From boozy mini-golf spots to beer-fuelled pinball and gaming dens to circus-style arcade joints, Brisbane's themed bar scene has been booming over the past few years. And, it shows no signs of stopping — by the time summer hits, the city will also be home to an inner-city escape room that doubles as an underground watering hole, too. Set to open in Spring Hill this spring, Arcadium Adventures will transform the basement of Wickham Terrace's heritage-listed Espie Dods House into a place for cracking puzzles and knocking back cocktails. You'll be able to work your way through two spaces within the site to begin with, with a third set to launch in 2020. Beverage-wise, there'll be locally brewed beers, spirits and drinks inspired by the immersive escape room experiences. While just what the escape rooms will entail hasn't yet been revealed, each experience will run for 50 minutes and will use augmented reality to add an extra dimension to the fun. You'll also have two options: play your way through an individual escape room as a stand-alone endeavour, or work your way through the whole place with all of Arcadium Adventures' experiences taking place in the same universe. As for the bar, it'll seat 40 and will be available to hire for events. If finding clues and having a few drinks is your idea of a celebration, then you'll be in the right spot. Arcadium Adventures is the work of Gabrielle Lim, who also has a hand in Melbourne's Trapt Bar and Escape Rooms. The Victorian spot boasts 'Alchemy'-themed rooms, which nod to a certain beloved boy wizard in more than a few ways, so here's hoping that something similar makes the jump to Brisbane. https://www.facebook.com/traptmelbourne/videos/1464549976988055/ Arcadium Adventures is slated to open at 97 Wickham Terrace, Spring Hill this spring — we'll update you with an opening date when it is announced.
There's never a bad time to party while you're perched above the rest of the world, especially when there's a new year to celebrate. December 31 isn't the only time to do just that, of course, with Brisbanites able to climb up high from 5–8.30pm on Saturday, February 8 to mark the start of the new lunar calendar on a shopping centre's rooftop. As it has in the past, the 2025 BrisAsia Festival is throwing a huge Lunar New Year Rooftop Party. To join in the fun for the Year of the Snake, you'll want to head to Sunnybank Plaza and head up to the top of the Hoyts Cinema carpark. Expect dragon and lion dancers, live tunes and plenty to eat. Expect to feel like you're at a traditional lantern festival, too, but without leaving Brisbane. Past years have featured tea ceremonies, calligraphy classes and more — and fireworks at 8pm are always a big highlight. Entry is free, but bring your wallet to feast on dinner from the nearby restaurants.
There are plenty of places to get merry around Brisbane, including at a month-long CBD festival that's all about Christmas. But this festive season, you can also spend a day feeling jolly in one of the city's newest waterside spots — including at a margarita bar and an oyster bar. Gone are the days when South Bank was Brisbane's only food-, drink- and entertainment-filled riverside precinct, with Portside, Northshore Hamilton and Howard Smith Wharves all popping up over the past decade or so. Here's another: Rivermakers Heritage Quarter, which has turned a patch of Colmslie Road in Morningside into a new must-visit destination, and is now marking December in the appropriate way. If you haven't had the chance to stop by the heritage-listed spot yet, here's your excuse: Christmas at HQ from 2pm on Saturday, December 3. That's when the eastside precinct wants you to head along to check out its sights — and everything you can eat, drink and do, from sipping brews at Revel's second site through to taking a Mas & Miek pottery workshop and playing lawn games on the grass. Also on the agenda at the riverfront spot in Morningside across the day: drinking gin at Bavay Distillery, tucking into barbecued meats thanks to Low n Slow Meat Co, Christmas markets ('tis the season), carols, food trucks and music. There'll also be live mural drawing, and just festive cheer all-round at this pet-friendly event. Entry is free, except for the pottery workshop, which costs $110 per person — and if you're keen on the latter from 10am–12pm, you'll need to book.
It was true in the 90s, and it remains that way now: when Jim Carrey lets loose, thrusting the entire might of his OTT comedic powers onto the silver screen, it's an unparalleled sight to behold. It doesn't always work, and he's a spectacular actor when putting in a toned-down or even serious performance — see: The Truman Show, The Majestic, I Love You Phillip Morris and his best work ever, the sublime Eternal Sunshine of the Spotless Mind — but there's a reason that the Ace Venture flicks, The Mask and Dumb and Dumber were some of the biggest movies made three decades back. Carrey is now a rarity in cinemas, but one franchise has been reminding viewers what his full-throttle comic efforts look like. Sadly, he's also the best thing about the resulting films, even if they're hardly his finest work. That was accurate in 2020's Sonic the Hedgehog, and it's the same of sequel Sonic the Hedgehog 2 — which once again focuses on the speedy video game character but couldn't feel like more of a drag. The first Sonic movie established its namesake's life on earth, as well as his reason for being here. Accordingly, the blue-hued planet-hopping hedgehog (voiced by The Afterparty's Ben Schwartz) already made friends with small-town sheriff Tom Wachowski (James Marsden, The Stand). He already upended the Montana resident's life, too, including Tom's plans to move to San Francisco with his wife Maddie (Tika Sumpter, Mixed-ish). And, as well as eventually becoming a loveable member of the Wachowski family, Sonic also wreaked havoc with his rapid pace, and earned the wrath of the evil Dr Robotnik (Carrey, Kidding) in the process. More of the same occurs this time around, with Sonic the Hedgehog 2 taking a more-is-more approach. There's a wedding to ruin, magic gems to find and revenge on the part of Robotnik. He's teamed up with super-strong echidna Knuckles (voiced by The Harder They Fall's Idris Elba), in fact, while Sonic gets help from smart-but-shy fox Tails (voice-acting veteran Colleen O'Shaughnessey). Gone are the days when an animated critter's teeth caused internet mania. If that sentence makes sense to you, then you not only watched the first Sonic the Hedgehog — you also saw the chatter that erupted when its initial trailer dropped and the fast-running creature's humanised gnashers looked oh-so-disturbing. Cue a clean-up job that couldn't fix the abysmal movie itself, and an all-ages-friendly flick that still made such a ridiculous amount of money (almost $320 million worldwide) that this follow-up was inevitable. The fact that Sonic the Hedgehog 2 arrives a mere two years later does indeed smack of a rush job, and the end product feels that way from start to finish. That isn't the only task this swift second outing is keen to set up, with bringing in fellow Sega characters Knuckles and Tails the first step to making a Sonic Cinematic Universe. Yes, with Morbius reaching theatres on the exact same day as Sonic the Hedgehog 2, it's an ace time for sprawling start-up franchises sparked by a quest for cash rather than making great cinema — an ace time for the folks collecting the money, that is, but not for audiences. Both otherwise unrelated movies are flimsy, bland and woefully by-the-numbers, and seem to care little that they visibly look terrible thanks to unconvincing CGI. Sonic the Hedgehog 2 also falls victim to one of the worst traits seen in family-appropriate pictures: being happy to exist purely as a distraction. That means pointless needle drops that shoehorn in pop hits for no reason other than to give kids a recognisable soundtrack to grab their attention, and an exhausting need to whizz from scene to scene (and plot point to plot point) as if the film itself is suffering a sugar rush. Also covered: unnecessary pop-culture references, including inexplicably name-dropping Vin Diesel and The Rock, and also nodding to all things Indiana Jones. Sonic the Hedgehog 2's fondness for dashing through its sequences and setpieces like it's racing against a clock could be seen as a simple case of the film endeavouring to emulate its protagonist — but it also runs for over two hours, so truly delivering a turbo whirlwind isn't on returning director Jeff Fowler's mind. Rather, the feature seems to flit by at a breakneck pace so that nothing could possibly linger, which is one of its few attempted gifts to viewers. The other is still Carrey, although he can't carry the movie this time around. To be specific, he doesn't appear to want to. He also seems to be leaning heavier on easy gimmickry rather than genuine goofiness, but he's happily still in anarchic mode. Sonic the Hedgehog 2 definitely can't match him, though, despite zipping as much chaos across the screen as it can (and as hurriedly as can). Try as it might, the film doesn't make anyone forget its inane Hawaiian wedding scenes, which earn far too much focus because they shouldn't receive any. In the year 2022, second-time Sonic writers Pat Casey and Josh Miller — plus newcomer John Whittington (The Lego Ninjago Movie) — somehow thought it was okay to rely upon bridezilla tropes in the name of supposed humour, and the result is unfunny and lazy. This narrative choice also gives The White Lotus' Natasha Rothwell a thankless part, but then no flesh-and-blood actor who's playing it straight fares well here. That leaves Carrey, and also the voice work behind the movie's primary colour-toned animated creatures. Schwartz still sounds as if he's doing Parks and Recreation's Jean-Ralphio right down to a "the woooorst" joke, but Elba's line readings at least raise a smile by being so self-serious. Throw in an over-emphasised message about the importance of family like this is a stealth Fast and Furious flick — yes, clearly the title would fit, and there's also that Vin Diesel and The Rock mention — and Sonic the Hedgehog 2 just keeps getting more and more derivative. It knows it, actually. It even makes a gag about it. But as with almost everything it serves up, throwing things at the screen like blazes and being well-aware you're doing it doesn't make for an entertaining, average or even passable-enough time at the movies. Image: courtesy Paramount Pictures and Sega of America.
After three years without sugar, Damon Gameau has come off the wagon in a big, bad way. Intent on uncovering amount of processed sugar in an average Australian diet, the actor-turned-documentary filmmaker puts his own health on the line, consuming the equivalent of roughly 40 teaspoons of sugar a day. The result is a lively and eye-opening documentary on a subject that needs as much attention as it can get. Gameau’s most obvious compatriot is Morgan Spurlock, who likewise put his own health on the line back in 2004 with the Oscar nominated Supersize Me. The comparison is an obvious one, and you’d be right in thinking that That Sugar Film seems suspiciously similar. But where Gameau has an edge is that his focus is on so-called health food. When a man dines on McDonalds for a month, of course he packs on the pounds. But when you get the same results with vitamin water and low-fat yogurt, the story is suddenly very different. Behind the camera, Gameau does everything he can to keep his viewers entertained. Music and colourful graphics are in plentiful supply, giving the film an at times hyperactive quality that fits the subject matter to a tee. Information often comes delivered with the aid of unexpected celebrity cameos, including appearances by Hugh Jackman, Isabel Lucas and Stephen Fry. There’s an initial temptation to dismiss the movie out of hand; after all, Gameau’s diet doesn’t exactly constitute sound scientific method. Yet despite the film’s gloss and gimmickry, Gameau could never be accused of sugar coating the facts. That Sugar Film attacks its subject from every conceivable angle, including sugar’s effect on children’s learning habits, the correlation between high sugar diets and poverty, and perhaps most unsettling of all, the lobbying efforts of billion-dollar food corporations, whose strategies seem frighteningly similar to those of big tobacco. Still, the scariest thing about this doco is the way in which it confronts us with just how much sugar we all consume. In one of the movie's most memorable sequences, rather than eating a day’s worth of sugary food, Gameau simply eats the equivalent amount in white sugar crystals, providing viewers with a visual reference point that’s both funny and revolting. While its message can seem obvious at times, That Sugar Film has the potential to change the way people think and behave. What higher compliment can a documentary film be given?
It's time to get festive beneath one of Newstead's most striking features: the Gasometer. For one night in December, The Market Folk is taking over the eye-catching Gasworks space, bring a heap of stalls with it and helping you finish your Christmas shopping — because, let's face it, no one ever gets 100-percent of their gift buying done too far in advance. From 5–9pm on Friday, December 10, the Gasworks Plaza precinct will be home to plenty of market stalls as the sun goes down, all brimming with items that'd make perfect presents (for your loved ones, and for yourself). If you're wondering just what kinds of things you can expect to pick up, think fashion, art, homewares, ceramics and vintage goods — and plants as well. There'll be a particular focus on Brisbane creatives, too. So, you'll also be gifting them some Christmas cheer by supporting their hard work. [caption id="attachment_758933" align="aligncenter" width="1920"] The Market Folk[/caption] Top image: Andrew S via Flickr.
Roll up, roll up, it's show time — and not just in the obvious spot. The Ekka is finally back in 2022 for its first go-around since 2019, but it isn't the only place for games and fun in August. Indeed, it's not even the only place in and around Fortitude Valley, with Netherworld arcade game bar upping the ante for nearly two weeks of the month. From Saturday, August 6–Sunday, August 14, the St Paul's Terrace hangout is hosting its very own Netherworld Sideshow, combining the usual offerings with a few extra special inclusions. Expect their existing array of tables, machines and consoles, plus added carnival games, guest machines, fairy floss — and even creepy clowns. We'll let you decide if that last one is a good or a bad thing. [caption id="attachment_605033" align="alignnone" width="1280"] Sarah Ward[/caption] The onsite cafe, aka the Hellmouth Diner, will also be cranking out carnival-style fare, so your stomach can get in on the action as well. And, you'll also be able to buy Netherworld showbags filled with merchandise and goodies. Obviously, the bar will be pouring its usual brews, too — with a few Ekka-themed specials. [caption id="attachment_622335" align="alignnone" width="1920"] Sarah Ward[/caption] Top image: Cole Bennetts.
Hollywood's night of nights is fresh in your memory, your to-watch list has grown considerably, but your wallet doesn't want to play ball. Call Dendy Cinemas' latest special a case of great timing, then, with the chain offering up discount tickets that'll solve your problem. Until March 15, as long as you purchase online, you'll only pay $8 for your movie of choice at Portside and Coorparoo. Or movies. With everything from Black Panther to Phantom Thread to Lady Bird currently screening, there's plenty to watch if you're keen to spend as much time in a darkened room as possible. The special isn't available for special events, Dendy Arts sessions, pre-book tickets or preview screenings, but you're certain to find something to watch regardless. Plus, if you haven't had a chance to drop by the chain's new digs in Coorparoo, here's your excuse.
It has been a couple of years since Brisbane's Metre Market transformed into The Market Folk, and since the latter started holding regular markets at Coorparoo Square, too. It still knows how to celebrate Christmas, though — or to help you get ready for the most festive day of the year, to be specific. Head along from 9am–1pm on Sunday, December 12 to get your last-minute shopping done, and even find yourself a few nifty gifts. More than 45 stalls will be showcasing everything from fashion and food to arts, homewares and design items. There'll also be skincare, accessories and eco products as well. Yes, even if you're looking for a present for a particularly hard-to-buy-for friend, you're likely to find something. This is a Christmas market, so expect a few seasonal activities as well. That usually includes carolling, naturally — because if you're shopping at this time of year, you know you want the appropriate soundtrack.
Walking around Brisbane is a great way to enjoy your own backyard, see the local sights and get in some exercise. And for a 17-day period between Friday, June 24 and Sunday, July 10, doing just that will also allow you to engage with a series of interactive installations. They're called 'curiocities', and they're part of the returning Curiocity Brisbane festival, which focuses on the interaction of science, technology, innovation and the arts. This year, the festival's been curated by local artist, curator and academic Jay Younger. If this all sounds familiar — and not just from past years — that's because Curiocity Brisbane was planned to go live during World Science Festival Brisbane in March. But, no fear — it's here now! And enlivening a month of winter with its buzzing lineup of art-meets-science creativity, panel discussions and tours. First things first, lace up your walking shoes. This year, the festival will guide you past 20 outdoor, interactive installations, displayed along a 5km walking trail — snaking through South Bank, South Brisbane's Cultural Precinct, the City Botanic Gardens and the CBD. Standout installations include Acknowledging Place, which asks participants to sit and consider an Indigenous perspective of caring for Country; public sculpture OHCE/ECHO, which captures your portrait and embeds it in the work; and The Wandering Birds Have Returned to the River (Even Bernice), featuring imaginary giant bird nests made out of repurposed and reusable consumer goods. Other Curiocity must-sees include Luminous Threads, which combines embroidery with modern fibre optic technology; Mirage Project [Iceberg], which uses stereoscopic photography to inlay an iceberg from Antarctica into South Bank; and light and soundscape In the Air, a time-lapse piece that uses data from Antarctic ice-core samples to map changes over the past 400,000 years in a half-hour music and light show. Looking for some boundary-pushing chit chat? The Curious Conversations offering is for you. On Sunday, June 26, Art, AI & Empathy will see Younger and artist Georgie Pinn dive headfirst into the question of whether immersive technology can teach us to be better humans. Hidden in the Trees will highlight the intricacies present at the intersection of our devices and understanding of our natural world on Sunday, July 3. And First Nations artists will discuss their creative pieces and the communicative role art plays in awareness and protection of Country at Art, Science & Indigenous Knowledge on Sunday, July 10. If you want someone with the intel to explain the art to you, nab a spot in one of two free walking tours guided by the festival curator herself. The Curiocity Brisbane Tour will start at the Wheel of Brisbane on Wednesday, June 29, and the State Library of Queensland on Wednesday, July 6. Ready to explore, create and play? Head to the website to plan your visit and register for a free Curious Conversations session.
Just as hearts will go on, so will everyone's fascination with the Titanic: the ill-fated vessel and the film of the same name. Where the latter is concerned, it has been two decades since Leonardo DiCaprio and Kate Winslet stepped onboard James Cameron's Oscar-winning behemoth, danced, flirted, fell in love and fell afoul of an iceberg, but cinemas aren't done with the box-office hit yet. To be fair, however, the movie's latest outing isn't exactly in your usual picture palace. In November, Beyond Cinema will screen Titanic in the way you never thought you'd see it: on a ship in Sydney Harbour as part of a live event that not only lets you pretend you're on the real thing, but re-enacts the feature. They're calling it a unique cinema experience designed to take you into the movie, aka Titanic cosplay. If you're a fan, you'd best hold onto your necklaces and maybe bring your own door to use as a raft. The Titanic Experience is the maiden voyage in a planned series of similar events, with screening The Shawshank Redemption in a jail one of the next on the agenda according to The Sydney Morning Herald. Of course, they're not the first to jump into the immersive, interactive cinema space — Underground Cinema and World Movies Secret Cinema are just some of the organisations that have done the same thing, and Brisbane has had its own pop-up prison cinema as well. Still, Titanic on a boat sounds like a watery treat. Information regarding specific dates and prices is also yet to be announced; however anyone interested in pretending they're the king of the world can sign up for pre-release details on the Beyond Cinema website. Beyond Cinema's Titanic screening will take place in November. For more details, keep an eye on their website and Facebook page. Via The Sydney Morning Herald.
They're back. Killer Sprocket and Kaiju just keep teaming up — first to make the malty science experiment that was KaKS Cotmari, then to hold a monster movie night at Brewsvegas 2016, and now to step back into film territory. Killer Sprocket & Kaiju Go to the Movies 2: A Buddy Comedy is the sequel Brewsvegas had to have, aka a movie night where you don't just watch. Knocking back a beverage by both companies is a must here as you settle in for their film of choice. So too is listening in as The End pops on a classic flick and lets Killer Sprocket's brewer-slash-comedian Sean and Kaiju's resident funny guy Nate provide their own commentary. The ticket price includes the film and two schooners, with food also available.
Disney has its own. Apple has one too. And so does Drive director Nicolas Winding Refn. If you're fond of documentaries, you have not one but two local choices. The same applies if you're eager to get viewing for free, especially if you can handle retro flicks and titles that you've never heard of before. And if you're eager to support Australian content, there's one for that as well. We're talking about streaming platforms, of course. Throw in Netflix, Stan, Amazon Prime Video, SBS On Demand and ABC iView, and Aussies can't say there isn't anything to watch. That's not an exhaustive list either, because this space just keeps growing — with a new service dedicated to British television shows about to join the fold this year. Already operational in the USA, Canada and, of course, the United Kingdom, Britbox is a joint collaboration between two English TV networks: the BBC and ITV. They both have a hefty stable of programs up their sleeves — and while exactly what'll be available on the Aussie version of the service hasn't been announced, you can expect retro and recent series such as Absolutely Fabulous, The Office, Blackadder, Harlots and A Confession, based on the titles showcased on the current local website. https://www.youtube.com/watch?v=G2DCExerOsA Britbox will focus on box sets of UK shows, which means full seasons all there at once ready for audiences to stream. You'll be able to do so via mobile devices, tablets, connected TVs and Chromecast — and via the online site. Just when Britbox will start streaming in Australia is yet to be revealed, other than than sometime in 2020. Nor has a price as yet, if you're eager to add another platform to your subscriptions. Britbox is set to launch in Australia sometime in 2020. Visit the streaming service's website to sign up for further updates.
Responsible for over seven studio albums, five Billboard Chart top-10 singles and countless record sales worldwide, Pitbull is currently on top of the popular music world. After selling out arenas in the United States, the Miami, Florida native is on his way to Brisbane for perform at the Brisbane Entertainment Centre. Hits such as ‘I know You Want Me’, ‘Give Me Everything’ and ‘Hotel Room Service’ have energized fans worldwide, along with numerous collaborations with the likes of Usher, Enrique Iglesias and Jennifer Lopez. Performing with Pitbull on this tour are award winning songwriter Taio Cruz, sensational Aussie export Havana Brown and Australia’s Got Talent star, Timomatic.
There are two ways that you can add some extra flavour to your next boozy beverage. Mix your drink of choice with a heap of other ingredients and you've got yourself a cocktail, of course — or, you can opt for one of the many varieties of spirits that don't just stick to the usual recipe. Australia's newest vodka falls into the second category. And if you like lamingtons, which everyone should, then you're going to want to add a bottle to your liquor cabinet. Made by Gold Coast-based distillery Wildflower Gin, the limited-edition lamington-flavoured tipple appears as crystal clear as every other vodka. But it's made using local strawberries, cocoa and coconut, so you'll taste all of the above while you're sipping. Obviously, if you'd like to pair it with an actual lamington as well, that's encouraged. And if you're just keen on knocking back drinks that taste like dessert, that's fine as well. The strawberries, cocoa and coconut are all distilled with water from Tamborine Mountain, to help create a smooth beverage — which you can then drink neat by itself, pair with some soda water or add to a cocktail. If you're keen, you'll need to get in fast, because only 200 bottles are available online and at the distillery's Varsity Lakes home. Wildflower Gin's lamington vodka is available to order online for $75 — or, if you're near the Gold Coast, you can pick up a bottle at the distillery at 2/486 Scottsdale Drive, Varsity Lakes.
Who doesn't love First Dog on the Moon? As the Guardian's much-loved cartoonist, he's canny with political comedy and clever with a pencil. In the flesh, he's just as smart and satirical, as two of his Brisbane Writers Festival 2015 events will prove. We'd tell you to see his live show and his panel discussion on sarcasm, but they've already sold out, so it appears you're way ahead of us. Thankfully, the astronaut pooch is also fond of the soothing elixir that is whisky, and he wants to share his experiences. In what's likely to be BWF's most liquor-fuelled event, Malt Lovers sees everyone's favourite creative canine and fellow cartoonist Jon Kudelka hop through the highlights of their 600km tour of every whisky distillery and whisky bottler on the Tasmanian Whisky Trail.
Think jewellery is purely decorative? Think again. Sure, it brightens up your neck, wrists, fingers and more, but there's much, much more to bling than looking shiny. In fact, jewellery is a form of sculpture, as the latest exhibition by the Jewellers and Metalsmiths Group of Queensland makes plain. Presenting a curated selection of their members' work, Worn & Weathered demonstrates the artistry, intricacy, textures and concepts at the heart of everything from a ring to a brooch — and their interaction with issues and ideas of landscape. Yes, their pieces don't just please the eye, or add colour and shape to an outfit — they also connect with bigger themes and topics. In fact, next time you look at a piece of jewellery, it could be responding to Queensland's unique climate, or questioning the ethics of a society burning through the earth's resources. Image: Jandy Pannell , Dark Blooms (Neck Piece), 2016, recycled grocery checkout bags, reused and dyed fishing line and flax thread. Image by Jandy Pannell.
Whether you like them filled with jam and cream, or prefer plain cake all the way, the lamington is a perfect dessert. It's a piece of sponge cake covered in chocolate sauce and desiccated coconut — what's not to love? And, as excellent as it is on its own, it also fares exceptionally well when it's combined with other foods. Everything from lamington gelato to lamington milkshakes have already proven this fact, as has lamington-flavoured vodka, too. The latest creative take on this Australian favourite? A lamington-cruffin hybrid — which turns one food mashup into a bigger food mashup like the baked goods version of Inception. Sorry, lamington purists, it definitely isn't cube-shaped. But it now exists thanks to Lune Croissanterie. The bakery fills its Frankenstein's monster of a lamington-croissant-muffin with raspberry jam and whipped cream, then dips it in chocolate ganache and desiccated coconut. Without the latter, it just wouldn't be a lamington. And if that description has got your tastebuds in a tizzy, you can nab one — or several — in South Brisbane until Monday, January 31. The lamington cruffins lead Lune's January specials menu, which also includes coffee hazelnut twice-baked croissants, cinnamon buns, white nectarine and honey danishes, tomato tarts and the 'cherry ripe twice-baked' — which gives a pain au chocolat a cherry ripe-inspired twist. You'll find all those limited-edition treats at South Brisbane, too, and they can be pre-ordered online. That said, if you head to either the QAG Cafe and GOMA Bistro, Lune's Japanese cheesecake and lychee jelly croissants — inspired by the Gallery of Modern Art and Queensland Art Gallery's 10th Asia Pacific Triennial — is also available until the end of January. Lune's lamington cruffins are available from 15 Manning Street, South Brisbane, until Monday, January 31 — with pre-orders taken online.
If ever an event summarised just how we feel on pretty much any given day, it's John Mills Himself's So Much Gin, So Little Time... In fact, during July's Good Food Month, the Charlotte Street bar is almost daring you to prove otherwise. For the affordable price of $40, you'll taste six of the country's best craft gins, and learn the stories behind each — as well as some facts about the fast-growing Aussie industry in general. You'll also receive a gin cocktail too, should you need any more convincing.
A high tea at the Sofitel is the height of luxury, but a high tea inspired by the French, the queens of cake and cheese? Step aside. For a reasonable $55 you can indulge in a kir royale on arrival and then chomp (elegantly) through a spread of sweet and savoury treats in the Sofitel’s 30th floor Club Lounge. This year's tea was inspired by the 2015 Pantone Colour of the Year, marsala, and will feature scones, French pastries, ribbon sandwiches, raspberry choux a la creme, cherry cone mousse and pistachio sacher torte. Zut alors. Do make sure you sing 'Non, je ne regrette rien' loudly as you waddle home, full of French treats.
Each filmmaker sits in the shadows of all who came before them — and as cinema's history lengthens, so will those penumbras. With Bergman Island, French writer/director Mia Hansen-Løve doesn't merely ponder that idea; she makes it the foundation of her narrative, as well a launching pad for a playful and resonant look at love, work and the creative wonders our minds conjure up. Her central duo, two filmmakers who share a daughter, literally tread where the great Ingmar Bergman did. Visiting Fårö, the island off Sweden's southeastern coast that he called home and made his base, Chris (Vicky Krieps, Old) and Tony Sanders (Tim Roth, The Misfits) couldn't escape his imprint if they wanted to. They don't dream of trying, as they're each searching for as much inspiration as they can find; however, the idea of being haunted by people and their creations soon spills over to Chris' work. Bergman's Scenes From a Marriage has already been remade, albeit in a miniseries that arrived on the small screen a couple of months after Bergman Island premiered at the 2021 Cannes Film Festival — but across one half of Hansen-Løve's feature, that title would fit here as well. Her resume has long been filled with intimate looks at complicated relationships, including in 2009's Father of My Children and 2011's Goodbye First Love, with her movies both peering deeply and cutting deep as they unfurl the thorny intricacies of romance. Accordingly, when Chris and Tony find themselves sleeping in the bedroom where Bergman shot the original Scenes From a Marriage, it's a loaded and layered moment several times over. That said, the thing about willingly walking in someone else's footsteps is that you're not bound to taking the exact same path — as Bergman Island's characters learn, and as the filmmaker that's brought them to the screen clearly already knows. Turning in finessed and thoughtful performances, Krieps and Roth bring a lived-in dynamic to the film's first key couple, with the chaos that swirls from being in the same line of work but chasing disparate aims not just flowing but bubbling in their paired scenes. He's the kind of Bergman fan that's adamant about going on the Bergman safari, a real-life thing that all visitors can do, for instance, while she prefers being shown around informally by young film student Hampus (acting debutant Hampus Nordenson). But their Fårö escapades only fill half of Bergman Island, because the movie also brings Chris' budding script to life. She tells Tony the tale, seeking his assistance in working out an ending, but he's too immersed in Bergman worship to truly pay attention. The feature itself, Hansen-Løve and the audience all savour the details, though — eagerly so. There, in this film-within-a-film, 28-year-old director Amy (Mia Wasikowska, Blackbird) visits an island, too — "a place like this," Chris advises, and one that visibly resembles Fårö. She dances to ABBA to cement the Swedish ties, and also spends her time on the locale's shores wading through matters of art and the heart. The catalyst for the latter: her ex Joseph (Anders Danielsen Lie, The Worst Person in the World). They're both attending a wedding of mutual friends, and their lengthy, passionate and volatile history quickly pushes to the fore. While they've each moved on, they're also forever connected, especially when placed in such close quarters. Accordingly, that tumultuous relationship is as bedevilled by other creative endeavours, and also by the thrall of history, as Chris' quest to put pen to paper. And, via the movie-inside-a-movie concept, there's an evocative sense of mirroring that couldn't spring any firmer from Bergman himself. Again, Hansen-Løve hasn't merely made her version of a Bergman film. As her screenplay-in-progress comes to life in the Wasikowska-led segments, Chris hasn't either. Rather, both muse on how fine the lines are between life, love and the myriad of influences that come everyone's ways — and if you know anything about Hansen-Løve herself, who was previously in a long-term relationship with fellow filmmaker Olivier Assayas (Clouds of Sils Maria, Personal Shopper), it's easy to see yet another level of links between her situation and those played out in the movie. Perhaps that's why Bergman Island proves as savvy and soulful as anything in the director's career so far, including the stellar Eden and Things to Come, and as personal and profound as well. Not all helmers use their work to sift through parallels in their own existence, whether in fictionalised or semi-autobiographical form, but few do so as well as this. Naturally, it helps when an actor as talented as The Phantom Thread standout Krieps is on hand to play Hansen-Løve's potential on-screen surrogate, and when the equally exceptional Wasikowska then arrives as the latter's own equivalent. The similarities between the two are counterbalanced by their contrasts, but they're constantly in sync either way — sharing mannerisms and reactions at times, juxtaposing different responses and actions at others, but consistently feeling like two halves of a whole. Individually and combined, their performances do what the very best manage, letting audiences into their characters' headspace and hearts alike. Of course, that's a skill that Hansen-Løve's quiet, patient, perceptive and expressive directorial style has always heightened, including her way with music; in mood and impact, that aforementioned ABBA scene sits up there with Eden's revelatory EDM-soundtracked moments. Also essential: the mischievous vibe that floats through Bergman Island like a soft sea breeze, as aided by cinematographer Denis Lenoir (Eden, Things to Come) and editor Marion Monnier (a veteran of the same two films, and of Assayas' Clouds of Sils Maria and Personal Shopper, too). They shoot and edit with an enthralling sheen and rhythm that's part-dream, part-memory, part-emotional whirlwind — and, assisted by repeated props and costumes that pop up across its two sections, they each help the movie toy with where lines are blurred, what's pinned together and when various aspects nest like matryoshka dolls. Reality and fantasy weave in and out here, and in multiple ways. In a feature that unpacks the stories that surround relationships, careers, cinema and creativity, especially where celluloid reveries and the people behind them are involved, that's as natural as idolising auteurs like Bergman. Exactly who authors our lives, hope and ambitions, how and why, and what thrall we let them hold: that's another question this entrancing and ingenious filmic getaway also astutely contemplates.
20,000 Days on Earth is a documentary that's fiction. Though it's by no means the only documentary to question the form and take things meta, it is one of the most boldly experimental ones out there. It's a work that's highly constructed from start to finish — and since it's constructed with and about Nick Cave, there's plenty of fun to be had. The film imagines the 20,000th day on earth of the Australian-born, UK-based singer and raconteur. It's a day that includes him talking to his shrink, recording an album, helping archivists make sense of his historical record, lunching with his pals, driving Kylie Minogue around Brighton, and playing at the Sydney Opera House. A pretty great day, really, particularly for its impossibilities. Running throughout is, naturally, Cave's own music, rumbling out of the studio and guiding his path through the world. Instead of clarity and chronology, what you get in 20,000 Days on Earth is a fragmented sense of biography that is sometimes deeply insightful, sometimes electrifying and sometimes frustrating. Major characters in the life of Nick Cave, such as collaborator Warren Ellis and The Proposition star Ray Winstone, appear without context or label, meaning that to really follow this winding ride, you have to be au fait with the life of Cave. If you're not, just let it go; there are plenty of moments here that are plain entertaining regardless, while a live performance montage set to a frenzied, ever building version of 'Jubilee Street' is near rapturous to witness. The conversation between Cave and Minogue feels painfully intimate and revealing, despite all the scripting that frames it. Artists-turned-directors Iain Forsyth and Jane Pollard have basically conjured a new format here, one that's wondrously poetic and imaginative. There's a sense that it could be applied to tell nearly anybody's fragmented, personal tale, though having the flair and flamboyance of Cave certainly helps. Eavesdropping on a conversation with Cave is right up there with the high points of cultural consumption. 20,000 Days on Earth gets points for pure brio. It's not like anyone would want every documentary to be made this way, but it sure is an interesting divergence. https://youtube.com/watch?v=Ap0_y5EGttk
Sit in a chair. Embrace the otherworldly. Whether you're ready for it or not — physically and emotionally alike — bear witness to the dead being summoned. Speak to those who are no longer in the land of the living. Perhaps, while you're chatting, get caught in a dialogue with something nefarious as well. Talk to Me used this setup to audience-wowing and award-winning effect. Now comes Baghead, which stems from a short film that pre-dates 2023's big Australian-made horror hit, and was shot before Michael and Danny Philippou's A24-distributed flick played cinemas, but still brings it to mind instantly. Audiences can be haunted by what they've seen before, especially in a busy, ever-growing genre where almost everything is haunted anyway and few pictures feel genuinely new. Here, there's no shaking how Talk to Me gnaws at Baghead. First-time feature filmmaker Alberto Corredor adapts his own applauded short, which picked up gongs at film festivals around the globe. Both of his movies — abridged and full-length — possess the same moniker as a mumblecore effort starring Greta Gerwig before she was directing Lady Bird, Little Women and Barbie. That's where the similarities between 2008's Baghead and 2024's end, but the new Baghead doesn't stop conjuring up thoughts of other flicks. The director and screenwriters Christina Pamies (another debutant) and Bryce McGuire (Night Swim) make grief their theme, and with commitment; the pain of loss colours the movie as much as its shadowy imagery. But, despite boasting two dedicated performances, Corredor's Baghead is routine again and again. At The Queen's Head in Berlin, Owen Lark (Peter Mullan, The Lord of the Rings: The Rings of Power) oversees a ramshackle four-centuries-old pub where customers aren't there for the drinks. The basement is the big drawcard for those in the know, with the being that resides in it, in a hole in a brick wall, luring punters in the door. Everyone who arrives with cash and a plea for help is in mourning. When Neil (Jeremy Irvine, Benediction) makes an entrance, he knows exactly what he wants. Baghead begins not with Owen letting his latest patron meet the entity that shares the movie's title, though, but with him endeavouring to vanquish it. If he was successful, there'd be no film from there. Because he isn't, his estranged daughter Iris (Freya Allan, The Witcher) is summoned to the German city by a solicitor (Ned Dennehy, The Peripheral), becoming the watering hole's next owner. It's thanks to Neil that Iris discovers Baghead's namesake. In addition to being determined to talk to his deceased wife, he's persistent. And yes, the witchy being does sport a sack, which is removed when it is spends 120 seconds transforming into another soul. Also, the $2000 that Neil is offering is more than a little helpful for the twentysomething who grew up in the foster system after her mother's (Saffron Burrows, White Widow) death, just had her landlord change the locks on her and only can only lean on her best friend Katie (Ruby Barker, Bridgerton). Potential financial benefits, plus a roof over her head, are why she agrees to sign up for taking over the bar to start with. No amount of money could compensate for becoming saddled with a necromancer that doesn't want to be holed up underground and has a bag of tricks to mess with anyone willing to use its eerie skills, however. A VHS tape from Iris' dad detailing instructions can't stop Baghead, either. As Scream satirised three decades back in the slasher realm but horror loves in general, there are rules. There's also consequences for not abiding by them. Exceed the time limit with Baghead and the malevolent creature could spirit up anyone. Going into the cavern beneath the tavern is also forbidden — and so is Iris trying to snatch time with her own lost loved ones now that she's the entity's guardian. With the basics laid out, and viewers knowing that all of the above will happen, the predictable plot's expected beats become a matter of if rather than when. There's no subtlety to the storytelling, nor to the tension-courting score or gloomy visuals. Luckily, Baghead does have both Allan and Mullan, even if the latter isn't around for long (but longer than getting bumped off in the introduction would mean if this wasn't a flick about conversing with the fallen). In her first lead film role, as well as just her ninth screen credit — The Third Day and Gunpowder Milkshake are among the others; Kingdom of the Planet of the Apes, the fourth flick in the current Planet of the Apes franchise, will become the tenth within months — Allan takes convincingly to being a horror heroine. Iris is also a horror-movie character who has clearly never seen a horror movie in her life given her choices, but emotion anchors Allan's performance. The star best-known as Crown Princess Cirilla of Cintra to-date tries to help the film overcome its many cliches; that it can't is never on her shoulders. Mullan, one of Scotland's great acting talents since the 90s, is also crucial, particularly for getting audiences paying attention at the outset. Baghead doesn't match his intensity, but it's better for having him brooding within its Cale Finot (Leopard Skin)-lensed frames. If viewers only had two minutes to choose a recent back-from-the-dead feature to watch, Baghead isn't the pick. That said, although it hardly dives deep or does much with it, it understands grief. That the picture's protagonist is another of Baghead's characters with unresolved emotions tied to losing someone might sound too neat, yet thankfully it isn't. Setting up a sequel proves clunky. Attempting to add a feminist spin plays too conveniently. Facing loss: that resonates. Corredor, Pamies and McGuire know how pervasive that mourning is, and how universal that grappling with mortality is, too. In fact, if Iris didn't have her own brush with loss, as everyone has, that'd stand out. If only Baghead's creative forces knew how to build a film that wasn't so by the numbers around its premise — and for 94 minutes.
Welcome to Rekall, where dreams become memories. Eager to escape his fine but not quite good enough life with wife Lori (Kate Beckinsale) factory worker Douglas Quaid (Colin Farrell) decides to take a bit of a limbic vacation, swapping real memories for the adventure-filled world of a super spy. But, when fates collide, and the procedure goes horribly wrong, he finds himself a wanted man - on the run from a particularly trigger happy police force under the control of Chancellor Cohaagen, and must join up with rebel fighter Melina (Jessica Biel) in a last ditch shot at survival. Worth watching? Len Wiseman’s remake of the Arnie led original has a lot to live up to, but with up-dated special effects and some tasty looking cinematography it might just come out on top, and will surely look incredible on the big screen.
If there's one constant in Brisbane's live music and party scene, it's this: the good folks at the Brightside have never met an occasion they didn't like. Whatever the date, there's a Brighty celebration to mark it. Take their Easter Blowout, for example. Yes, the Valley venue is getting biblical, and giving everyone's Easter Sunday another purpose — other than consuming copious amounts of chocolate, of course. That just means they're throwing an epic shindig. Expect themed cocktails, free chocolate eggs and live sets by She Cries Wolf, Stepson, Vitals and Ratking.
You there, yes you. Put down that ale, it’s stale. Wait what? Join Brewcult’s Steve ‘Hendo’ Henderson on a fun, experiential session of hops evaluation. Covering hot hop topics such as hops usage techniques in the brewery, hops varieties and hops faults, he’ll change the way you drink beer, making you ask, are you getting the freshest, hoppiest beer you can? Arrive unsure. Leave enlightened.
David Attenborough may have turned 94 in 2020; however the acclaimed broadcaster and natural historian isn't slowing down anytime soon. Fresh from narrating and presenting two new TV series last year — Our Planet and Seven Worlds, One Planet — and even appearing at Glastonbury to promote the latter, he's now bringing his latest movie-length documentary to cinemas. Called David Attenborough: A Life On Our Planet, the film sees Attenborough look back on his more than nine decades on earth, the sights he has seen and the changes he has witnessed. Specifically, he reflects upon humanity's enormous and damaging impact on the natural world. Produced by wildlife filmmakers Silverback Films and global environmental organisation WWF, the resulting doco us described as "a powerful message of hope for future generations". In the film's trailer, Attenborough doesn't hold back. "The living world is a unique and spectacular marvel, yet the way we humans live on earth is sending it into a decline," he comments — before further noting that "human beings have overrun the world". He calls the film his "witness statement" and his "vision for the future", exploring humankind's actions over its existence and how moves can be made to address the planet's current environmental state. Naturally, Attenborough's wise words are combined with striking footage — as you'd expect of anything that the broadcaster is involved in. Originally due to hit the silver screen for one night only, A Life On Our Planet was slated to show in cinemas Down Under in April — but, due to the COVID-19 pandemic, its release was postponed. It'll now premiere on Monday, September 28 and stick around for a longer cinema season, with the film paired with an exclusive cinema-only conversation between Attenborough and Sir Michael Palin. There's nothing quite like seeing stunning nature footage on a big screen; however if you miss out or can't make it along, the documentary will also head to Netflix before spring is out. Check out the trailer below: https://www.youtube.com/watch?v=TLVkqjHrAzw&feature=youtu.be David Attenborough: A Life On Our Planet will screen in Australian and New Zealand cinemas from Monday, September 28, before hitting Netflix before spring is out. Top image: WWF; Joe Fereday, Silverback Films.
Between Saturday, November 24, 2018 and Sunday, April 28, 2019, the Gallery of Modern Art and Queensland Art Gallery are bringing the Asia Pacific to Brisbane for the ninth time. Every three years since 1993, the city's major art institutions celebrate the vast creativity brightening up the region as part of the Asia Pacific Triennial of Contemporary Art. At the 2018 event — the fifth since GOMA opened, and one that's free as usual — more than 80 individuals, collectives and group projects will grace the walls of the two galleries, representing over 30 countries. Understandably, the highlights are many. View a major site-specific work by leading Chinese artist Qiu Zhijie, see Singapore-based artists Donna Ong andRobert Zhao Renhui turn QAG's Watermall into a new landscape filled with artificial plants, or dive into the water with separate video works by Martha Atienza and Monira Al Qadiri — with the latter not only making the gallery feel like an aquarium, but also being projected onto the William Jolly Bridge for five days. When you enter the exhibition, you'll walk beneath towering sculptures created from nassa shells from Papua New Guinea, while APT9 also features the largest contingent of First Nation artists in its history, including Australian Indigenous art. The massive showcase kicks off with a weekend filled with events across Friday, November 23 and Sunday, November 25, complete with an opening party, talks and performances, with plenty more events scheduled for the exhibition's entire run. Accompanying cinema programs will look at film from the region, and there's also a secret jacaranda garden-like piece called Purple Reign. Sure, the burst of brightness is designed for children, but bigger kids are welcome. Image: Martha Atienza. The Philippines b.1981. Our Islands 11°16'58.4"N 123°45'07.0"E (still). 2017. Single channel HD video (01:12:00 min. loop), no audio. Image courtesy: The artist and Silverlens Galleries, The Philippines.
Not quite certain what to get your loved ones for Christmas this year? Then you clearly haven't spent enough time at a festive market. It's virtually impossible to browse your way through hundreds of stalls and come up empty-handed — in fact, that'd take more effort than picking gifts for your nearest and dearest. Your next place to put the above theory to the test: the Nundah Christmas Twilight Markets, which take place from 4–10pm on Saturday, December 3. Yes, there really will be quite the lineup of places to grab handmade presents, including clothes, jewellery, art, homewares, soap, candles and all things edible. You'll find both gourmet foods and festive treats on offer as well (including bites to eat while you're there). For your $2 entry fee, you can enjoy a stint of shopping under the site's fairy lights at Nundah Markets' usual spot on Station Street. And, you can stop in at the North Pole-themed bar, too. Decorations will be decking the walls with more than boughs of holly, and live music is also on the agenda.
For the second year in a row, Bluefest won't unleash a lineup of blues and roots tunes upon Byron Bay. After its 2021 event was originally cancelled just days out from its usual Easter slot, and then later postponed to October, the long-running fest has announced that it's now abandoning plans to go ahead this year. Instead, it'll return in 2022 — three years after its last festival, given that its 2020 event was also scrapped due to the pandemic — and will once again settle into its traditional Easter long weekend period. "It is obvious that we cannot present Bluesfest in a safe manner in October — the safety and protection of our loyal Bluesfesters, our festival staff, our performers, our volunteers, stallholders and suppliers is paramount," said festival organisers in a statement. "So, we have re-scheduled to our usual timing with dates over the Easter long weekend next year in April 2022 — by this time, we expect things to have returned much more back to normal.... There is confidence that, by the end of this year, Australia will have achieved at least a 70–80 percent vaccination rate and will have achieved at least 'stage three' in the plan to open up the whole country. Lockdowns will be consigned to history. Perhaps we may even see international artists returning — if they can come, we will be presenting them." Music lovers and festival-goers, mark Friday, April 15–Monday, April 18 in your diaries, with Bluesfest 2022 set to be a four-day event. Once again, it'll take over Byron Events Farm (formerly Tyagarah Tea Tree Farm) just outside Byron Bay. And, on-stage, it won't be lacking in company. Bluesfest Byron Bay returns Easter Long Weekend 2022 with headliners @MidnightOilBand, @PaulKelly, @JimmyBarnes... and the newly added @FatFreddysDrop1! Plus more headliners to be announced! 👉 https://t.co/r1HzgvcPM7 pic.twitter.com/jonipE8ArR — Bluesfest Byron Bay (@BluesfestByron) August 17, 2021 Bluesfest has confirmed a number of artists on its 2022 lineup, including a range of names that were meant to grace the stage this year. Midnight Oil, Paul Kelly and Jimmy Barnes will still lead the bill, with John Butler, Xavier Rudd, Pete Murray, Ian Moss, Mark Seymour & The Undertow, Kate Ceberano, Kasey Chambers, The Waifs, The Church, Briggs and Kate Miller-Heidke among the other names still locked in for the next fest. And, a selection of new acts have jumped onto the roster so far, including Fat Freddy's Drop, Josh Teskey and Ash Grunwald, John Williamson, CW Stoneking and Rockwiz Live. More are set to be announced in the months leading up to the fest. Bluesfest joins a long list of major events affected by the pandemic two years running, including Vivid Sydney, the Sydney Film Festival, the Melbourne International Film Festival, the Ekka in Brisbane and the Royal Melbourne Show. Folks with tickets for the now-cancelled October festival will still be able to use them at the 2022 event. BLUESFEST 2022 LINEUP: Midnight Oil Paul Kelly Jimmy Barnes Fat Freddy's Drop John Butler Xavier Rudd Pete Murray Ian Moss Kate Ceberano Kasey Chambers The Waifs The Church Jon Stevens The Living End Mark Seymour & The Undertow The Angels Russell Morris Kate Miller-Heidke Vika & Linda All Our Exes Live in Texas Ross Wilson and The Peaceniks John Williamson Troy Cassar-Daley Briggs Tex Perkins The Man In Black Josh Teskey and Ash Grunwald CW Stoneking Rockwiz Live Bluesfest 2021 has been cancelled, and Bluesfest 2022 will take place from Friday, April 15–Monday, April 18. Tickets are on sale now — for further information, head to the Bluesfest website. Top image: Joseph Mayers.
The 16 pieces of the BMW Art Car Collection have been individually displayed in museums across the world, most notably in famous art venues such as New York's Guggenheim Museum and Paris' Louvre. At least one piece of the collection, however, has always remained within the familiar walls of the BMW Museum in Munich, Germany, where the collection began in 1975. The classic cars are painted by artists such as Calder, Warhol, Hockney and Lichtenstein. Each car is a canvas for uniquely vibrant interpretations of BMW's value of automotive performance and the pure joy that the company believes comes with driving. In 1979 Warhol even painted his entire BMW for the collection in only 23 minutes in order to convey a sense of speed, using quick brushstrokes and colors that appeared to blur together. Two of the cars have an Australian connection, with car seven painted by aboriginal artist Michael Jagamara Nelson, and car eight emblazoned in Ken Done's trademark bright colours. This year the Art Car Collection is celebrating 35 years of creating exquisite "rolling masterpieces" by welcoming home the entire set of painted cars to Munich. For the first time, all of the pieces are together under one roof in the BMW Museum for the special anniversary exhibition and are on display until September 30.
Across November, New South Wales is hosting 1000 gigs at more than 300 venues, all thanks to the State Government-run Great Southern Nights. The event is helping to restart the state's live music scene after this year's lockdowns and restrictions, and it has just gained a huge new addition — especially in terms of crowd size. While you might've already filled your calendar with smaller shows both in Sydney and across the rest of NSW, make room for The Great Southern Nights series, which'll take place on Saturday, November 28 and Saturday, December 5. Not only will the two gigs hit up Qudos Bank Arena — marking the first big indoor arena shows in Australia since the beginning of the pandemic — but they'll host just over 5000 punters at each gig. That's just a fraction of the venue's 21,000 total capacity, but it still covers a hefty number of music lovers in a year that's been mostly devoid of listening to live tunes en masse. It'll all be held in a COVID-19-safe manner, of course — and, across the two shows, it's expected that crowd numbers will near 12,000 in total. As for the lineup, the first evening will see Ocean Alley, Jack River, Ruby Fields and Jack Botts doing their thing on stage — while the second gig will feature Bernard Fanning, Matt Corby and Merci Mercy. The Great Southern Nights series will take place as NSW's events calendar is slowly filling up, and as venues are being given the go-ahead to welcome in bigger crowds. The state's outdoor stadiums can have up to 10,000 fans in the stands; theatres, concert halls and cinemas can host events of up to 1000 people, and country shows of up to 5000 people will be allowed to happen this summer. The Great Southern Nights takes place on Saturday, November 28 and Saturday, December 5 at Qudos Bank Arena. For more information, or to buy tickets — from 10am ADST on Monday, November 9 for the first gig and at the same time on Tuesday, November 10 for the second — head to the Ticketek website. Top image: Ocean Alley, Neegzistuoja via Wikimedia Commons.
Brisbane will receiving a very trendy Christmas present this year, straight from the catwalks of London. Iconic British fashion brand TOPSHOP & TOPMAN will be opening its largest Australian store to date this December, taking over the old Borders site on the corner of Elizabeth and Albert Streets. The latest lines of their clothing, footwear, denim and accessory collections will be spread across three levels, including one level dedicated just for the boys. The Brisbane store will also be offering a free personal shopping service across both brands. Managing director for TOPSHOP Mary Homer says the decision for a new Brisbane store was due to the positive response to the opening of stores in Sydney and Melbourne and believes the new store will become a go-to shopping haunt for the Brisbane fashionistas. "I feel confident that the TOPSHOP aesthetic will strike a chord with the effortlessly chic Brisbane customer, and its trend-setting and fashion conscious crowds," says Homer. TOPSHOP TOPMAN Brisbane will be located at 140 Albert Street, Brisbane and is set to open in December 2013.
When you've already got 2023's Cannes Film Festival Palme d'Or-winner and Venice International Film Festival Golden Lion recipient on your lineup, what comes next? If you're the Brisbane International Film Festival, you fill out your just-announced full program with impressive flicks from fests around the world, and featuring beloved talents. Two big standouts: All of Us Strangers, as led by Fleabag's Andrew Scott and Aftersun's Paul Mescal — plus Taika Waititi's new movie Next Goal Wins. Both join a bill that'll show River City cinephiles 42 features and 18 shorts across 11 movie-filled days in October and November. When it arrives for 2023 from Thursday, October 26–Sunday, November 5 — taking over various Reading, Dendy and Five Star cinemas around Brisbane — BIFF will see the two of the internet's boyfriends grace its screens in the newest effort directed by Weekend and Lean on Pete's Andrew Haigh. Heading to the fest fresh from premiering at Telluride, All of Us Strangers adapts Taichi Yamada's 1987 novel Strangers. As for Next Goal Wins, it will close out BIFF 2023 with a comedy based on the 2014 documentary of the same name. The details might ring a bell if you're a fan of soccer and you remember the American Samoan team's big 2001 defeat. Competing against Australia in a qualifying match two decades back, the squad lost 31–0. Cue the hiring of Dutch American coach Thomas Rongen, who Michael Fassbender (X-Men: Dark Phoenix) plays in Waititi's movie. Also a massive highlight: BIFF becoming the latest Australian festival to show Strange Way of Life, aka the most-anticipated short of the year. As well as featuring The Last of Us favourite Pedro Pascal, the 30-minute flick is the newest work by inimitable Spanish filmmaker Pedro Almodóvar (Parallel Mothers) and co-stars Ethan Hawke (Moon Knight). Other newly unveiled standouts span May December, which hails from Carol filmmaker Todd Haynes, is led by Natalie Portman (Thor: Love and Thunder) and Julianne Moore (Sharper), and dives into a scandal — and also The Royal Hotel from Casting JonBenet and The Assistant helmer Kitty Green, which turns doco Hotel Coolgardie into an Aussie thriller featuring Julia Garner (Ozark) and Jessica Henwick (Glass Onion: A Knives Out Mystery). Hugo Weaving (Love Me) also pops up in that, as well as in The Rooster, which follows a hermit and a cop who form a bond during a crisis. Or, Brisbane movie lovers can check out Housekeeping for Beginners from You Won't Be Alone and Of an Age's Goran Stolevski; German filmmaker Wim Wenders (Submergence) heading to Japan with Perfect Days; Earth Mama, an A24 release by Grammy-nominated music video veteran Savanah Leaf; birth/rebirth, which riffs on Frankenstein just as the already-unveiled Poor Things does; and Smoke Sauna Sisterhood, a documentary about an Estonian log-cabin sauna. Riceboy Sleeps spends time with a Korean single mother and her son as they start a new life in Canada in the 90s, while Sunflower spins a coming-of-age tale in the Melbourne suburbs — and Australia's You'll Never Find Me centres on a caravan resident, a surprise visitor and a thunderstorm. The list goes on, complete with You Should Have Been Here Yesterday's look at the early days of Aussie surf culture, the Randall Park (Strays)-directed comedy Shortcomings and homegrown festive comedy A Savage Christmas, plus retrospective sessions of 1950'sThe Munekata Sisters, 1963's Contempt and 2002's Rabbit-Proof Fence. And, there's the previously announced Uproar, the New Zealand feature opening the fest; Palme d'Or-anointed Anatomy of a Fall, French director Justine Triet's (Sibyl) drama about an author (Sandra Hüller, Toni Erdmann) accused of her husband's murder; and Hirokazu Kore-eda's Monster, the prolific helmer's latest on a lengthy resume that also includes Shoplifters and Broker. Also already added to the lineup: the aforementioned Poor Things from The Favourite's Yorgos Lanthimos; body-horror film Tiger Stripes, which is set in the Malaysian jungle and won the 2023 Cannes Critics' Week Grand Prize; the talk show-set horror Late Night with the Devil; and The Ending Goes Forever: The Screamfeeder Story, focusing on of Brisbane's 90s indie-music favourites. "Our film festival brings a diverse perspective from filmmakers all around the world, and we are proud to be able to showcase these voices and their stories. This program is ambitious and has a strong vision of stories that will make you think and perhaps look at the world in a different way," said BIFF CEO Luke Wheatley, announcing the full program. "These are films from emerging and established filmmakers at their best and I cannot wait to sit in the cinema and share these." The 2023 Brisbane International Film Festival runs between Thursday, October 26–Sunday, November 5 at selected Dendy, Reading and Five Star cinemas around Brisbane. For further information, or to buy tickets, head to the festival website.
Since 2018, South Bank's Stanley Street has been home to a two-level German joint that serves up steins, schnitzels and pretzels. Come November this year, however, the space previously occupied by Munich Brauhaus is getting a huge makeover, transforming into El Camino Cantina's newest southeast Queensland location. Brisbane isn't lacking in Mexican eateries. El Camino already operates two — in Bowen Hills and Chermside — and also opened an outpost in Robina earlier in 2020. But the chain's Tex-Mex cuisine is definitely on the way to the inner city, along with its colourful decor and unapologetically over-the-top vibe. Both Munich Brauhaus and El Camino are part of Rockpool Dining Group, which also owns Sake, Beerhaus, The Bavarian and WingHaus, so this is really a case of a hospitality company rebranding one of its locations. Of course, if you've been to an El Camino casual dining joint before, you'll know that the revamp will be quite noticeable. Think loud, bright and filled with giant cocktails, rock 'n' roll jukeboxes, free sombreros and other lively Tex-Mex fare. The new El Camino will hold 510 patrons, including in a 140-seat outdoor dining area filled with colourful umbrellas, a ground-floor diner area that can sit 120 people, and an upstairs bar that can host 250 patrons — and will host DJs, too, each weekend. [caption id="attachment_785947" align="aligncenter" width="1920"] Render of El Camino Cantina South Bank's upstairs area[/caption] Slushie machines, a big feature at the chain's other venues, will be part of the fitout as well, signalling big nights and brain freezes. El Camino's margaritas come in multiple sizes and renditions — such as a tropical Red Bull flavour, which really says it all. Other options include a host of beers from near and far, and a sizeable collection of mezcals and tequilas. The food lineup is as fun and casual as the drinks, spanning fiery buffalo wings, sizzling fajitas, plump burritos, soft shell tacos loaded with punchy flavour combinations, and unlimited complimentary corn chips and salsas. It'll also have El Camino's signature specials, including $2 tacos on Tuesdays and ten-cent wings on Wednesdays. And, when it opens its doors at a yet-to-be-revealed late-November date, El Camino's South Bank spot will do so with a six-week-long margarita festival. Called Ritapalooza, it'll serve up those frosty, boozy beverages in 15 different flavours. El Camino Cantina will open at 153 Stanley Street, South Brisbane in November — we'll update you with an exact launch date when one is announced. Top image: El Camino Cantina Chermside.
Sixty years ago, biscuit history was made. Back in 1964, the winning combination of malted bikkies filled with chocolate cream and covered in textured chocolate first hit Australian shelves — and, much to the delight of tastebuds across the country, Tim Tams were born. Since then, what might just be the nation's favourite biscuit has come in all manner of flavours (including both Gelato Messina- and Jatz-riffing versions), inspired a hotel suite and earned fame around the world. But Lune working Tim Tams into one of its pastries? That's new. To celebrate the bikkie's 60th anniversary, Lune Croissanterie has joined forces with Tim Tam's maker Arnott's to create a twice-baked Tim Tam pain au chocolat. The must-try bakery item features Tim Tam biscuit frangipane and chocolate ganache inside, and also chunks of Tim Tams on top. If you're keen to sink your teeth into one, you've got a month to head to one of Lune's Melbourne and Brisbane venues. "We are so honoured to be part of this special 60-year celebration. I am *this* close to fulfilling my dream of becoming the Tim Tam Genie!" said Lune Owner and Founder Kate Reid, announcing the collaboration. "We all have such fond memories with Tim Tam, and so we really wanted to create something that befits such an Aussie icon." The Tim Tam pain au chocolate is on the Lune menu across October 2024, from Tuesday, October 1–Thursday, October 31, at all stores in the Victorian (Fitzroy, the CBD and Armadale) and Queensland (South Brisbane and Burnett Lane) capitals. Taking cues from the beloved biscuit shouldn't come as a surprise for the bakery's customers. Lune loves an edible mashup, turning fellow food items into pastries — as one of its other October specials, birthday cake croissants, also demonstrates. This year marks 12 years of Lune, too, which is why the chain is doing some celebrating of its own. Available from its Fitzroy, Armadale, South Brisbane and Brisbane CBD locations, its birthday cake croissants are inspired by the birthday cake from Milk Bar Store in New York, and feature birthday cake frangipane and birthday crumb in a twice-baked tradition croissant. On top: vanilla buttercream and — because it wouldn't be a birthday without them — sprinkles. Among the sweet dishes, the October specials range also features cinnamon buns (made with sugar, cinnamon and crushed walnuts, and finished with cream cheese glaze and roasted walnuts) and passionfruit coconut cruffins (featuring passionfruit sugar, passionfruit coconut whip, passionfruit jam, coconut flakes and meringue shards). Lune is also going savoury with its everything croissant, complete with herb paste, chive cream cheese and everything bagel seasoning among the ingredients. As always, different options are available at different stores — and only some shops take pre-orders. Lune's October 2024 specials are available from Tuesday, October 1–Thursday, October 31. Different items are available from different stores, with Lune operating at Fitzroy, the CBD and Armadale in Melbourne, and South Brisbane and Burnett Lane in Brisbane — and from everywhere except the Melbourne CBD, you can also order them online. Images: Pete Dillon.
When staring at a new page, a blank screen or an empty plate, what inspires us to take that first step into the unknown? Is it the wish to emulate the greats or is it a wish to add to the canon or is it simply a matter of sustenance? The Greeks gave a name to the thing that pushes you into the dark. It was the muse, an elusive source of creation that was part divination, part nature but was the driving power behind mankind's greatest creations. Modern day muses take many forms and the Sydney Film Festival is looking to explore six of them. Creative Drive is a collection of six movies designed to engage and produced to inspire - with some of the movie industry's biggest names going back to their roots to discover what inspired those who have inspired them. In A Letter to Elia, Martin Scorsese looks at the director behind On The Waterfront and A Streetcar Named Desire, controversial Hollywood filmmaker Elia Kazan. The documentary, El Bulli: Cooking In Progress goes behind the scenes of El Bulli, the Spanish restaurant which is the most exclusive and the best in the world. The Mill and the Cross exmaines Pieter Bruegel's 1564 masterpiece, The Procession to Calvary, and some of the stories behind it - the SFF points out that it may be the closest a feature film has ever come to being a painting. How to enter If you wish to uncover genius approaches, dissect the masters' processes or simply enjoy an engaging film, Concrete Playground has a double pass to each of the 6 films. To go in the running, simply subscribe to our newsletter and tell us which one of the six films you'd like to see by email at hello@concreteplayground.com.au. Entries close on Wednesday, June 25 at 5pm. https://youtube.com/watch?v=qzbbYinuTWc
Brewing and breakfast? This place knows our weak spot. Get up and out bright and early to the region’s newest brewery – The Pumpyard. Only opening the doors last week, Four Hearts Brewing Company is inviting you to come and watch them get their hands dirty making a specialty beer at Pumpyard, all while explaining the brewing process. Then tuck into a breakfast fit for a head brewer. Perfect.
What's that you can hear? It's the sound of Aussie music fans cheering at their computer screens, because Red Bull Sound Select has finally made it to Australia. Having already taken the US by storm, the artist development program designed to unearth and support new local talent launches in Sydney today, Tuesday, April 12. And it's perhaps the best response to the lockouts yet. Since its start in the States in 2012, Red Bull Sound Select has spread to Canada, New Zealand and now (finally) Australia. Along with their streaming site — where you can discover new songs and artists — the team throws gigs each month, working with the likes of Santa Monica's KCRW, San Francisco's Amoeba Music and NYC's BrooklynVegan to curate kickass, ahead-of-the-curve shows. It's all designed to make discovering new local music easy and affordable. Sydney has been chosen for the Australian launch of Sound Select, which will see a program of monthly gigs curated by massive local legends Johann Ponniah from I OH YOU and Laneway Festival's Travis Banko. Each show will take place on the last Friday of the month and feature a lineup of three acts, starting with two Red Bull Sound Select emerging artists — handpicked by Ponniah or Banko — and finishing up with one Aussie headliner. The first show will kick off this month on Friday, April 29 at the Chippendale Hotel. Presented by I OH YOU, Perth's Methyl Ethel will headline, with Melbourne up-and-comers Rolling Blackouts Coastal Fever and Sydney's own Flowertruck opening, as well as surprise acts too. "As fans of what the program has been achieving internationally, we're incredibly excited to be a part of bringing [Red Bull Sound Select] to Australian shores," said I OH YOU's Johann Ponniah. "Just hoping we can keep pushing the envelope like other curators have been internationally and program some of the best up and coming talent that Australia has to offer." To attend the inaugural Sound Select Sydney show, just RSVP on their website. It costs $3 online or $10 on the door — but if you're buying one on the day, be sure to arrive early as the event will be capped. We couldn't be more psyched to see Australian artists get the recognition (and the opportunities) they deserve from such first rate international players.
When Miley Cyrus came in like a wrecking ball, she didn’t just try to erase all memories of childhood sweetheart and her previous claim to fame Hannah Montana from public consciousness. Her identity revamp earned excessive media attention, yes, but it also inspired Adam Brunes and Naomi Price of the award-winning the little red company to turn her transformation into a banging cabaret show. The title may be obvious; however, the treatment of the tale certainly isn’t — nor is the talent on display. Playing Miley at her most gleefully misunderstood, the excellent Price lends her voice to and twerks her mojo in a twist on what became obvious tabloid fodder. Her former teen idol has come to party. Expect all the hits and all the heart in both a celebration of the show’s inspiration, and of being yourself and following your dreams. Expect hilarity, as well, as Wrecking Ball blasts judgments and breaks walls.
Last year, we got all revved up about Speed the Movie the Play, but when it comes to comical stage interpretations of famous '90s films, it seems that was just the beginning. And while there'll sadly be no blank-faced Keanu driving a bus, this year's Brisbane Comedy Festival will take on the tragic romance of Kate and Leo (as well as the just-as-tragic collision of a boat and some frozen water). Yes, your heart will go on as two lovestruck ship-dwellers attempt to overcome their different backgrounds, ignore any rules about getting hot and steamy in someone else's car, and try to avoid a pesky iceberg. And chances are you'll still laugh along — even though you know how it all turns out. Actually, maybe you don't; if anyone was going to work in Winslet's recent revelation that there was actually room for DiCaprio on the door that proved so pivotal to the movie's final scenes, it's this spirited bunch. Titanic the Movie the Play is one of our top ten picks to see at the Brisbane Comedy Festival.
It's a risky and even cheeky move, packaging a film with a song that could be used to describe it. Thankfully, in the case of 2014's The Lego Movie and its instant earworm track, everything was indeed awesome. The animated flick's long-awaited sequel offers another self-assessment in closing credits tune 'Super Cool', however the description doesn't fit this time around. Nor do the words unbelievable, outrageous, amazing, phenomenal, fantastic and incredible, further praise sung by Beck, the Lonely Island and Robyn in the catchy and amusing song. Instead, The Lego Movie 2: The Second Part is fine, standard, okay and average. Of course, those words don't have the same ring to them, even if they were set to a thumping beat. The Lego Movie left its successors with big shoes to fill — or big bricks to emulate, to be more accurate — and this direct follow-up does so in an entertaining enough but never especially inventive or enthralling fashion. Call it a case of trying to build the same thing with different pieces. Call it constructing a masterpiece and then falling short with the next attempt. Call it a case of sticking too closely to the instructions again and again. Whichever one you choose, they all fit like rectangular plastic pieces stacked neatly on top of each other. You could also call it a case of following Emmet Brickowski's (Chris Pratt) lead, with the mini-figure's fondness for routine already well established in the first movie. He's so comfortable doing the same thing day in, day out that he's even happy to keep doing so in the new dystopian version of his hometown, Bricksburg. He knows that much has changed since alien invaders made from bigger blocks descended from the heavens. His brooding best friend Lucy (Elizabeth Banks) also reminds him all the time. But it isn't until General Sweet Mayhem (Stephanie Beatriz) arrives, bearing an invite from the Systar system's Queen Watevra Wa'Nabi (Tiffany Haddish) and sweeping Lucy, Batman (Will Arnett), Benny (Charlie Day), MetalBeard (Nick Offerman) and Unikitty (Alison Brie) away, that Emmet abandons his blissful monotony and springs into action. Viewers of the initial flick, The Lego Batman Movie and The Lego Ninjago Movie will remember two important aspects of the Lego Movie Universe. Firstly, mile-a-minute jokes and pop culture references are as much a part of the franchise as multicoloured bricks. Secondly, more often than not, the series' animated tales tie into a real-world scenario. While original directors Chris Lord and Phil Miller have handed over the reigns to Trolls filmmaker Mike Mitchell, their humour still bounces through in the movie's fast-paced script. And while The Lego Movie's big twist — that the whole story stemmed from kids simply playing with the titular toys — is old news now, The Lego Movie 2: The Second Part builds upon this idea. Once again, the film spends time with now-teenager Finn (Jadon Sand), who's still far from pleased that his younger sister Bianca (Brooklynn Prince) likes Lego as well. Cue The Lego Movie 2: The Second Part's troubles. Lightning rarely strikes twice, after all. The film serves up enough funny gags to keep audiences chuckling, throws in more than a few ace cameos and has the same infectious, anarchic vibe, but it was never going to feel as fresh. It also benefits from a fantastic overall message, but doesn't give it enough emphasis until late in the show. After pondering the divide between rules and creativity in the first picture, the franchise now contemplates collaboration, sharing and the gendering applied to playthings, roles and fandom. That's both smart and relevant, yet here feels underdone. Basically, anything new comes second to everything that's been done before, resulting in the most superfluous kind of sequel. This follow-up is happier rehashing its predecessor's glory days than channelling the ingenuity that made the original so charming. Of course, if The Lego Movie hadn't been such a vibrant, witty delight, then The Lego Movie 2: The Second Part wouldn't feel so familiar. An adequate addition to the series, it still contains plenty to distinguish it from other all-ages animated fare — including an eye-catching and distinctive animation style, enjoyable skewering of Pratt's many non-Lego characters, and Noel Fielding as a sparkly Twilight-esque vampire. But, five years on, viewers are now in the same situation as Lucy: ready to embrace a challenge, rather than falling back on comfortable old habits. https://www.youtube.com/watch?v=XvHSlHhh1gk
The Scandinavian crime fixation currently sweeping non-Nordic nations shows no signs of abating. Jussi Adler-Olsen's Department Q series provides the latest instance, a four-instalment-to-date police procedural setting a duo of detectives in search of answers to dead cases. The Keeper of Lost Causes is the first feature to result. All the elements exist in director Mikkel Nørgaard and writer Nikolaj Arcel's version of the novel. (They're both veterans of the burgeoning genre with resumes that encompass television's Borgen and the Swedish-language The Girl with the Dragon Tattoo as evidence.) An odd couple, an against-the-odds task, brooding backstories, a pretty prey and a cat-and-mouse game with the perpetrator furnish a feature that stays within the confines of the expected — except for one significant deviation. As well as tracking the law enforcement quest to uncover the truth, the film gifts viewers with the victim's perspective: her tale told as a parallel to the investigation. The Keeper of Lost Causes is in cinemas on July 31, and thanks to Madman Entertainment, we have ten double in-season passes to give away. To be in the running, subscribe to the Concrete Playground newsletter (if you haven't already), then email us with your name and address. Read our full review here. Sydney: win.sydney@concreteplayground.com.au Melbourne: win.melbourne@concreteplayground.com.au Brisbane: win.brisbane@concreteplayground.com.au https://youtube.com/watch?v=68sO1s9Hy70
Back in 2018, Australia scored the kind of festival we were always bound to, and to love: The Drop, a music fest that sets up its song-filled stages beside the country's iconic surfing spots. And if that still sounds like your idea of quite the big — and sandy — day out, you'd best get ready to surf the festival wave again, with the event returning in 2022 and 2023. In 2022, The Drop will stage a two-date run in New South Wales, hitting up Bondi Beach and Coffs Harbour in October. This marks the first time that the fest has made its way to Bondi, so expect it to be huge. On the bill at both 2022 shows: Tones and I, Matt Corby and Dune Rats, as well as Cub Sport, Gretta Ray, Shag Rock, TOWNS and Hallie. They'll head to Sydney's most famous beach on Saturday, October 15, then back it up the following week, on Saturday, October 22, at Park Beach Reserve in Coffs Harbour. [caption id="attachment_753215" align="alignnone" width="1920"] Walk Wild Studio[/caption] Fans in Queensland, Victoria and Western Australia, where The Drop has played before, will need to wait until next year to get their sun, surf, sand and song fix. The 2023 lineup hasn't been revealed, but dates have announced. Whether the event will do what it usually does and follow the Aussie leg of the World Surf League (WSL) Championship Tour hasn't been confirmed yet either, but fingers crossed. Stops are locked in for Coolangatta, Torquay and Busselton, though, plus a return to NSW thanks to the Newcastle show. And pairing music not only with sandy settings, but with surfing contests, has always been a big part of The Drop. If you have tickets to previous The Drop fest that didn't go ahead due to the pandemic, you now have a few options — to either roll them over to the new festivals in each location (where they're returning), switch to Bondi or Coffs Harbour instead, or obtain a refund. [caption id="attachment_753214" align="aligncenter" width="1920"] Ian Laidlaw[/caption] THE DROP FESTIVAL 2022 DATES Saturday, October 15 — Bondi Beach, Bondi, New South Wales Saturday, October 22 — Park Beach Reserve, Coffs Harbour, New South Wales THE DROP FESTIVAL 2022 LINEUP Tones And I Matt Corby Dune Rats Cub Sport Gretta Ray Shag Rock TOWNS Hallie THE DROP FESTIVAL 2023 DATES Saturday, January 21_Sunday, January 22 — Queen Elizabeth Park, Coolangatta, Queensland Tuesday, March 28 — Empire Park, Newcastle, New South Wales Saturday, April 8 — Torquay Common, Torquay, Victoria Saturday, April 15 — TBC, Busselton, Western Australia Saturday, May 13 — Queen Elizabeth Park, Coolangatta, Queensland The Drop will return for two 2022 festivals in New South Wales in October. Ticket pre-sales start at 9am on Tuesday, August 9, with general sales from 9am on Wednesday, August 10. For more information, visit the festival's website. The Drop's 2023 lineup will be announced closer to its 2023 dates — we'll update you when details come to hand. Images: Ian Laidlaw / Miranda Stokkel.
It was a groaning, grimacing Timothy Spall who won the Best Actor Award at the 2014 Cannes Film Festival, for a role in which his face is frequently scrunched, his posture is constantly hunched, and his voice is guttural when heard. His applauded performance leaves a lasting imprint, yet as primal as it proves, it only scratches the surface of a character and a film both called Mr Turner. Beneath the physicality sits a portrayal and a biopic that finds underlying beauty in brutality, while never equating both traits as opposite extremes. Such an approach matches the 19th-century subject, the titular J.M.W. Turner, who made his name painting vistas of land and sea. Some of his oil and watercolour pieces showed pastoral elegance, but for all his praised use of light, increasingly his pictures were tinted with the destruction and violence of nature. His command of technique remained untouched; however, the tone of his canvases evolved over the course of his career. This professional progression, venerated now, wasn’t well received during his lifetime. In Mr Turner, Spall inhabits the hulking figure of a reclusive and eccentric man in what amounts to slices of his existence over his final quarter-century. In his personal affairs, his ailing father (Paul Jesson), his dutiful housekeeper (Dorothy Atkinson), and his secret landlady turned companion and confidant (Marion Bailey) all influence this last difficult chapter, one also marked by the former mistress (Ruth Sheen) and daughters (Sandy Foster and Amy Dawson) he refuses to publicly acknowledge. Writer/director Mike Leigh is known for his fondness for and feeding off of the improvisation of his cast. His films — recently, Happy-Go-Lucky and Another Year – are a cooperative act between the auteur and his actors. Accordingly, his overarching narratives can be driven by the whims of individual scenes, as is strongly the case here. In Mr Turner, Leigh has crafted a pieced-together story that showcases the very best of everyone involved. Spall’s every action may monopolise the frame, but in this feature as in all of the filmmaker’s offerings, there isn’t a bad performance to be found amongst the sprawling yet subtly brushed tale. Indeed, it is with a painter’s touch that Leigh guides his cast, and that his actors enliven their characters, constructing the film layer by layer. The exquisite visuals by Cannes award-winning cinematographer Dick Pope perform the same creative task, further perfecting the feature’s evocation of its central vocation. From sequences following Turner traversing the countryside, to quiet conversations stolen indoors, every image tumbles from artistry – whether glimpsed alone or considered as a whole. As Mr Turner finds the humanity within the harshness of a life of winding down and of an extraordinary talent housed within a complex man, Leigh and his collaborators on-screen and off turn the corresponding account into its own masterly work.
After eight seasons, a huge body count and an enormous wait for winter, Game of Thrones is coming to an end in 2019. But that doesn't mean saying goodbye to the world first created by author George R.R. Martin — not only thanks to the author's books, whenever The Winds of Winter eventually hits shelves, or even simply due to the planned prequel series. In addition, fans will soon be able to visit a heap of new GoT tourist attractions. After filming much of the show in Northern Ireland for the past decade, HBO has announced that it's teaming up with Tourism NI to open a number of sets and sites to the public for the first time. If you've ever dreamed about walking around Westeros, this will be your chance. Winterfell, Castle Black and King's Landing are among the iconic spots that'll feature in what's being called Game of Thrones Legacy. Visitors won't just see the ancestral home of House Stark, the headquarters of the Night's Watch or the capital of the seven kingdoms, but also view exhibitions complete with costumes, props, weapons and set decorations, plus art files, models and other production materials. There'll also be accompanying digital content and interactive materials, highlighting GoT's digital effects. Given that the show includes both dragons and wights, aka Martin's version of zombies, there's plenty to showcase. The project is still in an exploratory process, with full details still to be revealed, but a 2019 opening date has been slated. Seeing as though the show's final season will air next year, that timing is hardly surprising — you'll probably be able to find out whether Jon Snow really knows nothing, and then head to Northern Ireland to visit many of his haunts.
If you need a reason to see Blanc de Blanc, it's this: it comes complete with a human champagne fountain. Of course, given that the acrobatic cabaret is the latest production from Brisbane Festival favourites Strut & Fret (aka the folks behind LIMBO, Fear & Delight and Cantina) that shouldn't be the only enticing factor. It's a show that's heavy on vintage glamour and agile acts, as well as foam and giant bubbles. Heading to Brissie straight from London's West End, it's also the most indulgent, seductive and cheeky night out you're likely to have in some time — but hey, isn't that what festivals are all about? Image: Ken Leanfore.
In seventeenth century Italy, beneath the mountains surrounding Lake Como, a young couple on the eve of their wedding discover, to their horror, that the local tyrant has his sights, and loins, set on the bride. With an already exploited, oppressed people suffering from famine and plague their story takes on Shakespearean overtones. Soon Lucia and Renzo see their lives crash around them as the groom faces the axe and the bride abduction. Whatever their fate, their story inspired a nation. A blend of words, dance and music this production of I Promessi Sposi teases out the golden thread of Manzoni’s novel, and reveals the story of all us.
Life is full of the kind of realisations that can only inspire laughter. You know the type: something has gone wrong (yet again), or just hasn't turned out as planned — and the best way of coping is to giggle and guffaw until you feel better. Christopher Welldon has turned that sort of scenario into something he's chuckling at — and he hopes you will do the same. Having moved house 60 times in 34 years, he's sharing his stories of hopping from one home to another, with the end result a combination of catharsis and comedy as part of this year's MELT Festival.
Time for a once-in-a-lifetime adventure? Don't settle for an experience that might better be described as "once-in-a-while." Fortunately, there's no such problem when it comes to Legendary Journeys – Ultimate Private Experience by Preferred Hotels & Resorts, the world's largest independent hotel brand. Delivered in partnership with Bucketlist Xperiences, this ultra-luxe 17-night itinerary spans Singapore, India, Rwanda, Kenya, Greece, Morocco and London, departing Tuesday, October 6, 2026, and shaped for those seeking a truly unparalleled escape. Flying on a private VIP airliner customised for luxury travel, up to 58 passengers will relish an epicurean experience, with an in-flight chef serving gourmet cuisine alongside curated wines and spirits. Meanwhile, the trip is taken to the next level with seamless transfers, private airport access, luggage concierge and personalised gifts. Throughout the itinerary, a 17-member service team will oversee every detail, no matter how small. Oh, and a professional photographer and videographer will be on hand to document every leg of the journey. With non-stop highlights over three weeks, this exclusive experience begins in Singapore with a two-night stay overlooking Marina Bay. Expect sunset cocktails on the roof and a welcome celebration perched above the waterfront. Then, this trip is bound for Jaipur, India, where guests will stay amid palatial splendour in Rajasthan before taking VIP excursions to iconic landmarks like the Taj Mahal, the Amber Fort and the City Palace. Africa awaits next, with guests headed to Kigali, Rwanda, for a two-night visit. Staying at the newly opened Mövenpick Kigali, guests are welcomed with a private reception hosted by President Kagame (yes, really). The following day, climb into a helicopter to soar above the Virunga Mountains, then trek through Volcanoes National Park to catch a glimpse of local gorilla populations. The wildlife experience continues in Kenya, where guests sleep in luxury safari tents as they embark on thrilling Big Five game drives between sunrise hot-air balloon flights and champagne breakfasts served deep in remote plains. Trading in dry and dusty conditions for Aegean coastal bliss, the journey soon touches down in Santorini, Greece, with guests relishing the Oia cliffside. Soak up a sunset sailing adventure, then sip on rare Assyrtiko vintages native to the region. Onwards to Marrakech, Morocco, guests will head into the medina for some local shopping, with time to spare unwinding in a traditional hammam. Rounding out this extravagant adventure is a final stop in London, with guests delighting in the world's first super boutique hotel — The Londoner. So, what does it cost to experience this genuinely once-in-a-lifetime holiday? Just a cool $133,500 USD per person. Sure, that's not the kind of money most of us can find down the back of the couch. But if you're a high-flying traveller with the means to make it happen, look no further for the vacation of your dreams. "Our mission has always been to connect travellers with the world's most remarkable independent hotels and destinations in ways that are both unforgettable and transformative," says Lindsey Ueberroth, CEO of Preferred Hotels & Resorts. Legendary Journeys – Ultimate Private Experience by Preferred Hotels & Resorts takes place from Tuesday, October 6—Friday, October 23, 2026. Head to the website for more information.
