (and 10 million album sales) later, they return to Sheffield for their last UK concert. What could go wrong? In Pulp: A Film About Life, Death and Supermarkets, New Zealand director Florian Habicht (Love Story) weaves together the band's personal offerings with dream-like, specially staged tableaux featuring ordinary (you might even say 'common') people recruited on the streets of Sheffield. Plenty of platninum wigs, beef carcasses and pink eyeshadow help to unveil the genuine and deep affection that the inhabitants of Sheffield have for Pulp, and the formative effect the town has had on the band's music. This is a film about music, about pop, and about ambition. It's also about living and dying, about growing up and growing old, and it's unique in its capacity to draw these themes together in a way that's as visually beautiful as it is musically iconic. We got Habicht on the line to talk about how the unique music doco came to be. There have been a lot of gremlins tonight. Even my dog was against our interweb communion. I'm glad I've finally got you, because I bloody loved this film. There's this really existential charge to your film. I think that it's nice you picked up on that. Getting older happens to all of us. That was a theme and something I was aware of when I started filming. I was in that mode when I was filming. I got into that zone early on. Trying to make an honest film, I mean Pulp is a band that is older now, so it was really natural for those things to come out. I was incredibly moved by the fact that, twenty minutes in, you have Candida Doyle talking about the fact that she was diagnosed with rheumatoid arthritis at the age of 16, and that at the time she was playing with Pulp it was kind of like the clock was ticking for her. What Candida gave in the film was such a huge thing for her and she's had to keep it a secret with the band for her whole career — which would be pretty damn hard. It just felt right for all of that to come out. Jarvis was surprised Candida talked about that. If she didn't have the band … I'm sure that being in PULP really helped her fight that. I love the way you chose to feature as many older and middle-aged people as you did younger and very young folk. The rendition of Help the Aged, by the aged, is really something. That's my favourite scene. And the Sheffield Harmony's version — there's something about middle-aged women singing hymn-style the lyrics "I want to sleep with common people like you/Well what else could I do/ I said I'll see what I can do" that really does it for me. I got to dance with them all at the afterparty. You know I never once got sick of 'Common People' through this film. Yeah, the band were really surprised. They kind of didn't want that song in the film at all because I guess they don't want to be seen as a one-hit wonder. They were glad the song was at the beginning, because they thought, great, we can get it over and done with, but they really loved how it all worked out. I thought maybe I'd get sick of it but you gave it so many different lives in this film. I think the fact there is no such thing as a common person, I think this message comes through. The film definitely veers away from stereotypes. What was the filming like? We filmed for ten days before the concert. I'd invited Jarvis to see my film Love Story at the London Film Festival, and when we met up we both had similar ideas about a film for Pulp. They'd been on this comeback tour but there was no record of it, they'd not done any interviews, and Jarvis thought it'd be nice to make a film ... We weren't total strangers but we'd never met before, so the fact we were able to lift the project off the ground in two months' time was pretty great. We had the same vision for the film. What was the concert like? It was such an amazing gig. Yeah, like the feeling in the room was incredible. Hard to describe. And it was a really long show. They played for two-and-a-half hours. We ran out of cards on our cameras. We had to get our laptops and go around rearranging memory cards to catch it, which was a bit daunting with Jarvis jumping up and down and not being able to back up footage. The concert was incredible. For myself, for my team, to have all access to the place was a buzz. Are you a fan? Yeah they're one of my favourite bands. In a documentary format like this, how much say do you have in terms of wardrobe and staging? Candida Doyle's first appearance is so totally perfect. Rio's T-shirt is spectacular and Liberty's multiple hair corrections straight down the barrel is just genius. I had no say whatsoever in any of that. We have about twenty seconds left you know. Anything else you want to jump in with? We were just in New York, after the launch of the film, and we had a Pulp karaoke contest judged by Jarvis, and a nine-year-old called Graeme won it. Oh nine-year-olds are such winners. It was pretty great. Hey thanks for the chat. Hey thanks to Concrete Playground for spreading the word. The film has a Facebook page, so your readers can check that out if they like. https://youtube.com/watch?v=jh3nleTUr_w Pulp: A Film About Life, Death and Supermarkets had its world premiere at SXSW 2014. It's available on now via digital download or on DVD from September 10.
Imagine a world where totalitarian forces rule the United States, women are subjugated to the point of being deemed property, protestors rally in response and the authorities try to keep everyone in line. Okay, imagine a fictionalised version of the above dystopian society — or let The Handmaid's Tale help you. Margaret Atwood's book has been doing just that since 1985, with a new Elisabeth Moss-starring Hulu series due to help come April. Now, large groups of red-clad ladies are also playing their part, freaking people out at Austin's South by Southwest in the process. They walk in pairs, don't say anything, and generally unnerve everyone around them. Yes, it's clearly a clever SXSW promo for the show, but it's an effectively creepy one. https://twitter.com/erica_grossman/status/840294583170936832 https://twitter.com/HandmaidsOnHulu/status/840288331250319360 https://twitter.com/HandmaidsOnHulu/status/840649469624377345 https://twitter.com/MargaretAtwood/status/840630956801327105 If you're up for even more anxiety-inducing tension, check out the trailer for the series below. The Handmaid's Tale screens on Hulu from April 26.
UPDATE, December 23, 2020: The Midnight Sky is screening in select cinemas in Brisbane, and will also be available to stream via Netflix from Wednesday, December 23. It has been four years since George Clooney last appeared in a movie, dating back to 2016's Hail, Caesar! and Money Monster. Accordingly, while The Midnight Sky definitely isn't a documentary, the fact that it features the actor at his most bearded and reclusive instantly feels fitting. Also noteworthy: that this sci-fi drama joins the small but significant list of films that combine the star and space, following Solaris and Gravity. Clooney has everything from TV medical dramas and sitcoms to heist flicks, action fare, rom-coms and a stint as Batman on his resume, of course. He's a versatile actor, and an Oscar-winning one, too (for 2005's Syriana). But there's something particularly alluring and absorbing about seeing Clooney get existential, as all movies that reach beyond earth's surface tend to. He clearly agrees, because he not only leads The Midnight Sky but also directs it as well. Clooney plays workaholic research scientist Dr Augustine Lofthouse and, although The Midnight Sky rockets into space, it doesn't send its protagonist there. Instead, in 2049, after an environmental disaster has made the planet uninhabitable, he chooses to remain in the Arctic as his colleagues evacuate. He's dying anyway, and frequently hooks himself up to machines for treatment — in between downing whiskey, watching old movies, eating cereal and talking to himself. Then, interrupting his lonely decline, two things change his status quo. Firstly, a young girl (debutant Caoilinn Springall) mysteriously pops up out of nowhere, refusing to speak but obviously needing an adult's care. Secondly, Augustine realises that he'll have to trek across the oppressively icy terrain outside to connect via radio to a crew on the spaceship Aether, who've been on a two-year mission to ascertain whether newly discovered Jupiter moon K-23 can support life, and are now making their return unaware of what's been happening at home The space movie genre is as busy as the sky above is vast. Consequently, films about folks marooned in the great black expanse, dealing with the fallout of a pioneering journey and/or trying to make contact — whether those in space's depths are attempting to chat to earth, trying to find others lost in the same situation, or being sought by the people left on terra firma — reach screens every year. The Midnight Sky proves familiar as a result; if you've watched Clooney's other space-set features, or Interstellar, The Martian, Ad Astra, Contact or 2001: A Space Odyssey, you'll spy elements you've seen before. Although adapted from Lily Brooks-Dalton's 2016 novel Good Morning, Midnight, that screenwriter Mark L Smith is on scripting duties also adds a number of recognisable components. He penned the screenplay for The Revenant, another tale of survival against an unwelcoming terrain. Here, he has graduated from the wilds of 19th-century America to one of the globe's frostiest and most isolated spots, as well as all that lingers outside of the planet's atmosphere. The Midnight Sky isn't merely an exercise in flinging derivative parts out into the beyond and seeing what comes back, however. The key, both on-and off-screen, is Clooney. When the film spends time with the Aether's astronauts, including the pregnant Sully (Felicity Jones, On the Basis of Sex), ship commander Adewole (David Oyelowo, Gringo), veteran pilot Mitchell (Kyle Chandler, Godzilla: King of the Monsters), and other crew members Sanchez (Demián Bichir, The Grudge) and Maya (Tiffany Boone, Hunters), it's at its most generic. Indeed, when it ventures to space, The Midnight Sky almost screams for either Augustine to head there as well, or for the feature to plummet back down to earth to join him once more. As the movie's focal point, Clooney is as soulful and grizzled as he's ever been. As a filmmaker, he certainly gifts himself the feature's best moments. But in the latter guise, he's also aware that films about space are films about connection, including to routines and everyday moments — so the fact that Sully and company's exploits feel well-worn, including a climactic sequence involving an action-packed space walk, cleverly reinforces that idea. Unmistakably, this is a big-thinking and big-feeling feature. Its characters grapple with life, love and loss — aka what it means to be human, and to have lived — while also confronting the reality that the world they know is changing forever. It's purely coincidental, but The Midnight Sky overflows with 2020-esque inclusions, too. Having your sense of normality ripped away, spending time alone trying to reach out to others, and endeavouring to find a route back to the existence we once knew but may never again in quite the same way couldn't be more relatable (and that's just from the pandemic; parallels with climate change are also unsurprisingly rife). Amidst the obligatory outer space sing-alongs, as well as the smattering of life-and-death incidents, these concepts land as thoughtfully as intended. It helps that, spanning not only himself but also Jones, Oyelowo, Chandler, Bichir and Boone, Clooney has amassed an impressive cast. His co-stars mightn't be playing the most fleshed-out figures, script-wise, and may not match the actor/director in terms of screen presence, but the same uncertainty and yearning lingers in their portrayals. The script's use of flashbacks to Augustine's past are less convincing, as is their importance to The Midnight Sky's third act via a plot development that's easy to predict. Alexandre Desplat's (Little Women) score also falls on the heavy-handed side, stressing the mood and tone in an unnecessarily forceful way — especially given that Martin Ruhe's (Catch-22) cinematography is aptly pensive and probing, particularly in its earth-bound visuals. Still, Clooney is a skilled filmmaker. He has demonstrated that again and again since he first jumped behind the lens with 2002's excellent Confessions of a Dangerous Mind and 2005's masterful Good Night, and Good Luck, and it's clear here as well. The Midnight Sky isn't his greatest achievement as a director in general or as an actor in a space flick, but it's an involving, engaging and poignant addition to his resume on both counts. https://www.youtube.com/watch?v=Gb8ZbP6qAzE&feature=youtu.be The Midnight Sky is screening in select cinemas in Brisbane, and will also be available to stream via Netflix from Wednesday, December 23.
If you're desperate for a New York getaway, this might just tick the box. Brooklyn Depot has a menu stuffed with American classics such as hot dogs, mac 'n' cheese balls, chicken tenders and fried pickles. You'll be spoiled for choice, but our money's on the burger menu, with standouts such as The Dubya Barbecue Brisket burger with slaw and onion rings, or the Notorious PIG with slow-cooked pork shoulder and truffle mayo. Keen for a truly buckle-busting meal? We humbly suggest the full rack of barbecue pork ribs, or a Golden G'Time shake with salted caramel sauce and cookie shards. Food coma incoming.
It's no secret that times are tough for the Australian textiles and manufacturing industry. Sadly, over the past decade or so, many local makers (often family businesses who have been in the industry for generations) have been forced to close up shop due to the increasing ease and cost effectiveness of offshore production. For those wonderful Australian designers passionate about supporting what is a rapidly declining local industry and community, it has become near impossible to continue to produce within this country. While a lower price point and greater accessibility to a revolving door of trends may seem attractive, it's important that as conscious consumers, we have an understanding of the negative environmental and social implications that are inextricably associated with offshore production. More importantly, we must have an appreciation for the incredible amount of time, love, energy and money that goes into producing within Australia as a result of our diminishing industry. Now more than ever is the time to support the network of extremely talented local designers who are doing their darndest to preserve the integrity and quality of the local industry. To further understand what it means to make within Australia, we spoke to some local designers about why it is so important to them. Kuwaii Kuwaii is well-known and loved for producing impeccably constructed garments, as well as nailing the near impossible balance between shoes that are more comfortable than slippers and totally appropriate for grown-up occasions. Designer Kristy Barber's ability to find a harmonious balance between intricate details and beautiful form is undoubtedly thanks in large part to Kuwaii's strong local base. Kuwaii on local industry: "It's important to preserve the knowledge and skillset of local artists and craftspeople. The more we manufacture off-shore, the quicker this will die out. Also, we believe shipping items across the world is a ridiculous concept and bad for the environment!" Dress Up Working out of a quiet little studio in the creative oasis of Collingwood on Melbourne's north-side, Stephanie Downey crafts impeccably tailored womenswear for a loyal audience of thoughtful consumers. Cutting her own patterns and consistently developing wardrobes' worth of instant classics, Downey credits the connection with her local makers, combined with the almost tangible levels of love she injects into Dress Up and the implicit trust and dedication she shares with her wearers. Dress Up on local industry: "I love being able to have close relationships with my makers — I've learned so much from them. They can see first-hand the love I put into my designs, and consequently they really care about the quality they provide. I think that my customer appreciates that integrity, and the story behind their purchase. We all celebrate local independent fashion brands, but it would be impossible for them to exist without the option to make in Australia." PER-TIM The lovechild of dream-team babes Bernadette Francis and Laura Albee Barton, Per-Tim hasn’t even released their first collection and are already attracting all the right kinds of attention for their considerate take on design and creative relationships. Approaching each collection as a project, Francis and Barton not only consider supporting local industry to be an integral aspect of their brand philosophy but also the ongoing collaboration with a range of different practitioners across a variety of creative fields. Their first collection, Club Bed, sits snugly within a gap in the market for innovative loungewear and bedding. PER-TIM on local industry: "It's very important for Per-Tim to oversee all manufacturing processes, to know that each item is made by hands that have been given a fair wage and to ensure that we are making product in a sustainable manner. Additionally, it is of great concern to us that our production industry is slowly dying, especially here in Melbourne, and we want to do all we can to maintain the many skilled workers and suppliers who are running out of work here as relatively lower costs continue to attract small labels to produce offshore." Kinoak Amie and Max Kohane's label Kinoak is like a stone to the heart for lovers of super steezey styles at the intersection of cool and kawaii. A perfect combination of high-quality casual wear, innovative silhouettes and references to a Japanese aesthetic, Kinoak hails FREE TIME (the name of their latest collection) as the Holy Grail. Having worked in the fashion industry for many years (namely, as production manager for P.A.M), Amie formed good working relationships with manufacturers and since starting her own label in 2011, has seen first-hand the rapid degradation of the industry. Kinoak on local industry: "If we can support what is left of the local manufacturing industry, we will always have creative, sustainable and independent fashion in Australia." Garth Cook Even before launching his label in 2009, Garth Cook believed in manufacturing locally in his hometown of Perth, or within Australia. Doing everything from the designing, fabric selection, pattern cutting and toiling for each collection, Cook works with one talented machinist who completes the sampling and production for each season. Finding strength in precise lines and celebrating the female form, it's clear that Cook's work is made with loving hands. Garth Cook on local industry: "I know that it would be much cheaper for my brand to produce in Bali, India or China but I know that I would not be able to meet the minimum order requirements. More importantly I would miss out of the consultation, advice, quality and genuine care that I receive from my one and only machinist. I know that we have a lot of talented pattern cutters, machinists and production facilities in Australia. I think it would benefit our micro industry immensely if larger fashion business produced here. But it also comes down to designers and retailers educating their clients about where and how fashion is made. Unfortunately most people don't think about the environmental impact of fast fashion and the conditions in which it is made." Top image: tsuacctnt via photopin cc.
"Hey Garth, I really think you should read this book." Audiences have those ten words, as sent to Australian filmmaker Garth Davis in an email, to thank for Foe. When the director behind Lion and Mary Magdalene received that recommendation, it was from someone in the film industry that he didn't know — "it was just random," Davis tells Concrete Playground — and it led to his third feature. It also gave the world the outstanding pairing of Irish actors Saoirse Ronan and Paul Mescal, aka two of today's best talents, playing a married couple in the year 2065 when the climate crisis has made the earth nearly unliveable. The novel: Canadian author Ian Reid's text that gives Foe its name. The plot: in that time to come, Junior (Mescal, Carmen) and Hen (Ronan, See How They Run) are etching out what life they still can on his family's wilting American midwest farm when government consultant Terrance (Aaron Pierre, Old) arrives in the night to change everything. On the page and on the screen, this tale enlists Junior on a two-year space mission to help build an installation that's part of the plan to sustain humanity away from its ravaged home planet. It also reassures the couple that Hen will have familiar company: a duplicate that'll look exactly like her husband, as designed to slide seamlessly into his place. "I bought the book pretty much straight away, and then I read it in one sitting. I just couldn't put it down. Then I went back and read it again a second time," Davis explains. He also stresses the "obvious reasons" for that instant revisit, as anyone who has also devoured Reid's book will know — and viewers, too, once they've seen the movie that the filmmaker and writer teamed up to pen the script for. "When I was reading the book, I didn't have any expectations to turn it into a film. But as I was reading it, the first thing I was struck with was that kind of Hitchcockian feel in the setup. The stranger arriving in the night, this couple living on an isolated farm — it just felt I was seeing the movie in my mind," Davis continues. "But then what really interested me was it just went against all my expectations. Suddenly I became fascinated by this relationship, this marriage on-screen, and very curious why the wife was behaving in strange ways, this hot and cold quality to her behaviour. This deep meditation on their relationship started to unfold, and I found that fascinating." "Then it goes down this glorious, feverish rabbit hole, and all of these things are revealed, which I found an amazing experience. All that aside, after going through the whole journey, what I felt in my heart was Hen, and I really aligned with what she was fighting for in her marriage and in her life. She had that curiosity for life. She had that hunger to live. She understood the preciousness of time and to not take things for granted, and I found that something I could really align with," Davis notes. Largely a three-hander that's primarily shot in Victoria's Winton Wetlands — doubling for the US as Ronan and Mescal sport the appropriate accents — Foe marks a change of big-screen pace for Davis. When the Brisbane-born filmmaker made his feature debut with Lion after directing episodes of Love My Way and Top of the Lake, he jumped between India and Australia to helm a movie that'd earn six Oscar nominations and win two BAFTAs, and starred a hefty cast including Dev Patel (The Wonderful Story of Henry Sugar), Nicole Kidman (Special Ops: Lioness), Rooney Mara (Women Talking) and David Wenham (Elvis). Next, with biblical drama Mary Magdalene, shooting in Italy beckoned, also with ample on-screen names such as Mara again, Joaquin Phoenix (Beau Is Afraid) and Chiwetel Ejiofor (The Man Who Fell to Earth). The calibre of talents remains for Foe, clearly, but making something more intimate was firmly Davis' desire. Our wide-ranging conversation with the director about Foe, which is now in Australian cinemas, also spans that purposeful shift, the film's AI and environmental themes, humanity's approach to artificial intelligence, making a marriage drama first and foremost, the movie's stellar cast and Davis' learnings after Lion's huge success. ON FOE JOINING THE GROWING RANKS OF AI FILMS AND ENVIRONMENTAL SCI-FI "When we were looking at the book, it wasn't really in the vernacular at that point. It just wasn't happening. It wasn't in the zeitgeist. It wasn't until we started, at the end of the shooting, getting to editing where suddenly Starlink was in the sky, suddenly AI was — well, AI came quite late, but suddenly everything was coming alive. I just feel like we slipped right into the zeitgeist. I mean, I would think twice about doing it now because it is so saturated, but at the time, it just wasn't around. For me, this is not a film about that. This is a film about a relationship and that was my main interest. But what I did like about the AI and sci-fi device, it just created this super-exciting way to explore that human relationship in ways that you ordinarily couldn't. For Hen to be able to have a relationship with the version of her husband like when she first met him — I just love that proposition. I think that's really interesting. And how to navigate that in a believable way and a performance, I found even more challenging and interesting." ON FOE'S VISION OF THE FUTURE "I think this movie is very timely — and what I have witnessed is a lot of young people, maybe 16–25, in audiences really loving this movie and being alarmed by this movie for lots of reasons. They see it as their future, and they do identify with Hen because they feel they've been let down by my generation, who have basically not changed or done anything when the writing's on the wall. I guess what I love about the themes of this story is that it really explores stasis and our complacency — and when you take something for granted, you truly lose it, not just in ourselves but in the planet. I love all those aspects of the story, and it's something that I really felt we should be reminded of as we navigate into this technological future. I still think this question of what makes us feel fulfilled and how do we find a meaningful life, I think it's just going to get harder as we go along. And I guess the film is just reminding us not to keep looking outwards, to look inwards, and that we do have the power to make changes — we can stand up and say 'we don't want this' or 'I want to live my life and find my agency'. In a way, it's a kind of a wake-up call, this movie. It's a little bit of a call to arms — a call to arms to protect yourself and to fight for that, because that's what's precious and it's very vulnerable at the moment. I've got kids as well and they're all really pissed about the environment, and we've done nothing about it, and they're really annoyed. So when they when they see Saoirse Ronan, which is a human being that they all look up to as a good person, to see her playing a character that is frustrated by those very things and to want to have a justice for humanity, it's inspiring to these kids. They really love it." ON EXPLORING AI AS SOMETHING OTHER THAN AN ON-SCREEN VILLAIN "It's ironic that, in a way, the AI brought context and meaning to Hen's journey and helped her process a lot of things. So, yeah, you can definitely see the benefits of it. This is another way to look at: everyone talks about what AI's going do for them or take away from them, but have we ever thought for a moment about the ethics around creating sentient beings? Where do our ethics lie there? Because a lot of this artificial intelligence is being created to serve us — I guess it's a form of slavery in a way — and what happens when they do become sentient? What do we do then? Are they going to have rights or are they going be just used for our pleasure? So I don't know. I can see why people create it and I can see the positive aspects, but we do have responsibility, surely. We have responsibility in nature too, and we've fucked that up, so we're probably going to do the same with this." ON MAKING A MARRIAGE DRAMA FIRST AND FOREMOST "I think this couple is very relatable. I think everyone can attest to taking someone for granted over time, not even knowing so and finding you're in a very different point in the relationship. The actors bring their own understanding of that to the choices they make. Paul would have his own personal understanding of that, as would Saoirse — and that brings the richness through those choices. With this film, there's the story you think you're watching and the story that's really happening. And there's these delicious stakes, and all these wonderful riches to explore in the performance. The stakes change and build for all of the characters in different ways. We just have to drill down with all the actors in terms of preparation. We just made sure that we understood the real stakes of the characters at each of those points, so that we could bring something very believable through in the performances." ON CASTING SAOIRSE RONAN, PAUL MESCAL AND AARON PIERRE "You obviously look at a big list of people when you are working on the script — well for me anyway — and she was the person that I could feel the most in the room. I could almost feel her personality beside me and I could feel this curious human being, someone that had this inner light — I could really feel her. I took that feeling into the casting process and Saoirse was definitely right at the top of the list for that. She is an extraordinary actress, but she's just got this great personality that shines through all of her work. That's what I desperately wanted in the movie. It's what's precious. So we decided to start with her, and once she agreed to do it, then it's alchemy — it's like an emotional alchemy from there. You try to find people that you think could have a great chemistry with her and that led me to Paul Mescal. And what I loved about him, too, is that he had both alpha quality and that feminine quality. I thought he had emotional range to play the versions of himself that he needed to play, and he had such a deep love and respect for Saoirse — and their Irish heritage, of course. Then we did actually have Lakeith Stanfield cast as as Terence. We actually sold the movie with Saoirse, Paul and Lakeith Stanfield. That's what we took to the market. Then Lakeith Stanfield exited the project very, very late in the game, which was very distressing for me. But sometimes the universe intervenes in the right way — so it led me to Aaron Pierre. And I think we've been graced with this extraordinary performance from him. It it's so gorgeously nuanced and surprising and disorientating. So it was lucky — and it is so important that the film lives and dies on these actors because we've got nowhere to go. It's all about the psychology and the relationships on-screen, and I can't imagine it being anyone else really." ON AUSTRALIA STANDING IN FOR AMERICA'S MIDWEST "When I show the movie in America, they have no idea it's Australia. They actually go 'wow, that's a really haunting but scarily believable version of midwest'. So I think we did our job properly — I just had to avoid all the Australian tropes. It was really important for me that I wanted everyone to feel the earth dying and feel its distress, and its call for help. I really wanted to find landscapes that were real and I could put in camera, and Australia just delivered that feeling to me — and that was what was very exciting. The Winton Wetlands is where we built the set of the house, and it's haunting because there's a lot of death, obviously, with these dead trees, but you can really imagine what it would have been like when it was alive. It would have been the most beautiful farm. So I love all of that. I love that there's always beauty in our movie no matter how hard it gets — there's always a beauty in it and and I guess there's hope in that in a way. There's love in that. So I understand why he holds on to the farm. It would have been something that was loved and cherished, even though it may feel uninhabitable at this point. I can understand why we attach ourselves to these things. Everything was very deeply considered and chosen on a gut level to what we're trying to do on the story." ON MAKING A ONE-LOCATION FILM AFTER LION AND MARY MAGDALENE "It was actually a wish that I had. I've always done these super-ambitious, sprawling stories wrangling lots of cast, locations, traffic, chaos, extras. And I love all of that, don't get me wrong. But my absolute joy is when I when the camera's on that little boy's face and he does a performance that takes me away [in Lion], or Nicole Kidman in that scene with Dev, or Top of the Lake with Elisabeth Moss revealing this child that she has and the emotions. That's when I go 'I just want a whole movie full of that, how do that?'. So I guess I've always had this wish, like if there was the right material, I'd love to just just have a couple of actors in a room and go down that rabbit hole so. I guess this movie is partly serving that appetite for something more intimate". ON WHAT LION'S SUCCESS TAUGHT DAVIS ABOUT HIS CAREER "Lion, in a way, proved to me that you've just got to follow your instinct with what you want to make. Lion, I just fell in love with the story. I was passionate about it. I was very involved with with the script in many ways structurally, and in how we're going to tell the story. It just confirmed that I can follow my instinct and it can work out, and that was really exciting. I knew it was a story that people were going to love, and I would say that to my producers 'I think this is going be a really amazing movie' And of course [they'd reply] 'we hope so, we hope it works'. That was just a really great feeling to make something in such a pure way and for it to be accepted on such a scale. I approach all my projects like that now. I haven't changed. I have to feel it. I have to be excited about it, challenged by it. And I can be making things at any point, but I wouldn't be in alignment with my with myself. So I'm taking maybe a longer road or a different road, and just trying to just trying to make films that I care about. That's really, really what I'm doing." Foe opened in Australian cinemas on November 2. Read our review.
UPDATE, April 30, 2021: If Beale Street Could Talk is available to stream via Binge, Foxtel Now, Google Play and YouTube Movies. What a joy it is to rove one's eyes over Barry Jenkins' films. Not just to watch, or to take in their stories, but to truly gaze upon his images and revel in every visible detail. Cinematography has been described as painting with light, and it's a turn of phrase that wholeheartedly applies to the filmmaker's work with his regular director of photography James Laxton. But in Moonlight and now If Beale Street Could Talk, the duo don't merely splash brightness and shadow across the screen, although they do just that with exhilarating precision. Jenkins and Laxton also paint with movement, thanks to swirling frames that instantly evoke the feelings being experienced by their characters — the feeling of only having eyes for one person no matter what else is happening in the world, for example. And they paint with colour, expanding their tales through telling hues, including warm, inviting reds and moody, swoon-inducing blues. It's fitting that colour plays such a prominent role, visually, in If Beale Street Could Talk. Adapted by Jenkins from the late James Baldwin's novel of the same name, colour plays a driving role in the film's narrative. As the exceptional documentary I Am Not Your Negro demonstrated in 2017, Baldwin was perceptive, impassioned and understandably enraged about the topic of race relations in America, a perspective that always remains apparent here. If Beale Street Could Talk is a romance, charting an unbreakable bond between childhood pals turned neighbourhood sweethearts Tish Rivers (KiKi Layne) and Alonzo 'Fonny' Hunt (Stephan James). However, as set in 1970s Harlem, it's also an account of how prejudice shapes their everyday reality. Aged 19 and 22, this deeply infatuated couple know that just getting by won't be easy. They're well aware of the disadvantages they've been born into because of their skin colour. They endure this difficult reality everyday, whether trying to find an apartment or simply stopping by the corner deli. Then Fonny is arrested and incarcerated for a crime that he didn't commit, a development that's sadly as topical and relevant today as it was when Baldwin was penning his prose. That's not the only life-changing development within If Beale Street Could Talk, with Tish discovering that she's pregnant, then revealing the news to Fonny through the forbidding glass of a prison visitors' room. Battling to save one life while preparing to welcome another, the star-crossed pair discover how hard they'll have to fight for what's right. The conflict extends to their home turf, where his family are far from happy about adding to their number — but Tish's, especially her steely, devoted mother Sharon (Regina King), is willing to do whatever it takes to help. Black lives devastated by discrimination, young lovers braving seemingly insurmountable obstacles: both tales have played out across countless pages and screens before, although not as they do so here. There's a bewitching alchemy to the combination of Baldwin's words and Jenkins' direction — never shying away from the despairing truth of the situation, but never wallowing in inescapable bleakness either. Indeed, If Beale Street Could Talk takes the opposite position. As its entrancing imagery and emotive score always remind viewers, this is a film of love above all else. Affection doesn't dissipate when times are tough. Kindness isn't absent from lives thwarted by institutionalised oppression. Rather, affection and intimacy are the counterforce that keeps a flicker of light glowing in marginalised eyes. If love can sustain a man faced with losing his freedom, a woman trying to remain strong as her world crumbles and a mother pushed to desperate deeds to protect her family, then it can survive anything. In every sensory stylistic touch, Jenkins paints this revolutionary sentiment across If Beale Street Could Talk's frames. Make no mistake, finding such delight and beauty amidst such struggle is revolutionary. So is recognising that these characters' stories, and the characters themselves, are rich, detailed and worthy of being treated and seen in such a tender way. Jenkins tells tales and peers at people with empathy that's palpable, intoxicating and infectious. Thanks to his winning way with actors, he also has considerable assistance. From King's rightfully awarded efforts, to Colman Domingo's caring turn as Tish's father, to Dave Franco's brief appearance as a generous landlord, there are no weak links here. Still, it should come as no surprise that Layne and James earn the camera's adoration. More than that, they demand it. Together, they make a shared glance seem like the most important moment in the world, whether it's exchanged beneath autumn trees or directed through physical barriers. What a joy it is to witness their exquisite performances and natural chemistry, all while their protagonists weather both infuriating trials and quiet triumphs. And, what a joy it is to watch them in this — Jenkins' heart-swelling, insightful and yet almost dream-like piece of cinematic perfection. https://www.youtube.com/watch?v=d8qbq6Z6HYk
When Léo (debutant Eden Dambrine) and Rémi (fellow first-timer Gustav De Waele) dash the carefree dash of youth in Close's early moments, rushing from a dark bunker out into the sunshine — from rocks and forest to a bloom-filled field ablaze with colour, too — this immediately evocative Belgian drama runs joyously with them. Girl writer/director Lukas Dhont starts his sophomore feature with a tremendous moment, one that's arresting to look at and to experience. The petals pop; the camera tracks, rushes and flies; the two 13-year-olds are as exuberant and at ease as they're ever likely to be in their lives. They're sprinting because they're happy and playing, and because summer in their village — and on Léo's parents' flower farm — is theirs for the revelling in. They don't and can't realise it because no kid does, but they're also bolting from the bliss that is their visibly contented childhood to the tussles and emotions of being a teenager. Close's title does indeed apply to its two main figures; when it comes to adolescent friendships, they couldn't be tighter. As expressed in revelatory performances by Dambrine and De Waele, each of whom are genuine acting discoveries — Dhont spotted the former on a train from Antwerp to Ghent — these boys have an innocent intimate affinity closer than blood. They're euphoric with and in each other's company, and the feature plays like that's how it has always been between the two. They've also never queried or overthought what their connection means. Before high school commences, Close shows the slumber parties, and the shared hopes and dreams. It sits in on family dinners, demonstrating the ease with which each is a part of the other's broader lives amid both sets of mums and dads; Léo's are Nathalie (Léa Drucker, Custody) and Yves (Marc Weiss, Esprits de famille), Rémi's are Sophie (Émilie Dequenne, An Ordinary Man) and Peter (Kevin Janssens, Two Summers). The film adores their rapport like a summer day adores the breeze, and conveys it meticulously and movingly. To watch this 2023 Best International Feature Film Oscar-nominee, 2022 Cannes Film Festival Grand Jury Prize-winner and recipient of Sydney Film Festival's top 2022 gong is to feel, to an extent that cinema only rarely manages. In fact, Léo and Rémi's camaraderie is that vibrantly depicted, and performed with portrayals that naturalistic and unaffected, that it's three things simultaneously here: a once-in-a-lifetime marvel, as innate as the act of growing up, and instantly relatable and recognisable to anyone who has ever had their own inseparable BFF as a child. That bond is such a given for the pair themselves, and that status quo is so entrancingly communicated by the movie, that questioning it is a shock for everyone. These friends have forged their identities as a duo, but they're also at that awkward coming-of-age stage where the wider world starts intruding upon their wants, likes and senses of self, and enforcing its traditional ideas of masculinity. Bluntly, the girls in Léo and Rémi's grade ask if the two are a couple. More than that, they contend that the boys are one without even realising it. Enter the overwhelming weight of the society's norms, as Léo struggles with the schoolyard query and slowly pulls away. Words have consequences in Close. Actions do along with them. What kicks off as a portrait of a perfect friendship then segues into the agony of an idyll bursting. As homophobic jeers echo, Léo withdraws, boisterously palling around with other classmates instead and opting to take up ice hockey. Rémi keeps trying to reach out, and keeps showing his pain and confusion as Léo ditches him at breaks, after lessons, and on their usual rides to and from class. In a sensitive script penned with his Girl co-scribe Angelo Tijssens, Dhont understands the heartache and heartbreak of a boyhood bond dissolving. His feature ripples with grief on a variety of levels. But the filmmaker and the film alike also deeply appreciate the heady jubilation of its opening third. They relish it. Close's second half is shattering; however, this is a movie that knows that to have forged such a connection is a thing to treasure even when it's lost. Close's second half wouldn't devastate as it does if its first wasn't so keenly felt. This isn't an overplayed picture — understatement is one of its key and crucial elements — but it's expertly attuned to what it's like to have a kindred spirit in your youth, and to the immense void left when that's gone. Perhaps the best way to describe Close is with its homonym's antonym: open. Even when Léo begins closing himself off to Rémi, the film he's in remains unguarded in its gaze and emotions — and Dambrine and De Waele's performances retain the same trait as well. To watch Close is also to peer into the faces that fill its frames, as lensed vividly in claustrophobic closeups and telling wide shots by cinematographer Frank van den Eeden (Nobody Has to Know, and also Dhont's Girl), and to embrace the swirl of sentiments lingering inside. Looking at the movie's two young stars never simply involves seeing them overtly shift in tone. Spending more time with Dambrine isn't just a case of watching conflict, sorrow, realisation and guilt flicker in his eyes, either. Similarly, when Close intently observes the always-excellent Drucker in a pivotal mid-movie moment, then gives Dequenne more attention in its later scenes, it's open to — and tender about — how complicated its scenario and feelings have become. The details in Close are everything, as they are in all relationships. Here's a mere four examples: the alternating closeness and space that van den Eeden spies when Léo and Rémi share a mattress, as kids at sleepovers do; the pride that wells in Léo's eyes as he watches skilled musician Rémi play the oboe; the seconds that stretch like lifetimes as Léo, Drucker and Dequenne process trauma right in front of the audience; and the seasons passing, as marked by the flower farm's rainbow of colours revolving through its annual cycle. As set to a subtly rousing string-and-oboe score by Valentin Hadjadj (another Girl returnee), every aspect of this delicately crafted gem is personal yet universal, as it should be considering its origins. Dhont harked back to his own close friendships as a teen, while also taking inspiration from psychologist Niobe Way's Deep Secrets: Boys' Friendships and the Crisis of Connection, a study of 100 boys aged 13–18. It's no wonder, then, that Close couldn't feel more raw, rich and authentic.
Take a look at the weather forecast this week. There is no doubt about it, folks: summer is here. So how will you keep cool? Well, when the AC undoubtedly goes on the blink and your bargain pedestal fan isn't cutting it, you can always reach for a Vegemite icy pole. Wait,what? First, we had Vegemite Cadbury chocolate (for some ungodly reason). Then, everybody's favourite experimental chef Heston Blumenthal created Vegemite ice cream. Most recently, Four'N Twenty pies made the iconic spread an ingredient in a new pie. In all of this instances, the Vegemite could almost be forgiven. It was just sitting innocently on the shelf, ready to be spread on plain, ol' bread (which is the only acceptable form of consumption, really) and someone else has come along to do the dirty work. But not this time. The brand itself is behind this obscene snack suggestion. Yesterday, with no absolutely no warning, Vegemite dropped this tweet. Brace yourselves Australia... it's time for VEGEMITE Icy Poles! #Chilled pic.twitter.com/AgbsR2QKCN — Vegemite (@Vegemite) December 13, 2017 Twitter was equal parts confused and disgusted. Was this a prank? It's not April. What does a Vegemite icy pole consist of? The brand quickly followed up with a recipe, which calls for thickened cream and milk plus a whole lot of sugar to balance out that distinctive Vegemite salty tang. It can be found here if you're game. Personally, we think we'll stick to tried and trusted Zooper Doopers. Image: Twitter.
In Stay of the Week, we explore some of the world's best and most unique accommodations, giving you inspiration for your next trip. In this instalment, we take you to beautiful Bali for a special stay at Plataran Canggu Bali Resort and Spa. We love this place so much that we teamed up with the resort to offer an exclusive three-night travel deal — including meals, massages and exclusive access to the iconic Cafe del Mar below. WHAT'S SO SPECIAL? There is so much more to Bali than Bintang beers and boogie boards. In fact, despite a reputation among Aussies for its larger-than-life party scene, traditional Balinese culture embraces patience, peace and placidity. And Plataran Canggu Bali Resort & Spa one is of the best places to lose yourself to this experience ... without completely forgoing access to your favourite beach bars. Cocooned within lush rice fields and tropical green gardens, the tranquility of Plataran will transport you to a bygone Bali. Head back to a time when tourism on the island was practised through rich spa rituals, extraordinary cuisine and truly spiritual traditions. While this secret hideaway will make you feel removed from the chaos and crowds, swept away to the simplicity of village life, the magic of cool Canggu is right at your doorstep. THE ROOMS Designed in the form of a labyrinth (the legacy of the late renowned landscape architect, Made Wijaya), Plataran's landscaped gardens ensure that each of the property's private villas are protected from the outside world — the ultimate in serenity. Featuring traditional alang-alang grass-thatched roofs and antique carved doorways, villas are either one or two bedrooms, most accompanied by private pools, and all featuring modern comforts, luxurious bedding, natural stone bathtubs and private terraces with day beds. For a truly unforgettable stay, consider booking the Founder's Home. Personally designed by Platarn's founders, this options allows you the opportunity to sample the Founder's Menu and take part in the Founder's Activities, a series of experiences curated by the resort. FOOD AND DRINK With three on-site restaurants, you're sure to find a meal to tempt your tastebuds. If you're seeking rustic yet refined al fresco dishes, you'll find them in abundance at Plataran At Canggu. The resort's namesake restaurant is surrounded by lush forestry with seating under the sparkling lights of the evening stars. Or you can secure a table at Teras Canggu, which elevates Balinese street food into a world-class fine dining experience. Guests who book this deal can enjoy a complimentary dinner for two adults at either destination included in their package. Alternatively, settle in for a feast at Tiga Dari Snack Bar, with its flavour-packed fast food perfect for a catch-up with friends. If you're confident in your own culinary abilities (or want to improve them), consider enrolling in a Plataran Canguu cooking class. The experience kicks off with a chef-led excursion to the local markets to collect fresh products and ingredients and culminates in a private lesson in a traditional Balinese kitchen, complete with wood-fired oven. Designed to help you craft a shareable spread, the class offers insight into local cooking practices – with a delicious meal to show for it at the end. THE LOCAL AREA As social as Seminyak (minus the traffic jams) and almost as unadulterated as Ubud (minus the 60+ minute drive to get there), Canguu is primed for new and returning visitors to the Island of the Gods. And at Plataran Canggu Bali Resort and Spa, you have a brilliant base to enjoy the best of the area's offerings. Extend your stay in the zen zone with a sunset stroll along Echo Beach or an afternoon surfing the waves at Berawa. Otherwise, dedicate your day to brunch-stopping and bar-hopping at one of Canggu's many cool beach clubs. If the options feel overwhelming, let us choose for you. Guests who purchase the Concrete Playground Trips Plataran Canggu three-night travel deal receive access for two adults to one of the world's most iconic beach clubs — Cafe del Mar — including day bed and a bucket of beer, absolutely free. THE EXTRAS As well as the previously mentioned complimentary dinner and beach club access, guests who take advantage of this exclusive Concrete Playground Trips promotion can also enjoy a free, 60-minute Balinese massage for two adults at the resort's Padma Spa. With a Sanskrit name that translates to 'sacred lotus', this spa embodies the quintessential qualities of the iconic flower. It's certain to leave you feeling beautifully balanced in body and soul (and budget). Feeling inspired to book a truly unique getaway? Head to Concrete Playground Trips to explore a range of holidays curated by our editorial team. We've teamed up with all the best providers of flights, stays and experiences to bring you a series of unforgettable trips in destinations all over the world.
Glass, by director M. Night Shyamalan, concludes a trilogy nobody knew was a trilogy until the final moments of his previous film, Split. What at first seemed a fun and, at times, disturbing thriller about a split-personality kidnapper (played by a terrific James McAvoy) suddenly presaged an entirely new world of superheroes in the vein of the Marvel Cinematic Universe. Harking all the way back to Shyamalan's 2000 film Unbreakable, Glass is the film designed to bring together the stories of McAvoy's unhinged killer, Bruce Willis's reluctant hero and Samuel L Jackson's evil genius. It's a two decade project and a gutsy effort to try something new. Unfortunately, the finished product fails to live up to the alluring concept. A quick refresher. Unbreakable brought together two fascinating characters in the form of comic book expert Elijah Price (Jackson) and sports stadium security guard David Dunn (Willis). Dunn is the sole and miraculous survivor of a horrific train crash from which he emerged entirely unscathed. He's a soulful and introverted family man, and it's not until Price contacts him that he realises he's never been sick or injured his entire life. Price, by contrast, is wheelchair bound, a sufferer of a brittle bone disease that makes him, effectively, as fragile as glass. Price's theory is that if he's as weak as humanity permits, it stands to reason someone must be his direct opposite; a man who is, essentially, unbreakable. Then in 2016 came Split and the introduction of The Horde (McAvoy), a collective name for the many personalities embodying the hapless Kevin Wendell Crumb. Chief amongst them is The Beast, an abnormally strong and animalistic entity capable of scaling sheer walls and even ceilings. If Dunn is the superhero, then The Beast is the super villain. Glass ties these characters together by locking all three up in a mental institute under the care of psychiatrist Dr. Ellie Staple (Sarah Paulson). Her speciality is illusions of grandeur manifesting in the belief that its sufferers are superheroes, and the film does an impressive job of sewing doubt in both the characters' and audience's mind that everything we've seen to date might be explained away by simple science. It's an enticing counterpoint to the conventional superhero narrative, which tells us they simply exist and that's that. Here, Shyamalan continues his preoccupation with how one might become a superhero. It's a trilogy-long origin story, grounded in the lore and mythology of comic books. Fascinating as that idea is, however, the movie spends far too long footnoting itself, going to pains to explain again and again how its events track the narrative arc of any comic. It's as if Shyamalan is desperate to ensure you know how clever his idea is, and all you want to do is yell back at the screen: IT'S OKAY! WE GET IT! MOVE ON! Admittedly, it is clever. The idea that superheroes do exist, but are also very human and only marginally more enhanced and capable than everyone else represents an appealing and refreshing take on the genre. And yet the film's theoretical strength is also its practical weakness. The climactic clash between Dunn and The Beast feels entirely lacklustre and unimpressive in a world now accustomed to such scenes frequently involving the levelling of entire cities. Mass destruction can be tiresome as well, of course, but surely there's room for something in between? In Glass, the characters are a far cry from Superman, Thor or The Hulk. Consequently most of their fighting consists of the pair locked arm-in-arm like a dull MMA bout. There are flourishes of brilliance – Beast's inhuman gallop across a field being amongst the best – but they're far too infrequent. Ultimately though, the biggest problem with Glass is that it's far too preoccupied with explaining itself as it goes. And so while the journey is enjoyable enough, the final feeling is that a great opportunity has been missed. https://www.youtube.com/watch?v=95ghQs5AmNk
UPDATE, September 29, 2023: Cocaine Bear is available to stream via Netflix, Binge, Google Play, YouTube Movies, iTunes and Prime Video. Killer trailer, filler flick: that's the Cocaine Bear story. This loosely based-on-a-true-tale horror-comedy sports a Snakes on a Plane-style moniker that sums up its contents perfectly, as the sneak peek that arrived at the end of 2022 made enticingly clear. Going heavy on the so-OTT-it-can-only-be-real vibe, that initial glimpse also tasked Alden Ehrenreich (Solo: A Star Wars Story) with exclaiming a couple more sentences to express the utter bewilderment that this story sparks. "The bear, it fucking did cocaine. A bear did cocaine!" he shouts, and with exactly the right amount of infectious incredulity. That is indeed what happened in reality back in 1985, after all, and it's what Elizabeth Banks brings to the screen in her third stint as a director after Pitch Perfect 2 and Charlie's Angels — always playing it, for better when it's at its goriest and for worse when it stretches its idea thinner than a white line, like wild tale that it inescapably is. Yes, almost four decades ago, an American black bear did cocaine when drug smuggler Andrew C Thornton (Matthew Rhys, Perry Mason) dropped a hefty pile of the narcotic from the air. The stash landed in the wilderness, catching the attention of the world's most unlikely coke fiend in Georgia's Chattahoochee-Oconee National Forest. The creature ripped open the white powder-filled containers, then ingested — and Cocaine Bear endeavours to have fun hypothesising what could've come next. On-screen, a rampage by the critter now-nicknamed Pablo Escobear ensues, with blood, guts and limbs flung around; the body count mounting like Michael Myers is doing the offing (or maybe Winnie-the-Pooh: Blood and Honey's other recent ravenous bear); and two words getting screamed over and over. They're just the terms a picture called Cocaine Bear was always bound to focus on: cocaine and bear, obviously. To be fair to the characters in Banks' film, if you came face to face with a bear doing cocaine, you'd likely yell about it loudly and often as well. Here, the folks doing the bellowing are all 100-percent fictional, and mostly disposable. Nurse and single mother Sari (Keri Russell, Antlers) learns of the cocaine bear after her daughter Dee Dee (Brooklynn Prince, The Florida Project) skips school with classmate Henry (Christian Convery, Sweet Tooth) and ends up in the hopped-up mammal's path. St Louis-based drug kingpin Syd (Ray Liotta, The Many Saints of Newark) has his son Eddie (Ehrenreich) and dealer underling Daveed (O'Shea Jackson Jr, Obi-Wan Kenobi) actively looking for the coke, while Tennessee detective Bob (Isiah Whitlock Jr, Da 5 Bloods) is actively looking for them after Thornton's death. And, tourists Olaf (Kristofer Hivju, Game of Thrones) and Elsa (Hannah Hoekstra, Faithfully Yours) just happen to be hiking in the park that day, while Ranger Liz (Margo Martindale, The Watcher) and wildlife expert Peter (Jesse Tyler Ferguson, Modern Family) are onsite doing their regular jobs. In the leadup to Cocaine Bear's release, a free Pac-Man-style game hit the web — you play as the bear, snorting energy from lines, packets, piles and bags of cocaine, running around a maze and chomping down as many people as you can. Cocaine Bear, the picture, runs on the same simple thrill, just without anyone mashing buttons to make the animal get devouring. Accordingly, when the bear is coked-up and carnivorous, the flick revels in comedic creature-feature bloodlust and slapstick. A mid-movie ambulance chase and its aftermath is highly inspired and highly amusing, and just as gloriously ridiculous as it should be. The sequence's action choreography, pacing (thanks to editor Joel Negron, Jungle Cruise) and cinematography (via John Guleserian, Candyman) vibrates with a buzz, and nails the B-movie tone that Banks and screenwriter Jimmy Warden (The Babysitter: Killer Queen) are overtly pawing at. Do bears shit in the woods? Yes. Does Cocaine Bear struggle with almost everything around its woodland carnage? Yes again. Alas, if someone isn't being torn to pieces — and each death honestly could be anyone, with more and more supporting figures popping up but everyone lucky to be one-note — the film is about as convincing as its clunky CGI. The script strains so hard for low-hanging laughs around the mauling, which is where all those squawks about cocaine and bears come in, that it's a surprise that no one declares "I've had it with this muthafuckin' bear on this muthafuckin' cocaine". And trying to wring emotions out of parent-child bonds and loss just feels pointless; viewers are here for drug-addled ursine attacks in as many inventive ways as possible, not for cheap heartstring-tugging that does the bear minimum. Banks' cast put in as much effort as they're asked to, sniffing up the trashy 80s mood as they navigate all that bear-induced chaos. From Russell as a determined mum, Rhys' brief cameo as the man who starts it all and Martindale as a lovelorn ranger — all The Americans co-stars — through to the late, great Liotta in one of his last roles, the bickering-and-bantering Ehrenreich and Jackson, and Prince and Convery almost doing a Moonrise Kingdom parody, they're all visibly having a good time. Cocaine Bear isn't as much sustained fun for its audience, however, but it sure wants to be. Its trailer is a killer in two ways: supremely entertaining, and also everything it needed to be in less than three minutes, ensuring that a full film, even a concise 95-minute one, was destined to seem bloated in comparison. A silly slasher, but about a high-and-hungry bear getting grizzly: that's Cocaine Bear at its most engaging, and it's easy to see a gleefully absurd direct-to-streaming franchise springing with instalments like Methamphetamine Monkey and Ecstasy Alligator following — all with diminishing returns. Of course, every animal-attack movie will always pale in comparison to the wildest one there is, aka 1981's lion flick Roar, which'll also rumble to mind when anyone attempts to follow in its footsteps. That's the kind of predator pandemonium that Banks doesn't realise you can't set out to make, but becomes a cult film on its own tumultuous and messy merits. IRL, the cocaine bear that inspired Cocaine Bear didn't munch its way through the park's visitors, with the actual creature now stuffed and on display at the Kentucky for Kentucky Fun Mall — a far blander fate than Cocaine Bear posits, but one just as padded.
Vintage images of bygone eras are always fascinating to admire as it provides a window into the life of a different time and place and highlights the stark differences in culture 100 years makes. These photographs of Paris in 1914 are particularly enchanting not only because they go back to the denouement of the peaceful and reformatory Belle Epoque, with these Parisians unknowingly on the cusp of two devastating world wars, but also because they appear in colour. These were the sort of inspiring settings that influenced legendary writers such as Hemingway, F. Scott Fitzgerald and Gertrude Stein. The vibrancy of the images add character to the scenes laid out and provide a more accurate depiction of what the streets of Paris were really like during this period. These photos poignantly capture the original iconic Moulin Rouge cabaret before it was tragically destroyed in a fire a year later, the pizzazz of a troupe of performers in period costume assemble, average Parisians in the streets, iconic buildings and theatres, as well as a one-legged soldier standing beside a cannon.
Now that the silly season buzz is slowly wearing off, it's time to kick those new year resolutions into gear and jump on the healthy eating train. Thankfully, Brisbane has some wonderful places that are jam-packed full of nutritious and delicious choices. Here are Concrete Playground's top five spots for healthy eating in Brisbane. Botanica Brand new to Brisbane, Botanica is the place to go for fast and fresh food. Located in Red Hill, Botanica offers a wide array of tasty salads packed full of flavour. For dessert indulge in chocolate truffles, or one of their beautiful friands. Botanica caters for all health food preferences including vegetarian, vegan, gluten-free and raw foods. Stop by and indulge in fast food for the healthy elite. Shop 9/1 Enogerra Tce Red Hill; www.botanicarealfood.com.au My Heart Garden Owned and run by students of renowned mediation teacher, Sri Chinmoy, My Heart Garden aims to serve food that is nourishing for body and soul. A vegetarian cafe, meat lovers should still give it a try as the food is so hearty and packed full of flavour that you will not even notice the absence of meat. The service is excellent making the entire visit a spirit-lifting and wonderful experience. 5/225 Hawken Drive, St Lucia; 07 3870 8898; www.myheartgarden.com.au Fundies Fundies in Paddington is stocked full of all of the healthy living items that you need. Spelt, semolina, you name it they've got it. The grocery store is a haven for the food intolerant. Gluten-free Byron Bay pies to take home and cook at your leisure. Ice cream made on coconut or almond milk for the lactose-free. Hallelujah! The attached cafe also has delicious food for breakfast and lunch including their amazing (vege) burgers and enormous salads. 219 Given Terrace, Paddington; 07 3368 1855; www.fundies.com.au/index.html Govindas For those based in the Brisbane CBD and looking for a healthy lunch alternative to the usual sandwich and salad offerings, Govindas is the place to go. Their $12.90 ($10 for students) all you can eat and drink Feast Meal is incredible value. Your plate is piled up with jasmine rice, the daily special curry, kofta balls, lentil soup, salad and Halava and custard for dessert. The flavours are amazing and the service is fast and friendly. First floor, 99 Elizabeth St, Brisbane City; 3210 0255; http://brisbanegovindas.com.au/ Wray Organics Wray Organics has grown in the last five years to a franchise with eight stores throughout south-east Queensland. Offering top quality organic produce, Wray stores are stocked with fruit and veg, meats, nuts, dairy and snacks. The stores in Newmarket and Indooroopilly also have cafes adjoined with fabulous and healthy meals on offer for breakfast and lunch. Display cabinets will be stocked with frittata, patties and salads as well as many sweet treats catering for all dietary requirements. 14 Lambert Road, Indooroopilly; 07 3871 3411; http://www.wrayorganic.com.au/home.aspx
Ending the year as you mean to go on is the ultimate New Year's Eve mantra, and it seems that Australia's weather has taken the sentiment to heart. After the country clocked up its third-warmest year on record in 2018, it kicked off 2019 with toasty spells in both Sydney and Melbourne — and another country-wide spate of hot, hot heat is on its way. It is summer, of course; however the next run of warm weather will see the nation affected by a heatwave from Monday, January 14. According to AAP and The Guardian, every state and territory will feel the heat. The mercury will hit the 30s in every capital city, although the impact will differ around the country. And again, while sunny, sweaty days are part and parcel of this time of year, each capital will experience temps above its average maximum for January. The Bureau of Meteorology predicts that Sydneysiders can expect at least a five-day stretch of 30-plus temperatures from Tuesday, while Brisbanites will swelter through the same temps for the whole week. In Melbourne, a maximum of 37 degrees is forecast on Monday, followed by 35 on Tuesday, before easing off down to 21 on Saturday. https://twitter.com/BOM_au/status/1084218154782478337 In what's proving to be a particularly hot start to 2019 in South Australia, Adelaide will reach 41 degrees on Tuesday and 40 on Wednesday — part of a southern spike that'll also see Hobart make it to 30 degrees on Tuesday and Canberra endure a four-day span of temperatures between 38–40 degrees. Perth will bake on Saturday, when a 37-degree day is expected, while Darwin will stay above 30 all week. Wherever you're spending the next seven days, air-conditioning, pools and the beach are your friends.
Just like those pesky, flimsy shopping bags that Australians no longer take home in bulk every time they buy groceries, plastic plates, cups, bowls, straws and cutlery now have an expiration date. In the country's next effort to give the environment a huge hug, Coles has announced that it'll stop selling single-use plastic tableware, taking all such products off its shelves by the middle of the year. Come July 1, you won't be able to buy something that's plastic and disposable to eat off of, drink out of or eat with at any Coles Supermarkets, Coles Express outlets and Coles Liquor stores, which spans the chain's 2500-plus sites. Instead, if you need something for a party or a picnic, there'll be paper products that use materials from responsibly managed forests, as well as reusable options. Coles expects that the move will stop 1.5 million kilograms of single-use plastic going to landfill each year. That's a huge number — and if you think it doesn't affect the kind of rubbish that gets left around in public spaces, Clean Up Australia Chairman Pip Kiernan notes that 18.5 percent of the garbage its volunteers collect come from single-use cups, plates, bowls, straws, stirrers and cutlery, which end up everywhere from parks and by the road to waterways and beaches. While Coles will ditch single-use plastic tableware from mid-year Australia-wide, it'll actually kick things off before then in South Australia, where legislation banning the products comes into effect on March 1. Queensland is also on the path to scrapping single-use plastic items, with a bill currently under consideration and a start date of September 1 mooted if the legislation is enacted. Over in Western Australia, it's working towards a 2023 date to start phasing out plastic plates, cutlery, stirrers, straws, thick plastic bags and polystyrene food containers. Coles isn't the first supermarket to get ahead of the legislation and ban single-use plastic tableware, with Aldi making the move in 2020. It has already stopped selling plastic straws, plastic disposable tableware and plastic-stemmed cotton buds. Coles will stop stocking single-use plastic tableware from March 1 in South Australia, and from July 1 around the rest of the country. For more information, visit the Coles Group's website.
