Not that long ago, inner-city Brisbane was a hive of movie-going activity, with no fewer that five cinemas operating within the CBD. However, in recent times film lovers have become accustomed to seeing theatres close rather than open — but a proposed new use for the Tara House building on Elizabeth Street could reverse that trend. That's right Brisbanites, the iconic CBD building is might soon be the Elizabeth Picture Theatre — if it proceeds, that is. At the moment, it's the subject of development application lodged by the folks behind the revitalised New Farm Cinemas. After working wonders revamping the old Village Twin on Brunswick Street after more than a decade of inactivity, and running the Yatala Drive-In as well, the Sourris family have set their sights on turning the space previously known as the Queensland Irish Club into a seven-screen cinema. According to a development application lodged through Brisbane City Council and posted on a SkyscraperCity forum, the heritage-listed venue would retain many of its existing features, including transforming the current first-floor ballroom into a grand yet intimate 121-seat theatre, alongside another 57-seat screen on the same level. Five other darkened rooms would grace the ground and basement storeys, and accommodate between 22 and 34 patrons each. Street-level retail tenancies — aka shops and eateries — would also feature. If it goes ahead, the new cinema will mark 179 Elizabeth Street's first significant change since 1919, when the Irish Club first moved in. Prior to that, it housed produce merchants and warehousing firms, with the building initially springing up in 1878. Of course, Elizabeth Picture Theatre's location won't escape the attention of the city's cinephiles; it's directly across the road from what's currently a giant hole in the ground, but previously housed the much-loved Regent Cinema until 2009. As well as its close proximity to the now-demolished movie theatre, it's just up the road from two other former cinema sites: the Forum on the corner on Albert and Elizabeth Streets (which then became a Borders and is now a Topshop store) and the Albert around the corner, which Dymocks, Vapiano and more now call home. Over in George Street, fellow CBD venue Tribal Cinema is still standing, but hasn't been in operation since 2013, though it was listed for lease last year. Via Skyscrapercity.com.
Like much in 2020, Brisbane's next big music festival is going to look more than a little different than usual. Indeed, when Remix Hotel hits town between Friday, October 9–Sunday, October 11, it'll combine two of the year's big trends: making the most of this city of ours and live-streaming top-notch entertainment. Across the whole weekend, the tunes will be pumping at Ovolo The Valley. And if you're thinking that's a unique choice for a music fest, well, this is a unique event. Featuring a lineup that includes Groove Armada, Marshall Jefferson, Jason Bye, Rachel May, Groove Terminator and Mark James, this fest will be broadcasting its live sets from the likes of London, Manchester and Ibiza — all into the hotel's rooms and entertainment areas, and all for music lovers who are staying onsite for a couple of days of ace sounds and staycation shenanigans. Yes, that means you'll need to book a room, which starts at $598 for two people for two nights. But, once you're onsite, you'll be able to tap your toes to a stellar soundtrack in said room, as well as in the hotel's gorilla lounge, its interactive lounge, by the pool and at Za Za Ta Bar and Kitchen. Dancing isn't permitted in line with Queensland's current COVID-19 restrictions; however if you're hanging out in one of the communal spaces, there'll be a heap of seating. Your package includes your stay, free minibar, breakfast and rooftop sunset sessions daily, and a brunch bloody mary on the Saturday, too. More artists will be added to the lineup — and, if you're keen, the whole event is open to hotel guests only. Remix Hotel takes place at Ovolo The Valley from Friday, October 9–Sunday, October 11, with tickets starting from $598 for two people for two nights.
Whether for a drink, a bite to eat, a stint at the casino or to spend the night, heading to Treasury Brisbane has always involved heading to two neighbouring George Street spots. Until this November, that is — with the inner-city venue branching out to a third location perched over the Brisbane river. Called Will & Flow, the new bar will mark Treasury's first off-site location, although it won't be far from its casino and adjacent hotel. Brisbanites can expect to mosey down to the Queen's Wharf precinct, where the overwater watering hole will sit between the QUT Gardens Point CityCat stop and the Goodwill Bridge. The site will serve up drinks and food, and host events — all with views over the river to South Bank. Both indoor and outdoor seating will be a feature, and the latter is likely to be mighty popular. That said, in line with current social-distancing requirements, visitors won't have too much company to start with, with the bar catering to 45 seated patrons or up to 70 standing up cocktail-style when it launches. While we know Will & Flow's exact opening date (November 20), its menu details are yet to be revealed; however, it will be doing coffees during the day and cocktails after work. The overwater bar is the second to open in Brisbane's inner city in the past couple of years, following Mr Percival's over at Howard Smith Wharves — aka the last big new precinct to open its doors. Find Will & Flow in the Queen's Wharf precinct, between the QUT Gardens Point CityCat stop and the Goodwill Bridge, from Friday, November 20. Images: renders of Will & Flow.
Just a few short years ago, grabbing a bite or having a drink beneath the Fortitude Valley side of the Story Bridge simply wasn't possible. Now, Howard Smith Wharves is one of the city's most popular spots. Restaurateur and entrepreneur Hervé Dudognon knows that first-hand, after holding leadership positions at the precinct — and, hopping over to Albion's transformed 100-year-old timber mill for his new venture, he's now hoping to weave that magic twice. At Craft'd Grounds, Dudognon is the co-founder and namesake of soon-to-open French restaurant and bar Hervé's, which'll start welcoming patrons in sometime in March. "The vision has always been to create a community destination — an extension of your home that's warm and inviting," he explains. "Brisbane has a rich dining culture, and while there's many elegant restaurants and bars in town, we've seen a real opportunity to bring a new world-class, yet relaxed approach to French-inspired dining. We want to celebrate the romance of experimenting and preparing fresh produce subtly inspired by French and Australian culture," Dudognon continues. Husband and wife executive chef duo Alex and Chris Norman will be overseeing the kitchen — with Chris as Executive Chef and Alex as Executive Pastry Chef. Between them, the pair boasts The Square restaurant and Ritz Hotel in London, plus The Bridge Room, Merivale Group, The One & Only Resort, Palazzo Versace and Emporium Group in Australia on their resumes. Given that Dudognon's career includes stops at the Hotel De Crillon in Paris, Mandarin Oriental in Hong Kong, and Palazzo Versace and Merivale Group as well, the Hervé's team isn't short on hospitality experience. The venue's menus haven't been revealed as yet, but its food range will favour top produced sourced both locally and abroad — including southeast Australian oysters. On the wine lineup, the bar will hero Australian, French and other international vino from eco-conscious winemakers. Decor-wise, Byron Bay-based interior designer Katie Cameron has given top-floor space an intimate, homely feel. Think: timber aplenty — befitting the building's history — as well as terrazzo, soft lighting and textured fabrics, plus a clear view into the kitchen and its wood-fired oven. When Hervé's opens its doors, it'll join a growing precinct that sprawls across the 2600-square-metres site on Collingwood Street, and takes inspiration from The Grounds of Alexandria in Sydney. Craft'd Grounds is also home to brewery Brewtide and coffee roastery Seven Miles, and will house yet-to-launch bakery and deli Brass Tacks as well. Find Hervé's Restaurant and Bar at Level 1, Craft'd Grounds, 35 Collingwood Street, Albion, open Wednesday–Sunday, from sometime in March — we'll update you with an exact opening date when it's announced.
With apologies to William Shakespeare, all the world isn't just a stage in French farce Murder Party. Instead, it's a game, then another one, then yet another after that. This candy-coloured murder-mystery takes perhaps the ultimate high-concept setup and hones in on a crucial fact: that audiences love whodunnits, whether they're watching them on the screen or reading them on the page, because charting the unravelling details entails sleuthing along. In other words, when we're wondering who killed who in which room and why (and with what weapon), we're playing. The board game Cluedo also nailed this truth, as have murder-mystery parties, plus the increasing array of other interactive shows and events that thrust paying participants into the middle of such puzzle-laden predicaments. And while Murder Party acknowledges this idea in a variety of manners, here's the first and simplest: it's set among a family famed for making best-selling board games themselves. First-time feature writer/director Nicolas Pleskof and his co-scribe Elsa Marpeau (Prof T) kickstart the film with a killer setup: that eccentric crew of relatives, their brightly hued home on a sprawling country estate, an usual task given to a newcomer and, naturally, a sudden passing. Architect Jeanne Chardon-Spitzer (Alice Pol, Labor Day) is asked to pitch a big renovation project to the Daguerre family, transforming their impressive abode so that living there always feels like playing a game (or several). Patriarch César (Eddy Mitchell, The Middleman) already encourages his brood to enjoy their daily existence with that in mind anyway, including dedicating entire days to letting loose and walking, talking and breathing gameplay. But he's looking for a particularly bold next step. He's unimpressed by Jeanne's routine proposal, in fact. Then he drops dead, the property's doors slam shut and a voice over the intercom tells the architect, plus everyone else onsite, to undertake a series of challenges to ascertain the culprit among them — or be murdered themselves. Also thrust into the high-stakes game, which'll dispense with anyone who refuses to take part or guesses incorrectly: César's son Théo (Pablo Pauly, The French Dispatch), daughter Léna (Sarah Stern, Into the World) and nudgingly named youngest boy Hercule (Adrien Guionnet, Le Bazar de la Charité). Yes, sibling rivalry complicates the hypothesising, as well as the attempts to stay alive. Théo is particularly friendly towards workaholic Jeanne, adding another complexity to the already-chaotic situation. Similarly at hand is the dead man's younger wife Salomé (Pascale Arbillot, Haute Couture) — a mystery writer herself — and his no-nonsense offsider sister Joséphine (Miou-Miou, The Last Mercenary). And, because a home this immense was always going to have some help hovering around, butler Armand (Gustave Kervern, Love Song for Tough Guys) gets drawn in, too. If Amelie and Knives Out combined, the end result would look like Murder Party. If Wes Anderson and Agatha Christie joined forces, the outcome would be the same. It's highly unlikely that Pleskof was ever going to call his feature Murder in the Game-Filled Mansion or Death While Rolling the Dice, but that's the overwhelming vibe. There's an escape room element, too — thankfully, though, nodding towards the Escape Room franchise isn't on the agenda. Murder Party's characters get stuck in intricately designed locked spaces and forced to piece together clues to secure their freedom, and are only permitted to remain breathing by keeping their wits about them, but no one's in a horror movie here. There's also a penchant for twists upon twists, including toying with the film's premise. Those zigs and zags are obviously best discovered by watching, but Pleskof and Marpeau know the genre they're diving into — and its tropes, customs and drawcards. They know the kind of flicks they're parodying as well, nodding and winking at everything from Alfred Hitchcock's thrillers to cutesy Gallic comedies. That isn't the same as making the most of their influences, or thoughtfully satirising stereotypical on-screen French quirkiness, however. It doesn't result in a game-changer of a mystery-comedy, either. To Murder Party's misfortune, the small screen has been awash in excellent comic whodunnits in the past year, spanning Only Murders in the Building, The Afterparty and The Resort. If you've seen even just one of those three shows, it'll linger in your mind while watching Jeanne navigate the Daguerre family's mayhem. Still, there's an enticing air to Murder Party's aesthetic, with production designer Jérémy Duchier (Perfumes), art director Jean-Baptiste Rodet (Agatha Christie's Criminal Games) and costume designer Dorothée Guiraud (Portrait of a Lady on Fire) showering the featuring in a rainbow's worth of shining shades. The film colour-codes its characters just as Cluedo always has — in their outfits, rather than their names — and also turns its vibrantly decorated labyrinth of a mansion into the game-playing version of Willy Wonka's chocolate factory. Visually, Murder Party is exactly what it's meant to be: a sweet treat. And, just like in Roald Dahl's beloved book and the movies that've brought it to the screen, exactly who endures and who gets eliminated is guided by personality, and by riddles and quests that know their players' strengths and weaknesses. Fluffy, flashy, sugary, elaborate — yes, Murder Party is the dessert of whodunnit flicks in several ways. In-depth characterisations aren't a particular murder-mystery strength (see: the recent versions of Murder on the Orient Express and Death on the Nile), but for everyone except Jeanne, the film remains especially light. There's a reason behind that, linked to the plot's biggest twist of all. Still, in the overall puzzle, that's also too much of a telltale sign. Murder Party wants to ponder the fun and escape of moving tokens, shuffling cards, making guesses and other frivolous trivialities, but getting immersed in the sleuthing, and also invested in each character's fate, proves a slipperier and trickier prospect when it's instantly clear that almost everyone is just a pawn.
Summer is almost here for another year, and that means that festival season is almost here as well. We all know that the latter always comes in two parts, however. Before we spend our sunny days and balmy nights dancing in crowds, there's the anticipation phase — that time when it seems like every fest in the country is announcing plans and lineups to get us all excited. After Wollongong's Yours and Owls, new touring fest Summer Camp, Sydney's NYE in the Park and Melbourne's Beyond the City all dropped their latest details in recent weeks, it's now For the Love's turn. The waterfront music festival will hit up the Gold Coast, Wollongong, Melbourne and Perth in February and March 2022, with Dom Dolla, Crooked Colours and Mallrat leading the lineup. Running Touch, Allday, Boo Seeka, George Maple, Telenova and Ebony Boadu are also on the bill, and the folks at Untitled Group — the same minds behind Beyond the Valley, Pitch Music & Arts and Ability Fest — are still running the show. The Gold Coast's Doug Jennings Park, Wollongong's Stuart Park, Catani Gardens in Melbourne and Perth's McCallum Park are set to be transformed into blissful dance destinations — and punters will also have the opportunity to kick back in style in one of For The Love's VIP lounges, presented by Aussie streetwear label Nana Judy. If it all sounds a bit familiar, that's because a number of acts on the bill were due to play For the Love this year, only for 2021's events to get pushed back to 2022. But that chaos has meant that a Wollongong festival has now joined the tour, which is obviously great news for New South Wales residents. If an evening spent cutting shapes by the water sounds like a much-needed addition to your calendar, you can now register for presale tickets until 4pm AEDT on Tuesday, November 23. Presale tickets go on sale from 6pm AEDT hat same day, with general public tickets up for grabs from 1pm AEDT on Wednesday, November 24. FOR THE LOVE 2022 AUSTRALIAN DATES: Saturday, February 19 — Doug Jennings Park, Gold Coast Saturday, February 26 — Stuart Park, Wollongong Saturday, March 5 — Catani Gardens, Melbourne Sunday, March 6 — McCallum Park, Perth FOR THE LOVE 2022 LINEUP: Dom Dolla Crooked Colours Mallrat Allday Running Touch Boo Seeka George Maple Telenova Ebony Boadu For The Love 2021 tours the country in February and March 2022. Head to the festival's website to register for presale.
No doubt you have a couple of Donna Hay cookbooks in your cupboard. After all, she is an Aussie food icon. From baked treats and cakes to salads, soups and home-style feasts, she's known not only for her recipes but also her impeccable plating. Now, the much-loved cook is hosting a series of virtual cooking classes, so you can become a culinary whiz in your own kitchen. Yep, it's not often you get to cook with Donna Hay and, soon enough, you'll be plating up like a Masterchef contestant. Best of all, it's free. To make it happen, Hay has partnered up with renowned New Zealand winemakers Cloudy Bay, because it wouldn't be a dinner party without vino. Known for its well-crafted wine, particularly its sauvignon blanc, Cloudy Bay is synonymous with the Marlborough wine region. Happening on Thursday, August 20 and Thursday, August 27, the two 1.5-hour cook-along sessions will see you whipping up two courses — a grazing platter and a main — and pairing both with a Cloudy Bay vino. In the first masterclass, the focus will be on pairing a fresh, vibrant sauvignon blanc with each dish. In the second, it'll be all about cool-climate pinot noir. Overall, with the help of Donna Hay and Cloudy Bay, you'll pick up some serious shortcuts to at-home entertaining. You can register for free here. Once you've signed up, you'll get an email with a link to join via Zoom, plus access to online recipe cards access and where to purchase the two Cloudy Bay wines — and have them delivered to your door. The Shortcuts to Entertaining with Donna Hay sessions kick off at 6.30pm on Thursday, August 20 and Thursday, August 27. To sign up, head here, then order yourself bottles of Cloudy Bay from this website.
When was the last time that you picked up a pen, sat down in front of a piece of paper and wrote someone a letter? When was the last time you picked up a pen and wrote something other than a reminder note, shopping list or a scribbled signature, for that matter? Handwriting is no longer a daily part of many people's lives, and nor is corresponding with others via mail — but both are in the spotlight at Dead Letter Club. Founded in Melbourne and now making its way around the country, Dead Letter Club is reviving the art of simply writing letters, although it's doing so with a twist. It's also a creative writing night, where people grab some stationery, choose a pen name and start scrawling missives. The letters are then sent via secret post — that is, swapped with other attendees, with everyone paired up with a mystery pen pal — creating a back-and-forth of handwritten correspondence throughout the evening. On the club's website, creator Melanie Knight describes it as "a chance to turn the tides on consumerism. Rather than consume more, we can make something". Dead Letter Club also presents itself an antidote to today's texting, twittering, emoji-sending, like-clicking forms of communication, instead requiring someone to spend time and energy to carefully compose a long-form piece of correspondence to someone else. Celebrating its first birthday at Melbourne's Noisy Ritual Urban Winery on Wednesday, October 10, Dead Letter Club often takes place in boozy establishments — so if you need some inspiration, the liquid type is available to purchase. Hundreds of writing prompt cards are also on hand, should you simply need an idea to get you started. The club comes to Sydney on Wednesday, October 17 thanks to a session at Daisy's Milk Bar, with fellow nights following in Wollongong and Canberra as part of an east coast tour. A session also occurred in Brisbane in September — and the club welcomes enquiries from folks eager to start up regular events in their city or town. Image: Dead Letters Club.
For the past few years, the unnerving Séance installation has been popping up around southeast Queensland and spooking the region out. In 2022, it's back again — because when better than the lead up to Halloween? This time around, however, it's setting up its big, white container at Movie World on the Gold Coast as part of the theme park's October Fright Nights on Friday and Saturday evenings. That means that you do need to buy a ticket to the whole shindig, then nab a Séance ticket on top; however, you will get to enjoy this particular experience, plus everything else that's on the Fright Nights agenda. On that list: spooky entertainment, creepy precincts, themed mazes (some of which also cost extra) and, of course, Movie World's rides. Unlike most shipping containers around the place, this one isn't being used to transport furniture. And, given that the word 'séance' is written on the side in black, it's definitely more than a little ominous. Participants will be able to take a seat inside, and then put on a headset. You'll next be told to put both hands on the table. The lights go out, leaving the place in absolute darkness — and, for 20 uneasy minutes, you'll be taken on an immersive journey led only by touch and sounds. Expect to feel confused, repulsed and struck with temporary claustrophobia. According to organisers, numerous participants have bailed halfway through sittings in the past. You're probably thinking that there's something dark or supernatural about the whole thing — and going by the name, we don't blame you. But the installation's organiser says that 'séance' is simply a French word meaning 'session' or 'sitting'. And so Séance is a sensory experience that looks at the psychology of both sensory deprivation and the dynamics of a group sitting together. It's a scary indicator of how easy it is for confusion, disorientation and information overload to affect our judgement. (We're serious when we say Séance is not recommended for the claustrophobic, the easily frightened or those afraid of the dark.) Artists David Rosenberg and Glen Neath of Darkfield (who have collaborated in other sensory deprivation projects before) are the creative masterminds behind the project, which has been described as 'disorienting' and 'deeply unsettling'. And if need more of an idea of what you're in for, you might've listened to Darkfield's at-home experiences in the past few years, too — such as Double, Visitors, Eternal and Knot — and experienced a few bumps and jumps. [caption id="attachment_804877" align="alignnone" width="1920"] Séance in Sydney in 2017[/caption]
Forests, riverbeds, floating mirrored spheres, a hefty collection of motorbikes: across recent summers, these have all filled Brisbane's Gallery of Modern Art. Every three years, so does a returning showcase dedicated not to a theme but to the area of the world that the River City is a part of. For more than three decades now, pre-dating GOMA's existence, the Asia Pacific Triennial of Contemporary Art has contemplated this corner of the globe, the experiences over its vast expanse and the region's talents. The 2024–25 iteration marks the exhibition's 11th run — and if the fact that there's more than 500 works doesn't already make it seem like a maze, a labyrinth-esque installation at Queensland Art Gallery will. Thailand's Mit Jai Inn is displaying a maze-like piece to the QAG Watermall, a space that's also seen its fair share of past works — including from Yayoi Kusama and at prior APTs — and featured on-screen in Apples Never Fall. This time, art lovers can spy tunnels, curtains and scrolls, all in an installation that you can step inside. There's your first must-see part of APT11. Taking place from Saturday, November 30, 2024–Sunday, April 27, 2025 at both GOMA and QAG, the exhibition's full list of 500-plus works hails from over 70 artists and collectives, with more than 200 individuals making a contribution. Among the new commissions, Jasmine Togo-Brisby, Kawita Vatanajyankur, Trương Công Tùng, Paemanu Contemporary Art Collective, 'Aunofo Havea Funaki and the Lepamahanga Women's Group, Mele Kahalepuna Chun and Mai Nguyễn-Long will all provide pieces; however, the list of artists involved goes on from there. [caption id="attachment_969544" align="alignnone" width="1920"] Kawita Vatanyankur / Thailand b.1987 / Pat Pataranutaporn /United States b.1995 / The Machine Ghost in the Human Shell (from the 'Cyber Labour' series) 2024 / Performative hologram projections with AI / Installed dimensions variable / Commissioned for the 11th Asia Pacific Triennial / Courtesy: The artist and Nova Contemporary / © Kawita Vatanyankur[/caption] Courtesy of 28-artist collective Haus Yuriyal in Papua New Guinea, attendees can check out paintings on fighting shields, sculptures carved from tree ferns and a harvest garden in Queensland Art Gallery's sculpture courtyard. At GOMA, the Long Gallery features Tai Moana Tai Tangata, a combination of sculptures and video from Aotearoa's Brett Graham. Plus, Dana Awartani from Saudi Arabia and Palestine is presenting the floor-based Standing by the Ruins, which uses Islamic geometry and crafting, as well as Arabic ruin poetry, to ponder the impact of war. Dawn Ng's multi-channel video featuring frozen pigment melting; Yeung Tong Lung's portraits of daily Hong Kong life; Kikik Kollektive musing on a serpent deity; film programs exploring the careers of Tsai Ming-liang (Days), Ryusuke Hamaguchi (the Oscar-winning Drive My Car) and Kamila Andini (Yuni): they're all also on the lineup. Fingers crossed that the Tsai Ming-liang survey includes his stunning first virtual-reality effort The Deserted. The full roster of APT10 participants spans artists from Australia, New Zealand, Japan, Iran, India, Singapore, Hong Kong, China, Papua New Guinea, Taiwan, Timor‑Leste, Saudi Arabia, Sri Lanka, Fiji, Malaysia, Vietnam, Hawaii, South Korea, Mongolia, Indonesia, Tonga, Uzbekistan, Thailand, Solomon Islands, The Philippines, Samoa, Bangladesh, Pakistan, Vanuatu, Cambodia, the US and more. [caption id="attachment_969545" align="alignnone" width="1920"] Dawn Ng / Singapore b.1982 / WATERFALL VIII (still) 2023 / 4K video: 16:9 (landscape) and 9:16 (portrait), 27:06 minutes / Courtesy: The artist and Sullivan+Strumpf / © Dawn Ng[/caption] Top images: Installation of Haus Yuriyal's artwork including (front to back) Bopa, 2024, Kalabus, 2024, Kamkau Ike (Haus Toktok) 2024 with Yuriyal Bridgeman's Yuri Alai Eagles (ceiling shield paintings) 2024 and Kuman (shield) paintings 2024. 'The 11th Asia Pacific Triennial of Contemporary Art, Queensland Art Gallery / Photograph: C Callistemon © QAGOMA. Dana Awartani / Saudi Arabia / Palestine b.1987 / Standing by the ruins (installation view, 'Art Here: Icon. Iconic', Louvre, Abu Dhabi) 2022/ Courtesy: The artist / © Dana Awartani. Kikik Kollektive artist Marrz Capanang paints a collaborative mural in IIoilo City, Central Philippines, 2022 / © Kikik Kollektive / Photograph: Kristine Buenavista. Brett Graham / Ngāti Korokī Kahukura, Tainui / Aotearoa New Zealand b.1967 / Maungārongo ki te Whenua, Maungārongo ki te Tangata 2020 / Wood, synthetic polymer paint and graphite / 320 x 800 x 320cm / Courtesy: The artist and Neil Pardington / © Brett Graham and Neil Pardington / Photograph: Neil Pardington.
You've heard of tapioca. You've probably enjoyed tapioca pearls in a bubble tea, and might've tried tapioca pudding. What you haven't done is eaten at an establishment entirely dedicated to the starchy substance (which is extracted from the Brazilian cassava root, just FYI). And how do we know this? Well, because Australia's first-ever tapioca bar has just opened in Brisbane. A new addition to Sandgate Road in Nundah, Tapioca Garden rather likes its hero ingredient — and thinks that you're going to as well. That's probably why they've whipped up quite the menu to convince patrons of tapioca's merits. Let's face it: if Nutella and strawberry tapioca pancakes can't tempt your tastebuds into loving this gluten-free, dairy-free, vegan food, nothing can. Campos coffee and Origin tea are also on offer alongside other tapioca options — but it's not just the firm focus on different types of its main attraction that's a drawcard here. Prepare to feel like you've been wasting your life, because this low-budget venture was put together by Torrens University interior design students Juliana Ribeiro and Paige Hodkinson, who sought help and support from a host of local businesses to get create their new community hub. Now that's quite the uni project. Find Tapioca Garden at 3/1192 Sandgate Road, Nundah. Check out their Instagram for more information.
Like eating? Like South Bank? Then you're going to love the combination of the two. Yes, it's Regional Flavours time again. If you haven't made it along to the inner-city precinct's signature food and wine festival over the past ten — yes ten — years, don't make that same mistake again in year ten. And, as always, entry is free. For two days across Saturday, July 20 and Sunday, July 21, the length and breadth of the parklands will become a culinary wonderland, complete with different spaces serving up different taste sensations. At the Queensland Taste Marketplace, you'll find market stalls, demonstrations and live music. At The Hunting Club, which will kick things off a little earlier on Friday, July 19 from 5–10pm, you'll find woodfired and smoked meat matched with beers. Plus, there will be areas dedicated to street food and picnics. In addition, there'll be classes, demonstrations, presentations and signings from a huge range of chefs — such as Poh Ling Yeow, George Calombaris, Matt Preston, Justine Schofield, Reynold Poernomo, Dan Churchill, Ellie Bullen and more. The bulk of Regional Flavours runs from 10am–5pm on Saturday and Sunday, however River Quay will operate until 7pm and The Hunting Club will stay open until 10pm.
Whoever said an encyclopaedic knowledge of a cartoon about a dysfunctional yellow family would never come in handy was a real narc. So, for its latest edition on Sunday, July 26, Isolation Trivia is pulling the Comic Book Guy out of every Simpsons fanatic. If you don't know squat about Homer, Marge, Lisa, Bart and Maggie — and their escapades over the long-running animated series' first nine seasons in particular — then consider yourself warned. This virtual trivia event is definitely for fans. You should at least know the name of Lionel Hutz's law practice, and the monikers of Lisa and Bart's hockey teams coached by Apu and Chief Wiggum. It'll also help if you know who the two other Sideshows were besides Bob and Mel, and the identity of Lisa's first hook-up. These are elementary questions, and their answers should be written into your brain like it's a chalkboard. Play along from home from 6.25pm — and, if you've ever been to a Simpsons trivia night in-person, you'll understand these can get pretty intense, with some competitors near crazed with cartoon intelligence. So be prepared for the moment you stare at the leaderboard, hypnotised by self-doubt, and repeatedly, self-pityingly mutter to yourself, "I'm not so S-M-R-T". Isolation Trivia's The Simpsons trivia night takes place from 6.25pm at Sunday, July 26.
Here comes the songs, Beatles fans, but not quite as you know them. In fact, Lady Beatle isn't just for die hard aficionados of the fab four — it's for everyone that likes their pop culture a bit out of the ordinary. As they did with Miley Cyrus in Wrecking Ball, collaborators Adam Brunes and Naomi Price turn one of the most famous catalogues of tracks in history into something completely different and new. If you saw that show, then you'll be eager to see how this turns out. Come together, because all you need is love and a modern memory play (aka a stage show where a character tells the tale from their recollections, with this one inspired by true accounts). Given the title, expect to see her standing there. Price, that is. Also expect the likes of 'Lucy in the Sky With Diamonds', 'Eleanor Rigby', 'Lady Madonna' and 'Penny Lane' come to life in a kaleidoscopic cabaret.
A scroll through your social media feeds can often leave you feeling like you're the only one not on holidays. While you're doing the same old nine-to-five slog, there are your peers inconsiderately boasting about all of the worldly arts and culture (and food) they're consuming. But, as it happens, you don't need to fork out the big bucks for a plane ticket to see some of the world's most important artworks. Come October, the Art Gallery of NSW will launch its next major exhibition Masters of Modern Art from the Hermitage. It'll see 65 artworks from some of the early 20th century's most revered artists — think Cézanne, Matisse, Picasso and Gauguin, plus their celebrated Russian contemporaries Malevich and Kandinsky — drawn extensively from St Petersburg's State Hermitage Museum. This landmark exhibition focuses on a revolutionary era in art history when these now legendary artists "freed themselves from tradition" and began to imagine art in previously untold vibrant, innovative and abstract ways. The collection acts a self-contained timeline tracking this defining period, with highlights including Monet's Poppy Field (1890), Picasso's Table in a Café (1912) and Kandinsky's Landscape near Dünaberg (1913). The exhibition also delves into the lives of visionary Russian art collectors Sergei Shchukin and Ivan Morozov — more than two-thirds of the exhibition has been drawn from their art collections. Realising the potential of the French modern masters, from the beginning of the 20th century, both Shchukin and Morozov acquired many of today's most acclaimed artworks. The Masters of Modern Art from the Hermitage is half of the 2018/19 Sydney International Art Series, with the Museum of Contemporary Art's David Goldblatt making up the other half. Master of Modern Art from the Hermitage will run from Saturday, October 13, 2018 to Sunday, March 3, 2019. You can purchase tickets now from the Art Gallery of NSW website. We also have double passes to the exhibition to give away. To enter, see below. [competition]687134[/competition] Images: Paul Cézanne 'Fruit' 1879-1880. Courtesy of The State Hermitage Museum, St Petersburg. Claude Monet France 1840–1926 'Poppy field' 1890/91. Courtesy of The State Hermitage Museum, St Petersburg, Pavel Demidov and Konstantin Sinyavsky; Henri Matisse 'Game of bowls' 1908. Courtesy of The State Hermitage Museum, St Petersburg, Vladimir Terebenin and H Matisse/Copyright Agency; Wassily Kandinsky 'Landscape: Dünaberg near Murnau' 1913. Courtesy The State Hermitage Museum, St Petersburg and Vladimir Terebenin.
Something delightful has been happening in cinemas in some parts of the country. After numerous periods spent empty during the pandemic, with projectors silent, theatres bare and the smell of popcorn fading, picture palaces in many Australian regions are back in business — including both big chains and smaller independent sites in Sydney, Melbourne and Brisbane. During COVID-19 lockdowns, no one was short on things to watch, of course. In fact, you probably feel like you've streamed every movie ever made, including new releases, 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. THE LOST CITY Sometimes, they do still make 'em like they used to: action-adventure rom-coms in this case. Drive a DeLorean back to 1984, to the year before Robert Zemeckis made DeLoreans one of the most famous types of movie cars ever, and the director's Romancing the Stone did huge box-office business — and it's that hit that The Lost City keenly tries to emulate. This new Sandra Bullock- and Channing Tatum-starring romp doesn't hide that aim for a second, and even uses the same broad overall setup. Once again, a lonely romance novelist is swept up in a chaotic adventure involving treasure, a jungle-hopping jaunt and a stint of kidnapping, aka exactly what she writes about in her best-selling books. The one big change: the writer is held hostage, rather than her sister. But if you've seen Romancing the Stone, you know what you're in for. Movies that blandly and generically recreate/riff on/rip off others will never be gleaming cinematic jewels; the good news is that The Lost City is neither dull nor dispiritingly derivative. Cinema has literally been there and done this before, but directors Aaron and Adam Nee (Band of Robbers) are gleefully aware of that fact and don't even pretend to pretend otherwise. Rather, they wink, nod, serve up a knowing tribute to the 80s fare they're following, and repeatedly make it as blatant as can be that everything they're doing is by design. Their tone is light, bouncy and breezy. Their cast, which also spans Daniel Radcliffe and a delightfully scene-stealing Brad Pitt, is always on that wavelength. Indeed, swap out the vibe or The Lost City's four biggest on-screen names and the film would fall apart, especially without Bullock and Tatum's charisma and chemistry. With them all, it remains by the numbers but also terrifically likeable. As penned by the Nees, Oren Uziel (Mortal Kombat) and Dana Fox (Cruella) — based on a story by Baywatch director Seth Gordon — The Lost City's plot is ridiculously easy to spot. Also, it's often flat-out ridiculous. Anyone who has ever seen any kind of flick along the same lines, such as Jungle Cruise most recently, will quickly see that Loretta Sage (Bullock, The Unforgivable), this movie's protagonist, could've penned it herself. Once she finds herself living this type of narrative, that truth isn't lost on her, either. First, though, she's five years into a grief-stricken reclusive spell, and is only out in the world promoting her new release because her publisher Beth (Da'Vine Joy Randolph, The United States vs Billie Holiday) forces her to. She's also far from happy at being stuck once again with the man who has been sharing her limelight over the years, Fabio-style model Alan (Tatum, Dog), who has graced her book's covers and had women falling over themselves to lust-read their pages. Loretta is hardly thrilled about the whole spectacle that becomes her latest Q&A as a result, and that makes her a distracted easy mark for billionaire Abigail Fairfax (Daniel Radcliffe, Guns Akimbo) afterwards. He's noticed her new work, spotted similarities to the ancient riches he's chasing IRL, and gets his underlings to swoop in and snatch her up. His plan: leaning on Loretta's past as a serious historian to help him find his holy grail on a remote Atlantic island. She's given zero choice, but once the puppy dog-like Alan notices she's missing, he calls in expert assistance from devilishly suave and competent mercenary Jack Trainer (Pitt, Ad Astra). Of course, it doesn't take long for Loretta and Alan to be fleeing as an odd-couple duo, attempting to find the treasure, and endeavouring to avoid Abigail and his minions — and stay alive, obviously. Read our full review. EVERYTHING EVERYWHERE ALL AT ONCE Imagine living in a universe where Michelle Yeoh isn't the wuxia superstar she is. No, no one should want to dwell in that reality. Now, envisage a world where everyone has hot dogs for fingers, including the Crouching Tiger, Hidden Dragon icon. Next, picture another where Ratatouille is real, but with raccoons. Then, conjure up a sparse realm where life only exists in sentient rocks. An alternative to this onslaught of pondering: watching Everything Everywhere All At Once, which throws all of the above at the screen and a helluva lot more. Yes, its title is marvellously appropriate. Written and directed by the Daniels, aka Swiss Army Man's Daniel Kwan and Daniel Scheinert, this multiverse-hopping wonder is a funhouse of a film that just keeps spinning through wild and wacky ideas. Instead of asking "what if Daniel Radcliffe was a farting corpse that could be used as a jet ski?" as their also-surreal debut flick did, the pair now muses on Yeoh, her place in the universe, and everyone else's along with her. Although Yeoh doesn't play herself in Everything Everywhere All At Once, she is seen as herself; keep an eye out for red-carpet footage from her Crazy Rich Asians days. Such glitz and glamour isn't the norm for middle-aged Chinese American woman Evelyn Wang, her laundromat-owning character in the movie's main timeline, but it might've been if life had turned out differently. That's such a familiar train of thought — a resigned sigh we've all emitted, even if only when alone — and the Daniels use it as their foundation. This isn't a movie that stays static, however, or wants to. Both dizzying and dazzling in its ambitions, the way it brings those bold aims to fruition, the tender emotions it plays with and the sheer spectacle it flings around, Everything Everywhere All At Once is a magnificent dildo-slinging, glitter cannon-shooting, endlessly bobbing and weaving whirlwind. Everything Everywhere All At Once is the movie version of a matryoshka set, too. While Russian Doll nods that way as well, the possibilities are clearly endless when exploring stacked worlds. Multiverses are Hollywood's current big thing — the Marvel Cinematic Universe, the DC Extended Universe, the Sony Spider-Man Universe and Star Trek have them, and Rick and Morty adores them — but the concept here is equally chaotic and clever. It starts with Evelyn, her husband Waymond (Ke Huy Quan, Indiana Jones and the Temple of Doom's Short Round and The Goonies' Data) and a hectic time. Evelyn's dad (James Hong, Turning Red) is visiting from China, the Wangs' daughter Joy (Stephanie Hsu, Shang-Chi and the Legend of the Ten Rings) brings her girlfriend Becky (Tallie Medel, The Carnivores) home, and IRS inspector Deirdre Beaubeirdra (Jamie Lee Curtis, Halloween Kills) is conducting a punishing audit. Then Evelyn learns she's the only one who can save, well, everything, everywhere and everyone. There's a great gag in that revelation, playing smartly yet savagely with perspective — because Everything Everywhere All At Once is all about how we choose to see things. Imagine trudging over to your local tax department, trolley full of receipts in hand and possible financial ruin in front of you, only to be told mid soul-crushing bureaucratic babble that it all means nothing since the very fate of the universe is at stake. But, at the same time, imagine realising that it's the simplest things that mean the most when space, time, existence and every emotion possible is all on the line. Although that isn't how a different version of Waymond puts it to Evelyn, it's what sparkles through as she's swiftly initiated into a battle against dimension-jumping villain Jobu Tapaki, discovers that she can access multiple other iterations of herself by eating chapsticks and purposefully slicing herself with paper cuts, and gets sucked into a reality-warping kaleidoscope. Read our full review. HAPPENING It's hard to pick which is more horrifying in Happening: the graphic scenes where 23-year-old literature student Anne Duchesne (Anamaria Vartolomei, How to Be a Good Wife) takes the only steps she can to try to regain control of her life, or the times she's repeatedly told by others, typically men, to accept a fate that only ever awaits her gender. Both hit like a punch, by design. Both are wrenching, heart and gut alike, and neither are surprising for a second. Also leaving a mark: that few care that Anne's future is now threatened in this 2021 Venice Film Festival Golden Lion-winner, because that's simply a consequence of having sex for women in France in 1963, the movie's setting. There's another truth that lingers over this adaptation of author Annie Ernaux's 2001 memoir of the same name, which uses her own experiences at the same age, time and in the same situation: that in parts of the world where pro-life perspectives are entrenched in law or regaining prominence, Happening's scenario isn't a relic of the past. Late in the movie, Anne describes her circumstances as "that illness that turns French women into housewives". It's a blunt turn of phrase, but it's accurate. It also speaks to how writer/director Audrey Diwan (Losing It) and co-scribe Marcia Romano (Bye Bye Morons) approach the film with the clearest of eyes, declining to indulge the idea that forcing unwanted motherhood upon young women is a gift or simply a duty, and likewise refusing to flinch from showing the reality when the personal freedom to choose is stripped away. This is a feature made with the fullest of hearts, too, compassion evident in every boxed-in Academy ratio frame that rarely leaves Anne's face. It spies the appalling options before her, and sees the society that's okay with stealing her choices. And, it stares deeply at both the pain and determination that've understandably taken up residence in Anne's gaze. The second of Ernaux's works to hit screens of late after the also candid and moving Simple Passion, Happening begins with hope, with Anne and her Angoulême college dormmates Hélène (Luàna Bajrami, The Hill Where Lionesses Roar) and Brigitte (Louise Orry-Diquéro, Occidental) getting ready for a dance. They're filled with the excitement that comes with believing anything could happen — there's fun to be had, men to meet and lives to be changed — but, once there, it's obvious that these kinds of nights always follow the same pattern. Their university's resident mean girls glare on in judgement when Anne even talks to a guy, but she doesn't let that stop her. She isn't one to weather their bullying, gossip and slut-shaming, including once she discovers she's expecting three weeks after a casual fling. The only thing that terrifies the ambitious and bright working-class student: losing the ability to live the life that she's been working towards. The alternative is highly illegal, so much so that securing help from medical professionals, friends and family is overwhelmingly difficult. Delivering the surprising pregnancy news, Anne's family doctor (Fabrizio Rongione, Azor) is sympathetic to the stark scenario facing his patient, knowing the stigma that'll come her way for being an unwed single mother, and that her dreams of teaching will be derailed. Still, given that prison is the punishment for illicit terminations, he shuts down any notion of lending a hand. Even chatting about abortion hypothetically with Hélène and Brigitte before they know she's with child earns the same dismissive response. The baby's father (Julien Frison, Lover for a Day), a visiting student, just wants the situation handled, and asking a flirtatious classmate (Kacey Mottet Klein, Farewell to the Night) for assistance just ends with him hitting on Anne; she's already pregnant so he figures she'll be up for it and there'll be no consequences. Read our full review. THE GOOD BOSS Despite being nominated for Best Actor for Being the Ricardos, Javier Bardem had zero chance of nabbing a shiny trophy at the 2022 Oscars. The movie he deserves his next nod for instead: savagely sharp workplace satire The Good Boss, which is home to a tour-de-force of a performance from the Spanish actor. Already an Academy Award-recipient for his powerhouse effort in No Country for Old Men — and a prior contender for Before Night Falls and Biutiful, too — Bardem does what he long has, playing a character who uses a set facade to mask his real self. Here, he's a seemingly kindly factory owner who makes a big fuss about treating his employees like family, but happily lets that ruse slip if they want more money, or have problems at home that disrupt their work, or happen to be an attractive intern. He still sports a smile though, naturally. In his latest Goya Award-winning part — his 12th to be nominated, too — Bardem becomes the outwardly friendly, inwardly slippery Básculas Blanco. Given the darkness that lingers in his self-serving, self-confident, self-satisfied true nature, the character's name is patently tongue-in-cheek. He presides over a company that makes professional-grade scales, which he inherited from his father, and tells his staff "don't treat me like a boss". But filmmakers who put the word 'good' in their movie's monikers rarely mean it literally, and writer/director Fernando León de Aranoa (who reteams with his lead after 2002's Mondays in the Sun and 2017's Loving Pablo) is one of them. As portrayed with quietly compelling magnetism by Bardem, The Good Boss' ostensibly respectable CEO finds his perfectly calibrated public persona cracking slowly, surely and devilishly, all thanks to the weight of his own ruthlessness. Awards aren't just coming Bardem's way off-screen for this exceptional turn; they're baked into the movie's plot as well. When The Good Boss begins, Blanco is determined to win a prestigious business prize — but he can't be called desperate, because appearing anything other than commanding, magnanimous and prosperous isn't in the grey-haired, sleekly attired manager's wheelhouse. Still, everyone around him knows how insistent he is about emerging victorious, including his clothing boutique-owning wife Adela (Sonia Almarcha, The Consequences). Their dutiful but hardly passionate marriage says plenty about Blanco, how he operates, and how careful he is about maintaining the illusion he wants the world to see. Indeed, when pretty young Liliana (Almudena Amor, The Grandmother) starts in his marketing department for a month-long stint, she instantly earns his attention, while he still outwardly flaunts committed family-man vibes. Liliana's arrival isn't without complications either professionally and personally. But in a film that skewers nine-to-five life and relationships alike, that's one of several troubles that upsets the company's balance. Just as Blanco's business is set to be inspected during the prize's judging process, his orderly world is pushed askew. There's the just-retrenched José (Óscar de la Fuente, The Cover), who won't accept his sacking, has set up outside the worksite's gate with a loudspeaker shouting out his woes and even has his school-aged children in tow. Then, there's underling and childhood friend Miralles (Manolo Solo, Official Competition), whose marital struggles are impacting day-to-day operations. And, trusted employee Fortuna (Celso Bugallo, The Paramedic) calls upon Blanco's sway for help with a domestic situation of his own. Read our full review. If you're wondering what else is currently screening in Australian cinemas — or has been lately — check out our rundown of new films released in Australia on January 1, January 6, January 13, January 20 and January 27; February 3, February 10, February 17 and February 24; and March 3, March 10, March 17, March 24 and March 31; and April 7. You can also read our full reviews of a heap of recent movies, such as Ghostbusters: Afterlife, House of Gucci, The King's Man, Red Rocket, Scream, The 355, Gold, King Richard, Limbo, Spencer, Nightmare Alley, Belle, Parallel Mothers, The Eyes of Tammy Faye, Belfast, Here Out West, Jackass Forever, Benedetta, Drive My Car, Death on the Nile, C'mon C'mon, Flee, Uncharted, Quo Vadis, Aida?, Cyrano, Hive, Studio 666, The Batman, Blind Ambition, Bergman Island, Wash My Soul in the River's Flow, The Souvenir: Part II, Dog, Anonymous Club, X, River, Nowhere Special, RRR, Morbius, The Duke and Sonic the Hedgehog 2, Fantastic Beasts and the Secrets of Dumbledore, Ambulance and Memoria.
Something delightful has been happening in cinemas in some parts of the country. After numerous periods spent empty during the pandemic, with projectors silent, theatres bare and the smell of popcorn fading, picture palaces in many Australian regions are back in business — including both big chains and smaller independent sites in Sydney, Melbourne and Brisbane. During COVID-19 lockdowns, no one was short on things to watch, of course. In fact, you probably feel like you've streamed every movie ever made, including new releases, 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. BODIES BODIES BODIES The internet couldn't have stacked Bodies Bodies Bodies better if it tried, not that that's how the slasher-whodunnit-comedy came about. Pete Davidson (The Suicide Squad) waves a machete around, and his big dick energy, while literally boasting about how he looks like he fucks. Borat Subsequent Moviefilm: Delivery of Prodigious Bribe to American Regime for Make Benefit Once Glorious Nation of Kazakhstan Oscar-nominee Maria Bakalova plays the cautious outsider among rich-kid college grads, who plan to ride out a big storm with drinks and drugs (and drama) in one of their parents' mansions. The Hunger Games and The Hate U Give alum Amandla Stenberg leads the show as the gang's black sheep, turning up unannounced to zero fanfare from her supposed besties, while the rest of the cast spans Shiva Baby's Rachel Sennott, Generation's Chase Sui Wonders and Industry's Myha'la Herrold, plus Pushing Daisies and The Hobbit favourite Lee Pace as a two-decades-older interloper. And the Agatha Christie-but-Gen Z screenplay? It's drawn from a spec script by Kristen Roupenian, the writer of 2017 viral New Yorker short story Cat Person. All of the above is a lot. Bodies Bodies Bodies is a lot — 100-percent on purpose. It's a puzzle about a party game, as savage a hangout film as they come, and a satire about Gen Z, for starters. It carves into toxic friendships, ignored class clashes, self-obsessed obliviousness, passive aggression and playing the victim. It skewers today's always-online world and the fact that everyone has a podcast — and lets psychological warfare and paranoia simmer, fester and explode. Want more? It serves up another reminder after The Resort, Palm Springs and co that kicking back isn't always cocktails and carefree days. It's an eat-the-rich affair alongside Squid Game and The White Lotus. Swirling that all together like its characters' self-medicating diets, this wildly entertaining horror flick is a phenomenal calling card for debut screenwriter Sarah DeLappe and Dutch filmmaker Halina Reijn (Instinct), too — and it's hilarious, ridiculous, brutal and satisfying. Forgetting how it ends is also utterly impossible. The palatial compound where Bodies Bodies Bodies unfurls belongs to David's (Davidson) family, but it's hurricane-party central when the film begins. That said, no one — not David, his actor girlfriend Emma (Wonders), the no-nonsense Jordan (Herrold) or needy podcaster Alice (Sennott), and definitely not Greg (Pace), the latter's swipe-right older boyfriend of barely weeks — expects Sophie (Stenberg) to show as they're swigging tequila poolside. She hasn't responded to the group chat, despite claiming otherwise when she arrives. She certainly hasn't told them, not even her childhood ride-or-die David, that she's bringing her new girlfriend Bee (Bakalova) along. And Sophie hasn't prepared Bee for their attitudes, all entitlement, years of taken-for-granted comfort and just as much mouldering baggage, as conveyed in bickering that's barely disguised as banter. When the weather turns bad as forecast, a game is soon afoot inside the sprawling abode. Sharing the movie's title, the fake murder-mystery lark is this crew's go-to — but, even with a hefty supply of glow sticks (handy in the inevitable power outage), it doesn't mix too well with booze, coke and Xanax. The essentials: pieces of paper, one crossed with a X; everyone picking a scrap, with whoever gets the marked sliver deemed the perpetrator; and switching off the lights while said killer offs their victim, which happens just by touching them. Then, it's time to guess who the culprit is. That's when the mood plummets quickly, because accusing your friends of being faux murderers by publicly checking off all their shady traits will do that. It gets worse, of course, when those bodies bodies bodies soon become literal and everyone's a suspect. Read our full review. MOONAGE DAYDREAM Ground control to major masterpiece: Moonage Daydream, Brett Morgen's kaleidoscopic collage-style documentary about the one and only David Bowie, really makes the grade. Its protein pills? A dazzling dream of archival materials, each piece as essential and energising as the next, woven into an electrifying experience that eclipses the standard music doco format. Its helmet? The soothing-yet-mischievous tones of Ziggy Stardust/Aladdin Sane/The Thin White Duke/Jareth the Goblin King himself, the only protective presence a film about Bowie could and should ever need and want. The songs that bop through viewers heads? An immense playlist covering the obvious — early hit 'Space Oddity', the hooky glam-rock titular track, Berlin-penned anthem 'Heroes', the seductive 80s sounds of 'Let's Dance' and the Pet Shop Boys-remixed 90s industrial gem 'Hallo Spaceboy', to name a few — as well as deeper cuts. The end result? Floating through a cinematic reverie in a most spectacular way. When Bowie came to fame in the 60s, then kept reinventing himself from the 70s until his gone-too-soon death in 2016, the stars did look very different — he did, constantly. How do you capture that persistent shapeshifting, gender-bending, personal and creative experimentation, and all-round boundary-pushing in a single feature? How do you distill a chameleonic icon and musical pioneer into any one piece of art, even a movie that cherishes each of its 135 minutes? In the first film officially sanctioned by Bowie's family and estate, Morgen knows what everyone that's fallen under the legend's spell knows: that the man born David Jones, who'd be 75 as this doco hits screens if he was still alive, can, must and always has spoken for himself. The task, then, is the same as the director had with the also-excellent Cobain: Montage of Heck and Jane Goodall-focused Jane: getting to the essence of his subject and conveying what made him such a wonder by using the figure himself as a template. Nothing about Bowie earns an easy description. Nothing about Bowie, other than his stardom, brilliance and impact, sat or even stood still for too long. Driven by themes and moods rather than a linear birth-to-death chronology, Moonage Daydream leaps forward with that same drive to ch-ch-change, the same yearning to keep playing and unpacking, and the same quest for artistry as well. Taking its aesthetic approach from its centre of attention means peppering in psychedelic pops, bursts of colour, neon hues, and mirrored and tiled images — because it really means making a movie that washes over all who behold its dance, magic, dance. That's the reaction that Bowie always sparked, enchanting and entrancing for more than half a century. In successfully aping that feat, Morgen's film is as immersive as an art installation. Exhibition David Bowie Is has already toured the world, including a 2015 stint Down Under in Melbourne; Moonage Daydream sits partway between that and a Bowie concert. This gift of sound and vision is as glorious as that gig-meets-art concept sounds — and yes, live footage beams and gleams throughout the documentary. Among the snippets of interviews, smattering of music videos, melange of clips from cinema touchstones that reverberate on Bowie's wavelength in one way or another, and scenes from his own acting career on-screen and onstage, how could it not? During his five years, fittingly, spent making Moonage Daydream, Morgen had access to the original concert masters, from which he spliced together his own mixes using alternative angles. Zooming back to the androgynous space-alien Ziggy Stardust and the Spiders from Mars tour is exhilarating, including when the feature's eponymous song explodes. Jumps to the 90s, to the Outside and Earthling tours, resonate with awe of a more grounded but no less vibrant kind. The Serious Moonlight segments, hailing from the 80s and all about pale suits and glistening blonde hair, see Bowie relaxing into entertainer mode — and, amid discussions about his wariness about making upbeat tunes, mastering that like everything else. Read our full review. TICKET TO PARADISE Here we go again indeed: with the George Clooney- and Julia Roberts-starring Ticket to Paradise, a heavy been-there-done-that air sweeps through, thick with the Queensland-standing-in-for-Bali breeze. The film's big-name stars have bounced off each other in Ocean's Eleven, Ocean's Twelve and Money Monster before now. Director Ol Parker has already sent multiple groups of famous faces to far-flung places — far-flung from the UK or the US, that is — as the writer of the Best Exotic Marigold flicks and helmer of Mamma Mia! Here We Go Again. Enough destination wedding rom-coms exist that one of the undersung better ones, with Keanu Reeves and Winona Ryder, is even called Destination Wedding. And, there's plenty of romantic comedies about trying to foil nuptials, too, with My Best Friend's Wedding and Runaway Bride on Roberts' resume since the 90s. Hurriedly throw all of the above into a suitcase — because your twentysomething daughter has suddenly announced she's marrying a seaweed farmer she just met in Indonesia, if you're Clooney and Roberts' long-divorced couple here — and that's firmly Ticket to Paradise. As The Lost City already was earlier in 2022, it too is a star-driven throwback, endeavouring to make the kind of easy, glossy, screwball banter-filled popcorn fare that doesn't reach screens with frequency lately. It isn't as entertaining as that flick, and it certainly isn't winking, nodding and having fun with its formula; sticking dispiritingly to the basics is all that's on Parker's itinerary with his first-timer co-scribe Daniel Pipski. But alongside picturesque vistas, Ticket to Paradise shares something crucial with The Lost City: it gets a whole lot of mileage out of its stars' charisma. A quarter-century back, David (Clooney, The Midnight Sky) and Georgia (Roberts, Gaslit) were the instantly besotted couple impulsively tying the knot (if Ticket to Paradise is successful enough to spawn more movies, a prequel about the pair's younger years will likely be on the list). Alas, when this film begins, they can't stand to be anywhere near each other — room, city or state — after splitting two decades back. With their only child Lily (Kaitlyn Dever, Dopesick) graduating from college, they're forced to play faux nice for a few hours, but squabble over the armrest, then get publicly competitive about who loves their daughter more. This wouldn't be a rom-com led by Clooney and Roberts if schoolyard teasing logic didn't apply, though: they fight because sparks still fly deep down. And they keep verbally sparring when Lily announces a month later that she's met Bali local Gede (Maxime Bouttier, Unknown) on a getaway before she's supposed to put her law degree to its intended use, and that she'll be hitched within days. If another template that Ticket to Paradise happily follows is to be believed, parents don't respond well to their kids plunging into matrimony, especially without notice. David and Georgia are no different, desperately wanting to stop Lily from repeating their own mistakes and willing to zip halfway around the world to do so — hence the feature's airfare moniker. They attempt to unite over sabotaging the wedding, but old habits die hard amid tussling with biting dolphins, stealing rings and putting up with Paul (Lucas Bravo, Emily in Paris), Georgia's younger, deeply infatuated boyfriend. Amid drunken beer pong matches and daggy dances to 90s tracks, plus getting stuck in the Balinese jungle overnight as well, older feelings die harder still, of course — and a ticket to surprises or fresh material, this clearly isn't. Read our full review. CLEAN "It's a shock to the system. It's a change to the everyday, regular routine. It's where the unhappy gene comes out — and it's a sign of the times today." That's the gloriously candid and empathetic Sandra Pankhurst on trauma, a topic she has literally made her business. Later in Clean, the documentary that tells her tale, she describes herself as a "busy nose and a voyeur"; however, that's not what saw her set up Melbourne's Specialised Trauma Cleaning. For three decades now, her company has assisted with "all the shitty jobs that no one really wants to do," as she characterises it: crime-scene cleanups, including after homicides, suicides and overdoses; deceased estates, such as bodies found some time after their passing; and homes in squalor, to name a few examples. As she explains in the film, Pankhurst is eager to provide such cleaning services because everyone deserves that help — and because we're all just a couple of unfortunate turns away from needing it. The 2008 movie Sunshine Cleaning starring Amy Adams (Dear Evan Hansen) and Emily Blunt (Jungle Cruise) fictionalised the trauma-cleaning realm; if that's your touchstone at the outset of Clean, prepare for far less gloss, for starters. Prepare for much more than a look at a fascinating but largely ignored industry, too, because filmmaker Lachlan Mcleod (Big in Japan) is as rightly interested in Pankhurst as he is in her line of work. Everything she says hangs in the air with meaning, even as it all bounces lightly from her lips ("life can be very fragile", "every dog has its day, and a mongrel has two" and "life dishes you out a good story and then life dishes you out a shit one" are some such utterances). Everything feels matter of fact and yet also immensely caring through her eyes, regardless of the situation that her Frankston-headquartered employees are attending to. Sometimes, STC does confront harrowing and grimy messes that could be ripped straight out of a crime drama, but ensuring that the families don't have to swab up themselves after a gory incident is a point of pride. Sometimes, it aids people with disability or illness by playing housekeeper when they can't, or sorts through a lifetime of possessions when someone has turned to hoarding. There's no judgement directed anyone's way, not by Pankhurst or the crew of committed cleaners who've formed a family-like bond under her watch. It takes a particular sort of person to do this gig, everyone notes, and the group is as sensitive and considerate as their boss because most have experienced their own hardships. They can also see what she sees: "everyone's got trauma; it's not the demographic, it's the circumstance". Pankhurst's company and tale isn't new to the public eye, thanks to Sarah Krasnostein's award-winning 2018 book The Trauma Cleaner: One Woman's Extraordinary Life in the Business of Death, Decay and Disaster — and both there and here, the role she has played and the fortitude she has displayed while sifting through her own personal traumas earns merited attention. Mcleod keeps his focus on STC for the film's first third, aided by Pankhurst's frank insights, but the many layers to the business, its workers and its clients are paralleled in her own multifaceted story. Clean takes her lead, though; never within its frames does Pankhurst offer up a simple assessment of herself, other than saying she'd liked to be remembered "as a kind human being — nothing more, nothing less". As a transgender woman who was adopted at birth, grew up in an abusive household, married and had a family, performed as a drag queen, undertook sex work, survived rape and drugs, transitioned, and became one of Australia's first female funeral directors, nothing about her can be deduced to a few mere words. Read our full review. If you're wondering what else is currently screening in Australian cinemas — or has been lately — check out our rundown of new films released in Australia on June 2, June 9, June 16, June 23 and June 30; and July 7, July 14, July 21 and July 28; August 4, August 11, August 18 and August 25; and September 1 and September 8. You can also read our full reviews of a heap of recent movies, such as Mothering Sunday, Jurassic World Dominion, A Hero, Benediction, Lightyear, Men, Elvis, Lost Illusions, Nude Tuesday, Ali & Ava, Thor: Love and Thunder, Compartment No. 6, Sundown, The Gray Man, The Phantom of the Open, The Black Phone, Where the Crawdads Sing, Official Competition, The Forgiven, Full Time, Murder Party, Bullet Train, Nope, The Princess, 6 Festivals, Good Luck to You, Leo Grande, Crimes of the Future, Bosch & Rockit, Fire of Love, Beast, Blaze, Hit the Road, Three Thousand Years of Longing, Orphan: First Kill, The Quiet Girl and Flux Gourmet.
For decades, Park Road has been Milton's go-to bar and restaurant hub; however the popular strip now has some stiff competition. A few blocks closer to the city, Cribb Street Social has taken up residence on the roadway that inspired its name, serving up everything from craft beverages to leafy hangout spaces along with it. Cribb Street Social is the latest venture from the folks behind Mr Edward's Alehouse, which should give an indication of the type of vibe on offer. If their CBD space is the kind of city spot you could while away an afternoon in, then their venture further afield not only aims to replicate the same atmosphere in the city's inner-west, but to do so with a huge al fresco garden, a drinks menu that spans cold brews, cocktails and coffees, and charcuterie leading the food charge. Beverage-wise, the bar and restaurant features 14 taps pumping out craft brews, cider, boozy ginger beer, cocktails and more, plus a hefty list of wines, a focus on whisky and gin, and more spirit-filled concoctions. If caffeine is more your thing — and with the eatery trading across weekday breakfast, lunch and dinner, plus weekend brunch and dinner, it's bound to be at some point — they'll also be brewing Locale Coffee Roasters beans. When it comes to pairing your tipple with something tasty, it's a pick-your-own-board affair, allowing patrons to build their ultimate combination of meats, cheeses, antipasti and more from ten different options — for one, and for groups. Meals such as mushroom tortillas, loaded cobb loaves, brisket and bacon burgers, wild boar saddle, gorgonzola and sage pasta, and a profiterole and eclair tasting plate are also available amidst decor teeming with natural wood, copper and leather, and for eating on a picnic rug in the grassy outdoor area. Find Cribb Street Social at 19–23 Cribb Street, Milton. Head to their website and Facebook page for more information.
Girls to the front — Bikini Kill are coming to Australia. The iconic Kathleen Hanna-fronted, Washington-formed band instigated the riot grrrl movement, and will perform their first Aussie shows in more than 25 years on a seven-date 2023 tour. On top of appearances at Mona Foma, Golden Plains and Perth Festival, the trailblazing trio of Hanna, Kathi Wilcox and Tobi Vail are doing a series of headline shows, including appearing in Brisbane in March. In the Harbour City, Bikini Kill are headed to The Tivoli on Friday, March 3 — and in good news for the next generation of rebel grrrls and underage rockers, it's an all-ages affair. [caption id="attachment_875442" align="alignnone" width="1920"] Debi Del Grande[/caption] In preparation, either watching or rewatching the exceptional documentary The Punk Singer, about Hanna, should be on your must-do list right now. Fun fact: when Hanna spray-painted "Kurt smells like Teen Spirit" across her pal Mr Cobain's wall, the name of a certain grunge anthem was born. When they hit Sydney, Bikini Kill are appearing at the Sydney Opera House's All About Women conference on Sunday, March 12, too, which Melburnians can also livestream from home. Top image: Debi Del Grande.
As if it isn't already enough that we live in the best country in the world (I could be easily persuaded otherwise, though), we also live in the best state within said country. Where else gives you a holiday to attend the city's show, but mainly engage in a mass pissup and potentially be paid for it? The Ekka races are renown for their myriad of loose attendees and less for the actual event at hand. Ask anyone who went in past years and they couldn't tell you which horse won a race, let alone how they actually got home. While it may not be everyone's idea of a fun day, there's exclusive 'other' tickets you can purchase if you don't want to rub shoulders with the commoners. The Member for a Day pass gets you a seat in the grandstand and a champers bar, which isn't that much different from the equally highly priced Bundaberg Five Raceday Marquee, except you get a 'free' signature cocktail on arrival. Special guests The Potbelleez are also sure to get the crowd rowdy, as are Busby Marou, Tenzin, and Owl Eyes. Everyone loves to get dressed up and wear cute hats and fascinators, or ties and vests, without the added pressure of being formal despite their attire, and the Ekka races is precisely the place to do that. Why not ditch the lazy day off for a true Brisbane experience that you most likely won't regret, because regret equals remembering. Keep your hat on, ladies and gents.
Heads up, Mother's Day is just around the corner. (It's happening on Sunday, May 10, in case you temporarily forgot.) You can frantically message your siblings later, there's pressie planning afoot, and we've found quite the showstopper for your dear ol' mumsie this year thanks to Gelato Messina. Never one to miss an opportunity to experiment with new ways to inhale sweets, Messina has been cooking up quite the delicate novelty dessert for Mum: a Italian-inspired box of chocolates. These brownie point-winners launched in 2015 — and have been selling out every year since — are sure to bring it home again this year, just a little differently to usual. While these chocolate bon bons have been filled with gelato for the past four Mother's Days, this year, they're all chocolate (single origin Ecuadorian chocolate, no less) — so they can be shipped to mums across Australia. And, this time round, they come with a stunning bouquet of flowers from Floraly, too. Each box comes with nine handmade chocolate bon bons in five flavours — gianduja, milk choc chew, coffee and dulce, pistachio praline and honey caramel — and a bunch of farm-fresh flowers in an illustrated gift box and a personalised card. The bouquet does require a little bit of constructing, but the flowers come with an easy step-by-step guide as well as care instructions. The Mother's Day boxes are going for $79 a pop and can be shipped across Australia, with the gifts set to arrive between Thursday, May 7 and Saturday, May 9. Gelato Messina's Mother's Day Bon Bons and Bouquets are available to order online now for delivery across Australia.
To celebrate the founder and Director of Music of the Queensland Youth Orchestras (QYO), John Curro's 80th Birthday, QYO is putting on a spectacular show at QPAC's Concert Hall. On Saturday night, the QYO is showcasing their 150 member Alumni Orchestra who will perform Richard Strauss's masterpiece, the Alpine Symphony. The Alpine Symphony is a musical representation of a majestic mountain climb in the Bavarian Alps. The symphony follows as the adventurers ascend the mountain just after sunrise and musically depicts their journey through forests and alpine pastures. Be swept up in the magical music by the QYO as their imaginative representation of stunning scenery through the use of music will transport you to a faraway land. After the performance, the audience are invited to celebrate with John Curro, soloist Stephen Emerson and the orchestra members.
Kicking off the summer festival season at 128 BPM, Stereosonic will take over the Brisbane Shouwgrounds this December for a heated, fist-pumping day of electro, techno and house music. Maybe 'getting shredded' isn’t your cup of tea, but good techno, dance and house music is — you don't have to be a big ol' douche to enjoy a solid drop. This year's lineup should please unquestioning Stereo devotees and curious newcomers alike, with the likes of Armin Van Buuren, Major Lazer, Diplo and Duke Dumont heading up quite the 2015 lineup. Alongside international big guns like Sweden's Axwell & Ingrosso, French house producer Tchami, Swedish bro Miike Snow's new electro duo Galantis, British electronic foursome Clean Bandit and San Franciscan legend Claude Von Stroke, Stereo has placed an emphasis on local artists this year — and there’s no shortage of genuine talent. Canberran festival favourites Peking Duk will be playing live (they covered 'Sandstorm' at Field Day so expect anything), alongside former Flume duo What So Not (now Emoh Instead's flying solo), Sydney house producer Timmy Trumpet, up-and-coming Sydney lads Carmada, and Perth beatsmiths Slumberjack are all locked in. Sydney's immortal Hot Dub Time Machine is bringing his perpetually popular decade-hopping set to the table (one that overwhelmingly crushed it closing this year's Secret Garden Festival). Stereosonic kicks off at the Sydney Olympic Park on November 28 before heading over to Perth’s Claremont Showgrounds on November 29. Then it's on to both Melbourne Showground and Adelaide’s Bonython Park on December 5 as well, and Brisbane Showgrounds on December 6. Keen to get amongst it? Get a 24-hour headstart on buying Stereosonic thanks to MasterCard — making sure you don't have to watch the festival happen on social media. Pre-register here to get access to the exclusive MasterCard 24-hour presale, starting Monday, July 27. STEREOSONIC 2015 LINEUP: STEREO STAGE Armin Van Buuren Axwell & Ingrosso Major lazer (Live) Showtek Peking Duk (Live) Generik Galantis SONIC STAGE Diplo DJ Snake Duke Dumont (Live) Tchami What So Not Clean Bandit (Live) Carmada Shockone Jauz Slumberjack ATLANTIS STAGE Gareth Emery Andrew Rayel MaRlo Andrew Bayer Emma Hewitt (Live) Mark Sherry Jason Ross Headhunterz THE WOODS STAGE MK Claptone Claude Von Stroke Hannah Wants Patrick Topping Shiba San Cut Snake BEATPORT STAGE Carnage Will Sparks Hot Dub Time Machine Timmy Trumpet Snails Jessie Andrews Tigerlily Image: Stereosonic.
Sometimes, a bar asks the questions you didn't know you had. When it comes to wild and wonderful margarita flavours, that bar is usually El Camino Cantina. The Tex-Mex chain loves swirling around different kinds ritas, so much so that limited-edition varieties frequently grace its menus — and for three weeks from Monday, July 18–Sunday, August 7, it's giving its signature drinks a Long Island iced tea makeover. What's better than choosing between sipping a margarita or a Long Island iced tea? Drinking a fusion of the two cocktails. That's what's on offer thanks to the brand's Long Island iced tea rita series, and in seven flavours. Yes, as well as splashing together to different kinds of boozy beverages, El Camino Cantina is pouring them in different varieties as well. So, you can choose between cherry, strawberry, passionfruit, mango, lychee, sour melon and lagoon Long Island iced tea ritas. In Brisbane, you'll find them tempting your tastebuds as part of the chain's National Tequila Day celebrations in Bowen Hills, South Bank and Chermside in Brisbane, as well as at Robina on the Gold Coast and Sunshine Plaza on the Sunshine Coast. In an added bonus, there's a limited-edition tacos range to go with them, costing $7–8 each and $2 on Tuesday. Fancy marinated chilli prawns, crispy bacon and cheddar on a taco? Smoked barbecue brisket with coleslaw? Beef mince with pickles, onions, cheese and secret burger sauce? Nacho-crumbed chicken tenderloins with pico de gallo? They're just some of the special options.
The '80s might be known for big hair and bigger shoulder pads, but when it comes to music, it was also big in another area: variety. This is the decade sandwiched between '70s punk and '90s grunge, after all. Everyone from David Bowie to Public Enemy, Madonna to Salt-N-Pepa, and Joy Division to Ricky Astley had their moment. Everyone can have their moment again at TRAXX '80s party, where all things three-decades-ago are back in vogue. (Except voguing — that was a few years later.) We're talking about a time when the rain was purple, the Mondays were blue, and everyone looked pretty in pink or came back in black. Indeed, an '80s party really is the gift that keeps on giving, with a playlist of retro tunes certain to get the mood pumping. DJs Missy Boots and Leisa Lektro will be spinning the tracks, so all you need to do is show up and dance. And dress up in appropriate period attire, if that takes your fancy, with prizes on offer for the best costume.
When Table 19 begins, it would have you believe that there's nothing worse than being stuck at the random table at a wedding. There is. It's watching a film about being stuck at the random table at a wedding. Sure, in both situations you're stranded in a place that you mightn't want to be. But at least one has food, drinks and dancing to help pass the time. For those sitting in the cinema, prepare for an experience that's awkward, tedious, cliched and sappy, as the newly single Eloise (Anna Kendrick) heads to her oldest friend's nuptials. She was once slated to be the maid of honour, but dropped out when she was dumped via text message by the bride's brother (Wyatt Russell). Relegated to the worst berth on the seating chart that she helped plan, she's soon sharing a table with a bunch of guests that "should have known to send regrets, but not before sending something nice off the registry". Eloise's fellow undesirables include an ageing former nanny (June Squibb) thrilled to have even been invited, a hormone-fuelled teen (Tony Revolori) whose mother has told him to look for love, the obligatory weird cousin (Stephen Merchant) who's kindly but has a secret, and a bickering couple (Lisa Kudrow and Craig Robinson) who don't know why they're there. Obvious revelations and cheesy life lessons follow, flowing as freely as champagne and hors d'oeuvres. We suppose you could commend director Jeffrey Blitz (Spellbound) and writers Jay and Mark Duplass (Jeff Who Lives at Home) for their effective recreation of an unpleasant situation, right down to the stylistic and structural choices that give the audience the same limited view of the main celebrations as the characters. No one should be rewarded for laziness, though, and if Table 19 excels at anything, it's that. The fact that everyone spends much of the movie arguing about what their table assignment means isn't the least bit amusing or entertaining, nor does it offer any real commentary about America's obsession with status. Instead, it simply feels like an attempt to pad out a by-the-book script that jumps between misfit comedy and rom-com, but doesn't stray from the familiar path with either. It won't come as a surprise that this slice of supposed hilarity peddles a message about the joy that can arise from unexpected connections and making the most of a bad situation. Alas, as great as Kendrick, Merchant, Squibb and company have proven in the past, here they're average at best, and in some cases downright awful. Without any signs of character development, Kendrick's signature persona wears thin; you really have seen her do this all before. She fares better than some of her co-stars, however, who might find themselves wishing they didn't RSVP for their parts. https://www.youtube.com/watch?v=2BrKGHl5EXQ
In its entire concept, Sydney Opera House's All About Women has always pushed girls, ladies and women to the front. So, the fact that the 2023 version of its key feminist festival will feature riot grrrl pioneers Bikini Kill couldn't be more perfect. That in-conversation event is just the beginning of the event's program, however, with the complete bill also going big on high-profile guests — such as child actor-turned-I'm Glad My Mom Died author Jennette McCurdy and human rights barrister Jennifer Robinson. Former iCarly star McCurdy will chat through her experiences, including growing up in the spotlight, finding her independence and the events that led to her New York Times best-selling memoir, in an Australian-exclusive conversation. After successfully representing Amber Heard in Johnny Depp's UK libel case, Robinson will feature in a panel called 'The War on Women', about fighting for both rights and lives, alongside Egyptian American journalist Mona Eltahawy, Pakistani author and journalist Fatima Bhutto, and Mununjali Yugambeh and South Sea Islander Professor Chelsea Watego. Running from Saturday, March 11—Monday, March 13, All About Women's 2023 festival marks its 11th, and sees the event held across three days for the first time ever — growing again after it only just expanded to two days in 2022, in fact. And, in another significant change for this year, the event's lineup is guided by four festival co-curators. Doing the honours: author, podcast presenter and gender equality advocate Jamila Rizvi; Gamilaroi academic and Tell Me Again author Dr Amy Thunig; feminist social commentator, novelist and writer Jane Caro AM; and Sydney Opera House's Head of Talks and Ideas Chip Rolley. Their full program includes 25 events featuring 60-plus international and Australian artists, thinkers, and storytellers, starting with an evening of storytelling, poetry, dance and music for the fest's Opening Night Gala, hosted by Clare Bowditch and featuring actor Eryn Jean Norvill (The Picture of Dorian Gray), "mother of African contemporary dance" Germaine Acogny, Iranian Australian singer and instrumentalist Gelareh Pour, and Fatima Bhutto. And, it also spans Cult Classic author Sloane Crosley chatting about modern dating with journalist Maddison Connaughton — and a romance and reality TV-focused discussion between Bachelorette Brooke Blurton, Just The Gist podcaster Rosie Waterland, and Gamilaroi and Torres Strait Islander writer and actor Nakkiah Lui. In a session about neurodivergence in women and gender-diverse people, 2021 Australian of the Year Grace Tame, Heartbreak High's Chloe Hayden, and research psychologist and activist Dr Jac den Houting will talk with Thunig — and a panel examining trying to achieve justice in sexual abuse claims, and the trauma the process can bring, will feature sexual assault law reform advocate Saxon Mullins, criminal lawyer Katrina Marson, Yorta Yorta woman and survivor advocate Amanda Morgan, and lawyer and author Bri Lee. Or, attendees can look forward to Middle Eastern and Islamic Studies scholar Kylie Moore-Gilbert hosting a session on the women-led revolution in Iran, as joined by Pour, scholar and poet Dr Saba Vasefi, and author and journalist Shokoofeh Azar; plus a panel about the body positivity movement's struggles to be genuinely inclusive, featuring Wadjanbarra Yidinji, Jirrbal and African-American former model Sasha Kutabah Sarago, body love activist and podcaster April Hélène-Horton aka The Bodzilla, fashion editor and queer rights activist Deni Todorovič, disability rights campaigner Elly Desmarchelier, and comedian and broadcaster Tanya Hennessy. The list goes on, covering Clementine Ford exploring the history of demonising single women, a session on women's activism through a First Nations lens, diving into starting a family in a modern world, unpacking gendered emotions, and turning Eltahawy's FEMINIST GIANT newsletter into a panel. The Girlboss movement, making tough decisions, the shame often imposed on women and girls, leading movements, a Bikini Kill gig: they all get their time in focus, too. Just like in 2022, the festival will host its sessions in-person for Sydneysiders, and will also live-stream to viewers both around Australia and worldwide — which is ace news if you live outside of the Harbour City. [caption id="attachment_875442" align="alignnone" width="1920"] Debi Del Grande[/caption] Top image: Jacquie Manning.
UPDATE, August 30, 2020: Mary Shelley is available to stream via SBS On Demand, Google Play, YouTube Movies and iTunes. It has been exactly 200 years since Frankenstein's monster first shuffled through the pages of Mary Shelley's now-classic story, completely reshaping the gothic horror landscape in the process. At the time, no one anticipated the impact that the novel or the woman behind it would have. No one realised that Mary was responsible for the greatest horror novel ever written, either, a title it still holds today. In fact, only 500 copies of Frankenstein: or, The Modern Prometheus were initially printed back in 1818. It was also published anonymously, with Mary's poet husband Percy Bysshe Shelley penning the introduction and originally thought by many to be the text's author. Today, the beast conceived by the teenage Mary has carved a path not only through the literary world, but across cinema screens for more than a century — but, as the movie's title suggests, Mary Shelley doesn't replay Frankenstein's familiar narrative. Instead, Haifaa Al-Mansour's follow-up to 2012's Wadjda subscribes to a different filmmaking trend. Like everything from James Whale's iconic 1930s adaptations, to Tim Burton's gorgeous Frankenweenie, Mary Shelley obviously owes its existence to Frankenstein. But this origin story is more concerned with the early life of its author than with an obsessed young scientist and his resurrected creature. It's not the first time that Mary has earned the biopic treatment, with 1980s flicks Gothic, Haunted Summer and Rowing with the Wind all exploring the woman behind the classic tale. Still, where that trio honed in on the Lake Geneva getaway that sparked Frankenstein into being (the novel originated from a holiday wager among friends to see who could write the scariest ghost story), this movie focuses on Mary's tumultuous adolescence, her relationship with Percy, and the influence of both upon her famous work. Before images even reach the screen, the sound of writing echoes from Mary Shelley. Before Mary (Elle Fanning) has even dreamed of Frankenstein, the film deploys her lyrical prose to set a distinctive mood and tone. Stylistically, that's Al-Mansour's vivid and evocative approach, infusing every moment of the movie with the same passion and poetry that drives its heroine. A willowy yet strong-willed teen, from the outset Mary is either spinning her own tales or reading others in her father's (Stephen Dillane) bookshop. In-between, she fights with her stepmother (Joanne Froggatt) and finds solace with her stepsister Claire (Bel Powley) — until Percy (Douglas Booth) comes along. Although Mary is just 16, and despite the fact that Percy already has a wife and child, the couple is determined to be together. In her debut feature-length script, Australian screenwriter Emma Jensen endeavours to examine a side of Mary's tale that hasn't previously received as much on-screen attention, championing her protagonist's achievements as well as the considerable obstacles that she faced. Neither can be downplayed and nor are they. That said, sometimes the scandalous love story that accompanies them is given a little too much prominence. Indeed, parts of the film feel like a stock-standard period romance that just happens to involve one of the most influential writers who ever lived. When Mary Shelley connects the dots between Mary's experiences and the book she'll forever be associated with, it's a much more satisfying, moving and involving picture. Likewise, when it delves into Mary's tussles with sexist, dismissive men who can't even conceive of a woman writing such dark, smart and terrifying things, the film comes much closer to doing justice to its subject, her struggles and her continuing importance. Thanks to Fanning's lively and spirited portrayal, there's no doubting the fire that burned inside Mary, even when the film does favour her amorous affairs. Whether surrounded by towers of tomes, scribbling by her mother's grave, or swooning over Percy, Fanning's take on the real-life figure always stands out — from the movie's sumptuous backdrops, which constantly catch the eye, as well as from the romantic plot. It's a performance worthy of the woman it depicts, and it leaves audiences wanting more. The same is true of Mary Shelley, although in a different way. You'll want to keep watching Fanning as she brings the fiercely independent and thoroughly fascinating Mary to life. But you'll also want the movie to flesh out the aspects of Mary's trailblazing existence that it sometimes rushes over. https://www.youtube.com/watch?v=9zFFs6BHsS0
When Quentin Tarantino makes a movie, the acclaimed writer/director fills it with all the things he loves. From Reservoir Dogs to Once Upon a Time in Hollywood, his films overflow with nods to his influences. And if you don't want to take our word for it, the latter flick even has a making-of documentary that makes it plain. One place that QT's personal taste always comes through loud and clear: his soundtracks. Just think of Pulp Fiction, and you're instantly thinking of its many great music choices, such as Kool and the Gang's 'Jungle Boogie', Dusty Springfield's 'Son of a Preacher Man' and Urge Overkill's 'Girl, You'll Be a Woman Soon'. The same is true for all nine features on his resume. Jackie Brown and Bobby Womack's 'Across 110th Street', Kill Bill and Nancy Sinatra's 'Bang Bang (My Baby Shot Me Down)', Inglourious Basterds and David Bowie's 'Cat People (Putting Out Fire)' — the list goes on. On Thursday, February 6, expect to hear all of the above tunes — plus everything else that has made the soundtracks to Tarantino's films so memorable. Black Bear Lodge is going all in, dedicating the evening to songs from and inspired by QT's movies. Entry is free — and yes, there'll be a twist competition.
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=Xn3sK4WiviA ON THE ROCKS Not once, not twice, but three times now, Sofia Coppola has given the Bill Murray-loving world exactly what it wants. One of the great comedic talents of the past half-century, the Ghostbusters and Groundhog Day star is also a greatly charismatic talent — and, understandably, viewers want to spend more time in his inimitable company. So, Lost in Translation and 2015 Netflix special A Very Murray Christmas made that happen. Now On the Rocks does as well. These are films and specials predicated upon the very idea of palling around with Murray or the character he's playing, and this one hits that mark as perfectly as its predecessors. Murray steps into the shoes of a debonair playboy art dealer who is determined to help his New York-dwelling adult daughter discover if her husband is being unfaithful, his pairing with Rashida Jones is both joyous and lived-in, and Coppola once again strips bare her own life experiences, fictionalises them, and creates something both thoughtful and moving. On the Rocks' premise really isn't far removed from Lost in Translation. The film's female protagonist is a decade older this time, her romantic troubles are complicated by both marriage and children, and another bustling city provides the backdrop, but the basic idea remains mostly the same. With Murray as the lively Felix and Jones as his overstressed offspring Laura, the movie takes them hopping around NYC as they endeavour to ascertain if the latter's workaholic other half, Dean (Marlon Wayans), is cosying up to his attractive young colleague (Jessica Henwick) while Laura is raising their two young daughters. In the process, Felix and Laura chat about anything and everything, covering topics both important and trivial. They eat and drink, and do so in luxe spaces while Felix naturally captivates everyone in his orbit and turns everything into an adventure. Over the course of their investigative escapade, Felix helps Laura work through her struggles, too — although here, their own complicated relationship is actually one of them. Read our full review. https://www.youtube.com/watch?v=FVb6EdKDBfU THE TRIAL OF THE CHICAGO 7 Combine A Few Good Men's setting with The West Wing's faith in democratic ideals, and that's where The Trial of the Chicago 7 lands. Yes, they're all products of writer, TV series creator and director Aaron Sorkin — and while Sorkin's work can veer from exceptional (see: The Social Network) to frustrating (see: The Newsroom), his second stint as a filmmaker after 2017's Molly's Game makes the very most of his usual traits. Given the true tale he's telling — a story of vocal dissent against unpopular government actions and latter's retaliation, spanning protests and violence on the streets involving both activists and police — that's hardly surprising. That Sorkin has amassed a typically top-notch cast to sling his words helps considerably, including Bridge of Spies Oscar-winner Mark Rylance, The Theory of Everything Oscar-winner Eddie Redmayne and Watchmen Emmy-winner Yahya Abdul-Mateen II, plus everyone from Joseph Gordon-Levitt and Michael Keaton to Sacha Baron Cohen and Succession's Jeremy Strong. In the summer of 1968, as the Democratic Party assembled in Chicago for its national convention to confirm the party's nominee for the presidential election, several activist groups decided to make their displeasure known. There was much to rally against: the Vietnam War was raging and American soldiers were dying, both Martin Luther King Jr and Robert F Kennedy had been assassinated in separate incidents months earlier, and civil unrest was mounting across the country. The Trial of the Chicago 7 first introduces six figures making plans for the day, then cuts to the commencement of legal proceedings for eight defendants, all charged by the US federal government the next year. The complicated case that results is catnip for Sorkin, who unleashes his trademark flourishes on not only passionate speeches, but also infuriating courtroom incidents and the festering disagreement between codefendants, as well as in recreating the fateful protests. There's nothing unexpected about the way the filmmaker handles this story visually, narratively or thematically, but the end result proves an example of applying the right approach to the right tale. Read our full review. https://www.youtube.com/watch?v=3nf--afqelY ANTEBELLUM Watching the sprawling, roving and weaving single-take shot that opens Antebellum, it helps to know what the movie's title actually means. The term refers to a time before a war, and is typically used in relation to the American Civil War — but in the film's eye-catching introduction, it certainly seems as if that historical conflict is raging away. On a southern plantation, Confederate soldiers under the leadership of Captain Jasper (Jack Huston) terrorise the property's enslaved Black workers with brutality and cruelty. Attempted runaway Eden (Janelle Monáe) is one of them, and subject not just to beatings, brandings and forced labour, but also raped regularly by the general (Eric Lange) who has claimed her as his own. She's planning another escape; however, thoroughly unexpectedly given the surroundings, a mobile phone suddenly rings. Now Monáe's character is called Veronica Henley, she's a well-known activist and author, and everything about her life (including the conference in New Orleans she attends) is firmly set in the 21st century. Obviously, how Monáe's dual roles intertwine is best discovered by watching — as is the involvement of Jena Malone's (Too Old to Die Young) Elizabeth, the plantation's resident belle as well as a modern-day caller for Veronica — but Antebellum proves far less powerful and clever than it thinks it is. While first-time writer-directors Gerard Bush and Christopher Renz blatantly try to follow in Jordan Peele's footsteps, using horror to explore race relations in America both in the present day and in the country's history, their efforts rely so heavily on one big twist that the movie resembles M Night Shyamalan's lesser works more than Get Out, Us or TV series Lovecraft Country. In endeavouring to unpack systemic racism, there's a smart idea at the heart the feature. Visually, Antebellum's always-lurid, often-violent imagery isn't easily forgotten, and the film also boasts a masterly performance by Moonlight and Hidden Figures star Monáe. And yet, connecting all those pieces together feels more like an exercise in making a provocative genre film than actually saying something meaningful about engrained prejudice in the US — a topic that, sadly, continues to remain timely, but is treated here as stock-standard horror fodder. Read our full review. https://www.youtube.com/watch?v=C0FnJDhY9-0 THE LAST BLACK MAN IN SAN FRANCISCO Watching Jimmie Fails in The Last Black Man in San Francisco, it never feels like you're viewing the work of a feature debutant. Played with the weight of the world not just carried on his shoulders, but oozing through in every quiet glance and gaze, his is a deeply nuanced and naturalistic performance — although given that the film is based on his own story, and he's starring as a fictionalised version of himself, perhaps that's to be expected. The on-screen Jimmie has been sleeping on his best friend Montgomery's (Lovecraft Country's Jonathan Majors) floor in the titular city's Bayview-Hunters Point neighbourhood. That's his latest stop, after years spent squatting with his dad (Rob Morgan), sleeping in cars and living in group homes. All Jimmie wants is his own house, and a specific one at that: a multi-storey abode in the Fillmore District that he grew up in, at least for a few years; that he contends his grandfather built in the 1940s; and that is now inhabited by an older white couple who aren't taking care of the property to Jimmie's standards. On paper, The Last Black Man in San Francisco's narrative sounds straightforward; however, as helmed by Fails' friend and Sundance-winning director Joe Talbot, this is an entrancing, almost fable-like film. It doesn't ever merely rally against gentrification in a simplistic manner, but paints a complex portrait of San Francisco as it now stands, of the city's scattered Black community and how they've been affected by its transformation, and of the shift away from artists and eccentrics in favour of bulldozers, technology and so-called progress. This is a movie about mourning for a past lost as well as reckoning with the future that's sprung in its place, and the evident love of details on display — in the house that Jimmie is so attached to, but also in his and Montgomery's daily bus trips, walks and skateboard rides throughout the hilly locale they call home — couldn't be more crucial in that regard. Sometimes, the film leans more on mood than story, but that approach fits when you're not only surveying and lamenting a place and a modern world that's losing its character, but turning that process into a piece of cinematic poetry. Indeed, there's a tender, heartfelt feel to The Last Black Man in San Francisco that, combined with its stellar cinematography, never feels less than authentic and moving in every frame. https://www.youtube.com/watch?v=Qh-oOnZ2Di0 SPUTNIK When Ridley Scott's Alien let a chest-bursting extra-terrestrial loose among a spaceship's crew, and John Carpenter's The Thing remake set a violent critter loose amongst an Antarctic research station, they didn't just create two of the best science fiction films ever made — they also inspired a wealth of imitators. And, at first, it seems that Russian sci-fi thriller Sputnik is one of them. Here, two Cold War-era cosmonauts see something strange during an orbital mission. Then, upon returning to earth, it appears that sole survivor Konstantin Veshnyakov (Pyotr Fyodorov, The Blackout) isn't the only creature inhabiting his body. It's 1983 and, as anyone who was watched the also 80s-set Chernobyl knows, the USSR isn't keen on big scandals. Accordingly, Colonel Semiradov (Fedor Bondarchuk, also one of the film's producers) is determined to keep Veshnyakov locked up in a secret south Kazakhstan facility until he can work out how to control the alien, enlisting boundary-pushing psychiatrist Tatyana Klimova (Oksana Akinshina, The Bourne Supremacy) to help. While watching Sputnik and thinking of similar flicks from years gone by go hand-in-hand, first-time feature director Egor Abramenko does more than simply nod to his influences. There's a grimness and a weightiness to this film that's all its own, even as it toys with familiar components — a specificity to the characters, and specifically to Veshnyakov and Klimova's efforts to navigate Soviet Russia's heavy-handed to control, too. And, when it comes to sustaining a mood of tension and suspense, evoking a forbidding sense of its time and place, and coming face to face with the slithering alien, Sputnik excels. Sparse in its look, firm in its tone and led by an impressive Akinshina, it never plays like a carbon-copy B-movie, either. There's an art to ensuring that even the most recognisable genre elements can feel fresh, entertaining and engaging — and suitably unnerving, which this narrative clearly calls for — and that ends up being the case here. Sputnik is screening in select cinemas in Sydney. If you're wondering what else is currently screening in cinemas — or has been lately — check out our rundown of new films released in Australia on July 2, July 9, July 16, July 23 and July 30; August 6, August 13, August 20 and August 27; and September 3, September 10, September 17 and September 24. You can also read our full reviews of a heap of recent movies, such as The Personal History of David Copperfield, Waves, The King of Staten Island, Babyteeth, Deerskin, Peninsula, Tenet, Les Misérables, The New Mutants, Bill & Ted Face the Music, The Translators, An American Pickle and The High Note. Top image: The Trial of the Chicago 7 via Niko Tavernise/Netflix © 2020
UPDATE, November 16, 2020: The Peanut Butter Falcon is available to stream via Amazon Prime Video, Google Play, YouTube Movies and iTunes. Playing a fisherman grieving for his older brother, barely scraping by and unafraid to skirt the law when necessary, Shia LaBeouf is at his soulful best in The Peanut Butter Falcon. Forget Transformers-era, phoning it in LaBeouf, or even his bag-wearing phase — here, he's as dynamic and textured as he was in 2016's American Honey, his last great on-screen role. And yet, LaBeouf isn't this indie comedy's main attraction. He's one of its leads, and he's surrounded by the similarly well-known likes of Dakota Johnson, Bruce Dern, Jon Bernthal, John Hawkes and Thomas Haden Church, but this little film with a big heart actually belongs to first-time performer Zack Gottsagen. In fact, writer/directors Tyler Nilson and Michael Schwartz created their first feature especially for Gottsagen, in order to showcase his acting talents. After Gottsagen has spent mere seconds on-screen as The Peanut Butter Falcon's wrestling-obsessed Zak, it's obvious why Nilson and Schwartz were determined to make this movie around him. The trio met at a camp for actors with disability, as Gottsagen has Down syndrome — and the way that adults with the genetic disorder are typically treated by society is key to this adventure. This isn't a message-driven feature, but a picture that places a man living with the health condition at its centre, letting his hopes, wants, needs and desires lead the story. Zak's dream couldn't seem more simple, with the 22-year-old so eager to attend his idol's wrestling school that he breaks out of the nursing home he's been forced to live in. But the reality of actually getting to his destination is far more complicated than it should be. As someone with Down syndrome — and someone housed in a care facility for the elderly because there's just nowhere else that caters for him — Zak's dreams, ideas, and general ability to do anything and everything are all constantly overlooked. His primary carer Eleanor (Johnson) treats him like a friend, but it's only after his roommate Carl (Dern) helps him to escape that Zak is really able to make his own decisions. With nothing but the underpants he's wearing to his name, he bunkers down in a boat, only to find himself caught up in its owner's mishaps. That'd be Tyler (LaBeouf), who is soon on the run from local crab trappers. Heading to Florida, he agrees to escort Zak to the only place in the world the runaway wants to go: the North Carolina wrestling academy run by faded icon Salt Water Redneck (Haden Church). Cue a series of Huckleberry Finn-style escapades, as The Peanut Butter Falcon's central duo ry to evade the folks on their tail while trudging through fields, building a raft to help them float along the coast and, eventually, unleashing Zak's wrestling persona — which gives the feature its name. Plot-wise, Zak and Tyler's exploits play out exactly as expected, but there's such a wealth of earnestness, affection, tenderness and charm to this movie that no one should mind that the story follows a predictable path. There's an enormous difference between films that stick to a template lazily, because it's easy and because they have no real reason to exist otherwise, and those that mould familiar parts into their own distinctive creation. Anchored by Gottsagen's effortlessly engaging presence, as well as by a protagonist too rarely given such a spotlight, this highly likeable picture falls into the latter category. Thoughtful, meaningful, realistic and empowering representation matters, which The Peanut Butter Falcon boasts in spades. That said, movies like this shouldn't be such a noteworthy occurrence — however addressing that imbalance is far from the film's only strength. So crucial to this warm-hued, good-natured feature is its breezy attitude and approach. This is a coming-of-age buddy comedy about two adults traversing America's south in often over-the-top circumstances, but every element is treated as though it's the most common thing in the world. A blind preacher shooting at Zak and Tyler, then baptising them, is just one of many components of the pair's journey that's simply part of their adventure. So too is a drunken night by a bonfire, a spirited service station encounter between Tyler and Eleanor and, most importantly, everything about Zak. Indeed, recognising that life's chaos happens to everyone is The Peanut Butter Falcon's remit — and showing that even the most ordinary events and extraordinary developments do as well. It's noticeable that, despite Johnson's efforts, Eleanor isn't afforded as much depth as the film's male characters. Actually, it's the feature's main disappointment. But when The Peanut Butter Falcon focuses on Zak's enthusiastic pilgrimage, the sincere bond he makes with another lonely soul, and the change it inspires in both him and Tyler, it's a warm-hearted hug of a movie. https://www.youtube.com/watch?v=jkH7KUlInPg
UPDATE: April 27, 2020: The Biggest Little Farm is available to stream via Google Play and YouTube. Say goodbye to your inner-city digs, pack up your belongings and head to the country — it's time to swap your concrete playground for a grassy, tree-lined, animal-filled one. That's how you might be feeling after watching The Biggest Little Farm, the warm and informative documentary that charts a just-married Californian couple's quest to follow all of the above steps in the name of a better life. John and Molly Chester's dream is simple, at least on paper. They want to run their own farm, relying on traditional methods and doing so in harmony with nature. One-crop spreads, soulless egg factories and the general type of commerce-driven farming that has become common today aren't for them. Instead, their rural utopia boasts a broad array of creatures and hundreds of different types of edible plants, creating a mini-ecosystem that supplies everything the pair eats — and everything that Molly, a private chef and food blogger, could ever need to cook with. The fact that a film exists about their efforts, and that it's helmed by John himself — a cinematographer and Emmy award-winning director when he's not working the land — signals the obvious: that the Chesters turned their vision into a reality. Spanning most of the past decade, The Biggest Little Farm chronicles the ups and downs of attempting to transform an unwelcoming 200-acre patch of soil into a thriving natural farming haven, all by following the advice of biodynamic farming guru Alan York. Taking over an abandoned farm, they strip away most of the existing crops, replacing them with new ones. They wait as the greenery grows, and as their newly acquired menagerie of chickens, pigs, ducks, sheep, dogs and other diverse critters all play their part. (Of paramount importance: the animals' poop, of which there's plenty.) First laughed at by their friends and family, the Chesters' support system expands, as does the farm they call home and the business side of the equation. Bookended by wildfires, with flames threatening to encroach upon the property an hour outside of Los Angeles, The Biggest Little Farm bubbles with timeliness — and not just because of Australia's current catastrophic blazes. The documentary actually first started screening at international film festivals back in 2018, coming in third in the audience choice award in Toronto that year, but the attitude it celebrates is a clear reflection of the growing recognition that much about humanity's current existence is harming the planet. Accordingly, as proved the case with Aussie doco 2040, watching the Chesters' plight proves educational, inspirational and aspirational. Their passion is infectious, whether they're helping birth calves, tending to an ailing pig or endeavouring to save their chickens from coyotes. The movie doesn't aim to take viewers through their feats step-by-step or teach audiences exactly how to follow the same path, but it does show what's possible for anyone willing to try. When the film leans into the adorable, heartwarming side of such an idealistic venture, cuteness abounds. An outcast rooster befriends a sow, oinking piglets run riot, and dogs lick lambs as if they were cleaning their own offspring. John doesn't shy away from the tougher realities of farm life, though — including wildlife predators, birds pecking through most of their fruit, a tricky snail infestation and serious animal health issues. First and foremost, however, he's viewing his experiences through a firmly upbeat, affectionate, resilient and persistent lens. This is a true tale that starts with a promise to a just-adopted dog, which John saves from an animal hoarder with more 200 critters and pledges to give a loving home, after all. When that pup barked so much that the couple got evicted, that's when John and Molly decided to chase their farming dreams. The movie's positive spin lends itself to lively animated sequences, bringing Molly's fantasies to the screen a suitably colourful, affable way. Still, as engaging as this rich, gentle documentary is — and as likely as it is to make you wish you could take the Chesters' lead — that jovial mood also results in a few overtly cliched touches. The film's music drips with sentiment, as if it doesn't quite trust that the on-screen critters are enough by themselves. The brightly coloured hues do more than just capture the farm's sights, literally painting a vibrant, sun-dappled picture. And, when it comes to the difficult reality of actually funding this sizeable venture (and making an independent doco about it at the same time), concrete details are glaringly absent. Plus, the personal voiceover sometimes verges on cloying. Worse: the reaction to someone's ill health and its impact on the farm plays as selfish, as if this parcel of land is more important than another person. These are all minor issues, but they do stop a valuable movie about eco-conscious living from being truly great rather than just very good. You'll still want to pack your bags and leave the rat race far behind, though. https://www.youtube.com/watch?v=fcQKWkpPB3U
UPDATE: MARCH 18, 2020 — Organisers have announced that all remaining sessions of the 2020 Alliance Francaise French Film Festival have been cancelled from Thursday, March 19 — hopefully to be rescheduled at a later date, but with further details to be decided down the line. The decision comes "following the Australian Government's additional restrictions on non-essential social gatherings". Ticket holders will receive a full refund. 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. In one of the films screening at this year's Alliance Française French Film Festival, Oscar-winner Jean Dujardin (The Artist) takes his obsession with a deerskin jacket to quite the extreme. In another of movies on the 2020 program, Eva Green (Penny Dreadful) rockets into space, playing a single mother who's also the only woman in the European Space Agency's astronaut training program. And, in yet another flick showing at the fest, voodoo, a secret literary society and a Haitian teen all combine. In other words: no matter what kind of French film you're looking for, you'll likely find it on the event's 31st lineup. If you're eager to catch the three aforementioned movies, then put Deerskin, Proxima and Zombi Child on your must-see list. There's more where they came from, of course, with the 2020 festival screening 49 new and classic French flicks when it tours the country from March 10. It all begins with Olivier Nakache and Éric Toledano's The Extraordinary, which dramatises the real-life efforts of Frenchman Stéphane Benhamou — who runs his own Parisian shelter for autistic youth who aren't cared for by the system otherwise. And, when the fest comes to a close, it'll do so with comedy The Bare Necessities. In the Cannes-premiering title, a radio show agony aunt in a small village is completely unaware that her adult sons have been calling in with their own problems. https://www.youtube.com/watch?v=TIsEZ2tTavU Other highlights: Xavier Dolan's Matthias & Maxime, which stars the acclaimed Mommy filmmaker as one of two friends forced to confront their feelings for each other; Oscar-nominee Les Misérables, about clashes between cops, teens and gangs in Montfermeil; and the 1968-set How to Be a Good Wife, which sees Juliette Binoche run a housekeeping school that prepares teenagers to become housewives. Or, French film lovers can catch Farewell to the Night, where The Truth's Catherine Deneuve is forced to deal with her grandson's radicalisation; Invisibles, a comedy abut an illegal women's shelter; and rom-com Room 212, the latest movie by Sorry Angel's Christophe Honoré. For those particularly interested in How to Be a Good Wife, this year's fest is putting on special bushfire-relief sessions in all capital cities that'll donate 100 percent of the ticket sales to the Australian Red Cross Bushfire Appeal and Rural and Remote Mental Health — so you see a movie and support a good cause. The same will be the case with In the Name of the Land, a drama about French farmers. Elsewhere, French and Russia trade nuclear threats in submarine thriller The Wolf's Call, a secret manuscript sparks a twisty whodunnit in The Translators, and life in 90s Afghanistan gets animated in book-to-screen adaptation The Swallows of Kabul. Because TV is increasingly finding a place on the film festival circuit, small-screen fans can also feast their eyes on the first three episodes of French series Vernon Subutex, which stars Romain Duris as an ex-record store owner trying to work out what to do next with his life. The Alliance Française French Film Festival tours Australia from March 10, screening at Sydney's Chauvel Cinema, Palace Norton Street, Palace Verona, Palace Central and Hayden Orpheum Picture Palace from March 10–April 8; Melbourne's Palace Balwyn, Palace Brighton Bay, Palace Cinema Como, Palace Westgarth, Kino Cinemas and The Astor Theatre from March 11–April 8; Perth's Palace Raine Square, Cinema Paradiso, Luna on SX, Windsor Cinema and Camelot Outdoor Cinema from March 11–April 8; and Brisbane's Palace Barracks and Palace James Street from March 18–April 14. For more information and to buy tickets, visit the AFFFF website.
Zines have been the rage for decades now, and if you've long been on their bandwagon, kudos to you, and if not, you’re jumping on at the right time. It may not be an age-old craft, but it sure is a nifty one that’s found new light in this decade, with the art of zines allowing artists to give commercial publishers a hearty shoulder snub and go independent with as much flare, profit and exposure as they so desire. Cutting out the middleman has never produced such an array of affordable reading material, and Brisbane alone holds home to a Sizzler scale buffet of zine makers and their works. 1. Philip Dearest Zines Philip Dearest's work flies sporadically between the delicious and disgusting. Sugar-dizzy combinations of illuminati symbols, sexual wickedness and swords piercing the skulls of crying hipsters, make for an arts zine that would have any media classification board pulling their hair out in tufts. From his publication Off My Meds: A collection of mentalist illustrations while off my anti-psychotic medication during the moth of August 2010 to Fallen Angles, where his drawings are attacked by maths, Philip Dearest in an artist and zine maker who might very well be Brisbane bravest and best. Check out his Etsy. 2. Bad Teeth Comics If you bleed what you read, expect greasy hands and cholesterol-blocked arteries after any piece of Bad Teeth Comics' work. From cheeseburgers to thickshakes, Bad Teeth's characters and their personas have reached cult-comic level on an international circuit. Bad Teeth produces zines, clothing, toys and exhibits illustrations and paintings across the globe, with some of the world’s most hailed comic artists holding his work in their trophy rooms. You can browse his store here. 3. Slubberdegullion Zine aka Slubs The term 'slubberdegullion' may refer to a worthless or slovenly person, but don’t be disenchanted — each issue of Slubs is priceless. Born on an old fire truck in Auchenflower in 2011, Slubs focuses on everything local in Brisbane, with features, rants and some excellent use of textas, making for a zine that twists art and word in nifty connubial. You can grab a copy at Atavist Books. 4. Occult Occult hits the middleground between scrappy, street print and full-form quality. It very obviously isn’t printed on a family HP — it holds a hint of gloss, and a swoon-worthy GSM — but compensates with content that strays from the cliched. Its bi-montly publication makes it a regular insight into Brisbane’s flux of the unknown, with each page tapping into a secret scene, band or artist that even the most loyal of locals couldn’t catch. Back issues may even feature work from some of our CP writers. You can grab a copy from these places — and it’s free! 5. Tamara Lazaroff Zines Zines aren’t all about street, drug(z) and rock and/or roll. They’re a means of expression, and Tamara Lazaroff’s creative writings provide snippets of her own literary beauty in the humblest of zine forms. Tamara’s collection of zines are constantly expanding and receiving rave reviews across the country. One of her most praised zines, Prison in Macedonia, explores the story of Alek and his time in prison — apparently, if you spend any time in a Macedonian jail, you should bring your own bowl, cup and spoon. 6. Swampland New on the scene, but bold enough to make a mark, Swampland is a mini-publication dedicated to promoting creativity, embracing DIY culture and giving a step up to Australian independents. Their first — and hopefully not last — zine chases the Nambour art scene, proving it’s not as boring as Google maps might show. There’s a bunch of other great zines out there who deserve a mention. If you see a copy of Lost Zine, Wasted Opportunities, Incredibly Hot Sex with Hideous People, a vintage copy of Bats, Two Faced or any print with two staples on the spine and a niko-enhanced cover, grab a copy and start your zine library pronto.
The Ryan vs Seth debate incited gang wars (it's all Seth, all the time, people — come on). Marissa made our eye twitch with stiff acting and then tore our hearts out in season three (no spoilers, hey). Summer retrospectively became our life and style guru. And still, no true O.C. fan can hear Imogen Heap's 'Hide and Seek' without tearing up just a little bit. For everyone whose teenage expectations of life and love were shaped by The O.C. and Peter Gallagher's eyebrows, listen up: The Brightside is throwing a huge O.C.-themed party on Saturday, August 4. Cue Youth Group, Death Cab for Cutie, Eels, Jem, The Futureheads, Spoon et al playing on repeat. You'd best cancel all existing plans and start fashioning an outfit with maximum spaghetti straps and low-waist jeans that are neither skinny nor flared.
Style over Speed is a great way to get some exercise and meet new friends. No matter who you are or how seriously your take your bike-riding, you're welcome to join in the fun. This regulalry held event will be occurring on Friday, where riders are invited to meet at King George Square at 5.45pm before riding through the city to West End. Once at West End, you're invited to check out the Twilight Markets with the gang. The tagline for Style over Speed is “dress to impress”. You can don your finest or something a little more comfortable but there is one rule at this event, strictly no lycra please. We at Concrete Playground think this is a wonderful idea! For more information, check out the Brisbane Style over Speed Facebook page. Bring your bike and your friends for some Friday night fun.
2020 didn't bring much that sparked joy, but it did let Sydneysiders wander through a large-scale, multi-sensory Vincent van Gogh exhibition that projected Dutch master's works onto walls, columns and floors. In 2021, art lovers will be able to repeat the feat, this time with a heap of French Impressionist masterpieces — because Monet & Friends — Life, Light & Colour is heading to town from March. The idea behind Monet & Friends is the same as its predecessor. It stems from the same team as well. As you wander around the Royal Hall of Industries in Moore Park from Friday, March 12, you'll feast more than just your eyes on huge projections of Claude Monet, Camille Pissarro, Pierre-Auguste Renoir, Paul Cézanne and Edgar Degas' work. Light, colour, sound and fragrance are also all part of the exhibition, which is designed to make you feel as if you're walking right into the hefty array of paintings. The list of 19th- and early 20th-century artists showcased goes on, too, including Édouard Manet, Henri de Toulouse-Lautrec, Berthe Morisot, Alfred Sisley and Mary Cassatt. Also featured are Gustave Caillebotte, Armand Guillaumin and Henri-Edmond Cross, plus Paul Signac and Georges Seurat. Once more, the project is the brainchild of Melbourne-based Grande Exhibitions, which, for the past 16 years, has hosted immersive exhibitions and gallery experiences in over 145 cities around the world. The company also owns and operates Rome's Museo Leonardo da Vinci. For Monet & Friends, it's once again using state-of-the-art technology that combines 40 high-definition projectors to create multi-channel visuals, all while a classical musical score accompanies the vibrant colours in cinema-quality surround sound. When you're peering at pieces by the 15 featured artists, you'll be doing so in a socially distanced setting — with visitor numbers restricted to maintain enough space (which will exceed the one person per four-square-metres required by New South Wales' COVID-19 rules). So, that means that you'll have less company than you'd usually expect at a big exhibition of French Impressionist art. It also means that sessions are probably likely to get booked out quicker than normal, though. Monet & Friends — Life, Light & Colour opens at The Royal Hall of Industries, adjacent to the Entertainment Quarter, Moore Park on Friday, March 12 — with tickets available via presales from 12pm on Thursday, January 28 and in general sale from 12 on Monday, February 1.
Time flies when you're having fun and eating fried chook, which means that it's now five years since poultry buffet restaurant KaiKai Chicken first opened its doors. Since 2017, it's been asking a crucial question in St Lucia: why did the fried chicken fan cross Hawken Drive? The answer: to eat all the greasy chook they could handle. The eatery has helped Brisbanites solve the eternal query faced by hungry chook fiends everywhere, too — aka whether to have one finger lickin' good piece, several, or more than anyone should actually admit to. It serves up an endless array of poultry in a dozen different flavours, plus all-you-can-eat fries, rice, other sides and desserts to round out the meal. A la carte orders are also available, but who wants that when there's bottomless fried chicken at arms reach? To indulge in all of the above, likely while wearing your stretchiest outfit, you've needed to head to Brissie's inner west — but come April, you'll also be able to venture south. An exact launch date hasn't been announced yet, but KaiKai is opening its second yellow-hued store in Springwood, complete with its beloved all-you-can-eat fried chicken buffet. That means that you'll have twice as many spots to hit up for the chain's affordable — albeit hardly healthy — $24.95 bottomless package, which includes those 12 flavours of chicken, six types of loaded fries, steamed rice, mashed potatoes and gravy, bread rolls, and cinnamon jelly doughnut sandwiches for dessert. Also on the menu at the new Kaikai spot: a $75 option that also includes a 90-minute alcohol package spanning bottled beers, mimosas and soju jugs. If it sounds too good to be true, we're here to tell you that it's a clucking reality — as it has been in St Lucia for half a decade now. That said, visits to Kaikai do have a time limit. Just like sipping that aforementioned bottomless booze, flocking customers are asked to get their chicken fix within 90 minutes due to the demand — and, let's be honest, after an hour and a half of seeing how much chook you can feast upon, you're probably be ready to fly the coop anyway. Find KaiKai Chicken's new store at 3/25 Watland Street, Springwood sometime in April. We'll update you with an exact opening date when it is announced — and you can head to the chain's Facebook page to keep an eye out for further information in the interim. Top image: Atlanta Bell.
Throw a stone in Brisbane's inner city, and it'll likely hit a bar. Try to find somewhere that doesn't just pour wine, but makes it, and it's a completely different story. Until now, that is. Thanks to the opening of Brissie's first urban micro-winery, stomping and sipping in the shadow of the CBD now go hand in hand. First announced in late 2018, and freshly opened in Campos Coffee's old 500-square-metre warehouse in Fortitude Valley, City Winery Brisbane clearly doesn't boast its own sprawling vineyard onsite. But, after sourcing grapes from around the country, it is now barrelling, bottling and serving vino in Wandoo Street. Locals can even help with all of the steps in the process — and drink it too, obviously, with the winery open daily for tours and tastings. As well as a barrel room and winery that can double as a function space when each year's vintage is complete, and a cellar that can also be used as a 20-person private dining room, the site features a 70-seat restaurant that's open Wednesday–Sunday for lunch and dinner. Chef Travis Crane heads up the kitchen, whipping up a menu that revolves around an open fire and highlights modern Australian cuisine. Highlights include small plates of smoked mussels, pork and liver terrine and grilled red claw, plus smoked fish rillette and roasted pumpkin with toasted grains. From the large plate selection, diners can choose from pork, sheep, beef, fish or sirloin, then match it with crunchy potato, grilled corn on the cob and cucumber sides. The dessert range features pineapple upside down cake with anise hyssop yoghurt sorbet, as well as baby sweet potatoes glazed with miso and mead, and then served with burnt honey ice cream. With a big fresh produce focus, Crane and his team source their ingredients from the establishment's own market garden in Rosewood. They also butcher and dry-age their own meat, and make all of the bread, butter, yoghurt, cream and charcuterie that patrons will be eating. A collaboration between winemaker Dave Cush and City Winery Brisbane's managing director Adam Penberthy, the venture has been more nearly two years in the making — largely due to the difficulties of finding the right warehouse-style location. And as well as letting Brisbanites visit a winery without leaving the big smoke, the newcomer actually nods to the city's winemaking history. "In the 1800s, there were over 350 acres of grape vines planted throughout the city," Cush explains. "The Lamberts had a vineyard along Lambert Road in Indooroopilly, there was substantial vineyards throughout Mitchelton, and of course Carl Gerler who had a 14 acre vineyard along the Brisbane River where Kingsford Smith Drive is today." In honour of the latter, City Winery Brisbane's own wine label is named Gerler. Find City Winery Brisbane at 11 Wandoo Street, Fortitude Valley — open Monday–Wednesday from 10.30am–10pm and Thursday–Sunday from 10.30am–11pm. Images: Grace Elizabeth Images.
Why drink at one watering hole, when you can head to two, three, five or seven? That's always been the motivation behind everyone's favourite boozy journey, aka a pub crawl. And, it's the exact same type of thinking behind the Urban Wine Walk. Taking another wander around Brisbane, it's the bar-hopping excuse every vino lover needs — if you need an excuse, that is. From midday until 4pm on Saturday, August 19, you'll saunter around the city — but this event isn't any old Urban Wine Walk. This time, the focus is on Newstead, and solely on pinot noir. There'll be seven types on offer at seven different watering holes. Your destinations: Ardo's, Maggie May, Newstead Social, Ruby, My Dear, After Dark, Botany and Working Title Brew Co — sampling pinots and having a mighty fine time. As for the tipples at each of the seven spots, they'll be taken care of by a heap of top wineries such as Alkimi Wines, Zonzo Estate, Konpira Maru and more, so prepare to get sipping. Tickets start at $65, and are on sale now, with places limited. This moving cellar door will not only serve up a heap of wine tastings, but also your own tasting glass — plus a $10 voucher for some food.
Something delightful has been happening in cinemas in some parts of the country. After numerous periods spent empty during the pandemic, with projectors silent, theatres bare and the smell of popcorn fading, picture palaces in many Australian regions are back in business — including both big chains and smaller independent sites in Sydney, Melbourne and Brisbane. During COVID-19 lockdowns, no one was short on things to watch, of course. In fact, you probably feel like you've streamed every movie ever made, including new releases, 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. NO TIME TO DIE James Bond might famously prefer his martinis shaken, not stirred, but No Time to Die doesn't quite take that advice. While the enterprising spy hasn't changed his drink order, the latest film he's in — the 25th official feature in the franchise across six decades, and the fifth and last that'll star Daniel Craig — gives its regular ingredients both a mix and a jiggle. The action is dazzlingly choreographed, a menacing criminal has an evil scheme and the world is in peril, naturally. Still, there's more weight in Craig's performance, more emotion all round, and a greater willingness to contemplate the stakes and repercussions that come with Bond's globe-trotting, bed-hopping, villain-dispensing existence. There's also an eagerness to shake up parts of the character and Bond template that rarely get a nudge. Together, even following a 19-month pandemic delay, it all makes for a satisfying blockbuster cocktail. For Craig, the actor who first gave Bond a 21st-century flavour back in 2006's Casino Royale (something Pierce Brosnan couldn't manage in 2002's Die Another Day), No Time to Die also provides a fulfilling swansong. That wasn't assured; as much as he's made the tuxedo, gadgets and espionage intrigue his own, the Knives Out and Logan Lucky actor's tenure has charted a seesawing trajectory. His first stint in the role was stellar and franchise-redefining, but 2008's Quantum of Solace made it look like a one-off. Then Skyfall triumphed spectacularly in 2012, before Spectre proved all too standard in 2015. Ups and downs have long been part of this franchise, depending on who's in the suit, who's behind the lens, the era and how far the tone skews towards comedy — but at its best, Craig's run has felt like it's building new levels rather than traipsing through the same old framework. In No Time to Die, Bond does need to look backwards, though — to loves lost, choices made and lingering enemies. Before Billie Eilish's theme song echoes over eye-catching opening credits, the film fills its first scenes with the past, starting with returning psychiatrist Madeleine Swan's (Léa Seydoux, Kursk) links to new mask-wearing villain Lyutsifer Safin (Rami Malek, The Little Things). There's patience and visual poetry to these early minutes amid Norway's snowy climes, even while littered with violence. No Time to Die is a lengthy yet never slow feature, and Bond first-timer Cary Joji Fukunaga doesn't begin with the pace he means to continue; however, the director behind True Detective's stunning first season establishes a sense of meticulousness, an eye for detail and an inclination to let moments last — and a striking look — that serves him exceptionally moving forward. Back in post-Spectre times, Bond and Swan enjoy an Italian holiday that's cut short by bomb blasts, bridge shootouts and other attempts on 007's life — and Fukunaga is quickly two for two in the action camp. No Time to Die segues commandingly from slow-building and foreboding to fast, frenetic and breathtaking in its two big opening sequences, setting itself a high bar. At this point, the narrative hasn't even properly kicked into gear yet. That happens five years later, when Bond is alone and retired in Jamaica (in a nice nod to where author Ian Fleming wrote his Bond stories). His old CIA pal Felix Leiter (Jeffrey Wright, Westworld) comes knocking, new politically appointed offsider Logan Ash (Billy Magnussen, The Many Saints of Newark) in tow, asking for the now ex-MI6 agent's help to foil the latest nefarious plan — involving a DNA-targeting virus fuelled by nanobots, of course — that's been hatched by terrorist organisation Spectre. Read our full review. THE POWER OF THE DOG Don't call it a comeback: Jane Campion's films have been absent from cinemas for 12 years but, due to miniseries Top of the Lake, she hasn't been biding her time in that gap. And don't call it simply returning to familiar territory, even if the New Zealand director's new movie features an ivory-tinkling woman caught between cruel and sensitive men, as her Cannes Palme d'Or-winner The Piano did three decades ago. Campion isn't rallying after a dip, just as she isn't repeating herself. She's never helmed anything less than stellar, and she's immensely capable of unearthing rich new pastures in well-ploughed terrain. With The Power of the Dog, Campion is at the height of her skills trotting into her latest mesmerising musing on strength, desire and isolation — this time via a venomous western that's as perilously bewitching as its mountainous backdrop. That setting is Montana, circa 1925. Campion's homeland stands in for America nearly a century ago, making a magnificent sight — with cinematographer Ari Wegner (Zola, True History of the Kelly Gang) perceptively spying danger in its craggy peaks and dusty plains even before the film introduces Rose and Peter Gordon (On Becoming a God in Central Florida's Kirsten Dunst and 2067's Kodi Smit-McPhee). When the widowed innkeeper and her teenage son serve rancher brothers Phil and George Burbank (The Courier's Benedict Cumberbatch and Antlers' Jesse Plemons) during a cattle-run stop, the encounter seesaws from callousness to kindness, a dynamic that continues after Rose marries George and decamps to the Burbank mansion against that stunning backdrop. Brutal to the lanky, lisping Peter from the outset, Phil responds to the nuptials with malice. He isn't fond of change, and won't accommodate anything that fails his bristling definition of masculinity and power, either. In a career-best, awards-worthy, downright phenomenal turn by Cumberbatch, Phil is all hawkish menace and bravado; he viciously calls his brother 'Fatso', his initial taunting of Peter over paper flowers and effete mannerisms is all the more ferocious for its dinner-table audience, and he's effusive in his admiration for Bronco Henry, the man's man who taught him everything he knows. Indeed, Phil's hyper-masculine air, complete with threatening and mocking banjo-plucking, soon drives Rose to drink. He'd rather still be bunking in with George, as they have for the quarter-century they've run their inherited ranch. He'd rather scare everyone away by failing to bathe, unless he's stealing off to a secret water hole — and by mixing his Yale classics degree into his sneering, too. The key to Cumberbatch's commanding performance isn't softening Phil or playing up his charisma, but conveying the battle of repression and self-resentment raging within; the cattleman has long tanned his own public persona, but he's as complex as rawhide. Adapting Thomas Savage's 1967 novel of the same name, Campion gives Phil's chomping misery ample company: in the sauced Rose, in the intimidating attitude that rolls around the ranch like a stubborn tumbleweed, and in Peter when he returns from his medical studies for the summer. The Power of the Dog lets this unhappy stew fester, adding grit to its brew with each passing scene and deepening its rich character studies in the process. The film's only misstep is pushing George aside, although the fact that his passivity — his main trait alongside tenderness — earns him less attention is an incisive touch. Rose becomes a supporting player as Phil and Peter's initially antagonistic relationship finds deeper dimensions but, in Dunst's hands, this is still an intense portrait of a woman heartbreakingly accustomed to being at others' whims. As a raw-boned young man who proves exacting and steely inside, Smit-McPhee isn't just similarly exceptional — he's revelatory. Read our full review. TICK, TICK... BOOM! "Try writing what you know." That's age-old advice, dispensed to many a scribe who hasn't earned the success or even the reaction they'd hoped, and it's given to aspiring theatre composer Jonathan Larson (Andrew Garfield, Under the Silver Lake) in Tick, Tick… Boom!. The real-life figure would go on to write Rent but here, in New York City in January 1990, he's working on his debut musical Superbia. It's a futuristic satire inspired by George Orwell's Nineteen Eighty-Four, and it's making him anxious about three things. Firstly, he hasn't yet come up with a pivotal second-act song that he keeps being told he needs. Next, he's staging a workshop for his debut production to gauge interest before the week is out — and this just has to be his big break. Finally, he's also turning 30 in days, and his idol Stephen Sondheim made his Broadway debut in his 20s. Tick, Tick… Boom! charts the path to those well-worn words of wisdom about drawing from the familiar, including Larson's path to the autobiographical one-man-show of the same name before Rent. And, it manages to achieve that feat while showing why such a sentiment isn't merely a cliche in this situation. That said, the key statement about mining your own experience also echoes throughout this affectionate movie musical in another unmissable way. Lin-Manuel Miranda didn't write Tick, Tick… Boom!'s screenplay; however, he does turn it into his filmmaking directorial debut — and what could be more fitting for that task from the acclaimed In the Heights and Hamilton talent than a loving ode (albeit an inescapably overexcited one) to the hard work put in by a game-changing theatre wunderkind? If this was a case of telling viewers that this is Miranda's movie without telling them, the concept would obviously do the trick. So would a few notable cameos in a standout song-and-dance number that's best discovered by watching. There's plenty in Tick, Tick… Boom! that was already layered with musical theatre history before it became a film, too; in the source material, Larson even wrote in a homage to Sondheim's own musical Sunday in the Park with George. That's the level of insider knowledge that's a foundation here, and the film frequently reverberates in an insular, theatre-obsessive, spot-the-references register. As great as it is if you stan the same productions and people, it also makes Tick, Tick… Boom! less accessible and resonant. It's as if Miranda can't choose between indulging his own adoration or truly sharing that love with his audience. (Tick, Tick… Boom! also became a three-person stage musical in 2001, and Miranda played its lead in a 2014 revival opposite Hamilton's Leslie Odom Jr and In the Heights' Karen Olivo.) Garfield's sing-to-the-rafters version of Larson is first seen in faux home-video footage, performing the rock monologue iteration of Tick, Tick… Boom!, his bouncy hair waving about as he croons and plays piano. Miranda and screenwriter Steven Levenson (Dear Evan Hansen) then segue between the lively presentation and the tale it also tells about Superbia, the looming workshop and the impending birthday. In the latter scenes, Larson can't come up with the missing song, earn enough as a composer to keep the power on, or juggle his pursuit of his dream with the complexities of his personal life. The alternative: opting for a safe career, which his ex-actor ex-roommate Michael (Robin de Jesus, The Boys in the Band) has done in advertising, and his dancer girlfriend Susan (Alexandra Shipp, X-Men: Dark Phoenix) is contemplating with teaching. Read our full review. If you're wondering what else is currently screening in Australian cinemas — or has been lately — check out our rundown of new films released in Australia on July 1, July 8, July 15, July 22 and July 29; August 5, August 12, August 19 and August 26; September 2, September 9, September 16, September 23 and September 30; October 7, October 14, October 21 and October 28; and November 4. For Sydney specifically, you can take a look at out our rundown of new films that released in Sydney cinemas when they reopened on October 11, and what opened on October 14, October 21 and October 28 as well. And for Melbourne, you can check out our top picks from when outdoor cinemas reopened on October 22 — and from when indoor cinemas did the same on October 29. You can also read our full reviews of a heap of recent movies, such as Herself, Little Joe, Black Widow, The Sparks Brothers, Nine Days, Gunpowder Milkshake, Space Jam: A New Legacy, Old, Jungle Cruise, The Suicide Squad, Free Guy, Respect, The Night House, Candyman, Annette, Shang-Chi and the Legend of the Ten Rings, Summer of Soul (...Or, When the Revolution Could Not Be Televised), Streamline, Coming Home in the Dark, Pig, Big Deal, The Killing of Two Lovers, Nitram, Riders of Justice, The Alpinist, A Fire Inside, Lamb, The Last Duel, Malignant, The Harder They Fall, Roadrunner: A Film About Anthony Bourdain, Halloween Kills, Passing, Eternals, The Many Saints of Newark and Julia.
Have you ever noticed the effervescent trail of light that follows your mobile phone screen when you move it in a dark room? Or how you can create shapes by whirling a glow stick around at night? Both are rudimentary examples of a recent trend: light painting. Light painting essentially consists of capturing light moving by using high exposure photography; the result is an image of the moving lights' path through the air. According to geek.com, the trend began "with a group of artists that wanted to map urban WiFi signals. This project created a visual landscape of technology we couldn’t see before, giving perspective on something we use everyday." Since then, artists and technology nerds alike have been creating floating works of light. In order to 'paint' properly, the painter must have an understanding of both the creative and scientific elements involved. The photography must be spot-on, and the hardware and software well-managed. Introducing the LightScythe: one of the first light-painting devices designed specifically with artistic endeavors in mind. The hardware is simply a long staff covered in LED lights, controlled by arduino boards and software the Mechatronics Guy designed. Watching the process, it may seem as though someone is just walking slowly with a large stick in hand, but the photographs reveal much more. The Mechatronics Guy uses the LightScythe to create floating images and text, and he wants you to, too. Check out the directions online and get to painting for yourself.
Take Takeshi's Castle, Super Mario World, Masters of the Universe and Dragonball Z, mix them all together, then make that glorious combination happen IRL: that's Quest of Chaos, which is set to pop up on the Gold Coast this spring. Taking its cues from retro video games, Japanese game shows and old-school animation, it's an obstacle course that's also a huge interactive art installation, and it's a just-announced highlight of this years' SPRINGTIME. The free Surfers Paradise music festival was initially announced in 2021, then made its debut in 2022 with tunes, a skate park, live art and performance installations. Earlier in 2023, the event revealed that it was returning for three days of entertainment by the beach, with BENEE, Matt Corby and Bag Raiders headlining across Friday, September 1–Sunday, September 3. Now, it has started unveiling its just-as-impressive arts lineup. Doing the honours with Quest of Chaos is Shock Therapy Arts, who also led the festival's arts contingent in 2022 with The Cleaners. The group is swapping flinging paint-filled balloons with a giant slingshot for its brand-new participatory piece, which has been commissioned just for SPRINGTIME. Players will work through obstacle-course challenges to attempt to defeat King Chaos and his crew — aka "interdimensional troublemakers" — on Surfers' famous sand. "It has been a fun, creative experiment to see what the fusion of these things look like as an installation on the beach," said Shock Therapy Arts' Hayden Jones. "At the end of the day, it's all about facilitating a fun experience and making people laugh. We're honoured for Quest of Chaos to be the first ever newly commissioned installation by SPRINGTIME, following on from the success of our work The Cleaners at last year's festival." Also on the arts lineup: Korean Australian artist YEAHYEAHCHLOE, who'll create art in real time for SPRINGTIME's audience, plus Malara Rise, aka Britney and Stefanie Noffke, who'll create a unique mural about their connection to the festival's location just for the event. As previously announced, the live music bill will take over both beachside and streetside spaces around Surfers. There'll be two stages, also hosting Babe Rainbow, Boo Seeka, Eliza & The Delusionals, grentperez, Sunshine & Faith Disco Choir, Sycco and more, while the Vans skate team will be back to get rolling. SPRINGTIME MUSIC FESTIVAL 2023 LINEUP: Bag Raiders BENEE Matt Corby Babe Rainbow Boo Seeka Eliza & The Delusionals grentperez Sunshine & Faith Disco Choir Sycco Austin Mackay Bella Amor Betty Taylor Big Fuzz Bill Durry Chutney Dizzy Days Daste. Girl & Girl Greatest Hits Jason Van Miert Lemaire Matonii Sabio Mitch Santiago N'Jaane Pure Milk Radolescent The Vultures Taleena Tomorrow's Forecast YB. SPRINGTIME Music Festival will take place across the weekend of Friday, September 1–Sunday, September 3. For further information, head to the festival website. SPRINGTIME 20222 images: Bianca Holderness. 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.
Queensland’s iconic Gold Coast has and continues to be a shining jewel in the tourism crown, a ritualistic family retreat, and a location full of vibrance and true Australian life. It was during the 1960s, '70s and '80s that the Gold Coast hit its prime, boasting a prime population of sun-kissed locals indulging in the relaxed everyday. This was an era worth committing to film. To look back, the differences are stark and nostalgia is ever so present. Amateur photographer and social documentarian Graham Burstow, while on annual family holidays from Toowoomba snapped the human scenery in true candid form. His close-up and personal photography, a true account of life on the Goldie, fills the exhibition Flesh: Gold Coast in the '60s, '70s and '80s. Hand-printed images in classic black-and-white display an overlooked goldmine of Australian culture, taking the shine off many recounts while zooming in on the natural gleam of bodgies, widgies, tanning-oiled bikini girls and beer-bellied drongos.
After making the Greenslopes and Stones Corner areas decidedly more delicious with Shady Palms, the team behind the cafe and bar are now spreading the culinary love over to the other side of town. Say hello to Spring Hill's Lonely Boy. Having opened its doors on April 18, it's Mal Gill and Bec Saul's second current venture, but fourth in total — the two also masterminded Lady Marmalade and Milk Factory Kitchen, before selling them to focus on Shady Palms. The cute, small space on the corner Water and Kennigo Streets serves up counter breakfasts and lunches from Wednesday to Monday, complete with coffee from Open House Coffee Roasters and an all-day brekkie menu. Because chicken and waffles is the dish that keeps on giving — and because Lonely Boy really is trying to spice things up — prepare to feast on jalapeño waffles with creamed corn and chicken nuggets, plus bacon and haloumi burgers, as well as an array of sandwiches. And while the shop shuts at 2pm daily, those after a later snack can hit them up for delivery via the usual online services. As for the name, even if you now have The Black Keys stuck in your head, that's not where the cafe's moniker came from. The Courier-Mail reports that co-owner Gill was once told he'd end up a lonely boy if he pursued his dream of becoming a chef. Well, doing well — and naming your own place after those words of warning — truly is the best revenge. Lonely Boy is now open at 97 Kennigo St, Spring Hill. Head to their website and Facebook page for further details. Via The Courier-Mail.
The espionage antics. The shaken-not-stirred martinis. The suits. The theme song. Think James Bond, and all four come to mind. Indeed, they've all played a part in the long-running franchise, which first started back in 1962 — and they're all now coming to the Sydney Opera House with a live score. Following in the footsteps of the Star Wars and Harry Potter films, Bond is bringing one of its spy instalments back to the big screen with help from the Sydney Symphony Orchestra. It's the first time in Australia that the franchise has been shown in this way, and it'll hit Sydney on Thursday, February 28 and Friday, March 1 in 2019. Audiences will relive Daniel Craig's 007 debut while hearing the music behind as they've never heard it before, all as part of Casino Royale in Concert. For those in need of a refresher on the 2006 flick, it takes the franchise back to the beginning of Bond's career. He's newly licensed to kill, and he's soon falling in love with Vesper Lynd (Eva Green) while trying to hunt down terrorist financier Le Chiffre (Mads Mikkelsen). Directed by Martin Campbell, it was a huge hit — the biggest Bond film, box office-wise, ever released at the time, a mantle that was later overtaken by 2012's Skyfall. As the film hops from the Bahamas, to Montenegro to Venice's Grand Canal, the SSO will perform composer David Arnold's music. Yes, the classic theme track that's served the franchise so well for more than half a century now also features. Casino Royale in Concert plays the Sydney Opera House on Thursday, February 28 and Friday, March 1 in 2019. For more information or to buy tickets, visit the SSO website.
When it premiered at Sundance in January this year, Spaceship Earth wouldn't and couldn't have seemed as topical as it does at present. The documentary's subject: Biosphere 2. If the name isn't familiar, it refers to a biodome in the Arizona desert that played host to eight inhabitants for two years in the early 90s — all isolating themselves from the world by choice, in the name of silence, to see if a closed-off, fully self-sustaining vivarium could work. Yes, it sounds like pure sci-fi. We can guarantee that this is 100-percent reality, however. Exploring a tale that has to be seen to be believed, filmmaker Matt Wolf takes viewers through the unusual and fascinating experiment — wth the help of a treasure trove of archival material, as well as present-day interviews from many of the folks involved at the time. While it would've been very easy to play up the outlandishness of the whole project (indeed, as seen in media clips from the era, many an onlooker did), this doco approaches Biosphere 2 and the passionate people who made it happen with thoughtfulness and appreciation, in what proves a supremely interesting and engaging film. And, if you'd like to check it out, you can do so for without paying a cent as part of the new Visions, Speculations and Dystopias: A Deep Dive Into Spaceship Earth event hosted by The Capitol in Melbourne. There are multiple components, all free and all online — and streaming the movie is one of them. You'll need to RSVP to get sent the details, and then you can view it at your leisure in the lead up to three virtual events. The first, a watch party, takes place at 7.30pm AEDT on Wednesday, November 4. After that, you can catch a panel about whether humanity should leave earth, as held at 5.30pm AEDT on Thursday, November 5, and then check out a masterclass with Spaceship Earth's director Matt Wolf at 10am AEDT on Friday, November 6. https://www.youtube.com/watch?v=mGvYFB6GHRY
