Films for grown-ups. They're regretfully rare (and I bemoaned this rarity just last week), but we have one in Performance. What could be construed merely as a music film is in fact a tightly wound, deliberate and sensitive depiction of creative, platonic and romantic relationships on the edge of destruction. Affairs, betrayals, sacrifice — together this list appears as standard soap opera material. But in the assured hands of former documentary-maker Yaron Zilberman, they are so much more. Philip Seymour Hoffman, Catherine Keener, Christopher Walken and Mark Ivanir give astonishing performances as members of an esteemed Manhattan string quartet. As a creative family, the quartet's future is thrown into doubt when Walken's character develops Parkinson's — a particularly devastating diagnosis for a musician whose profession hinges on the dexterity of his hands. Here is a film that presents the complexities of regret, the price of compromise and the undoable consequences of the decisions you only realise in retrospect were, in fact, decisions. All these themes find their mirror in the intimacy and sacrifice of the quartet's musical collaboration and the intensity of their tenuous creative bonds. Performance is finely tuned and deeply moving. Its precise, dynamic dialogue gives the impression of being written by a master playwright. Its score rates a special mention — composer Angelo Badalamenti also wrote Twin Peaks''unforgettable theme. Its characters are fully fledged vessels of hurt, resentment and miscommunication, but they're not monsters — they're just actually human. And for a real, grown-up, mainstream film, that's not just unusual, that's something to treasure. https://youtube.com/watch?v=yaFTheo2v-E
The National Gallery of Victoria is wrapping up this wild year in style, hosting the blockbuster second edition of its much-hyped NGV Triennial. Taking over the gallery from Saturday, December 19, the exhibition looks set to be the biggest art event to hit the city in three years, featuring works from over 100 artists, representing 30 different countries. Among them, you can expect a diverse response to this year's themes of illumination, reflection, conservation and speculation. With a lineup like this — and many months of missed art appreciation to make up for — it's hard to know where to even start. But we're here to help. We've delved into the program and pulled out five must-see artworks set to grace the gallery's hallowed spaces this summer. Start plotting your post-lockdown art gallery debut now, with this roundup of five captivating artworks to check out at the NGV Triennial. [caption id="attachment_795343" align="alignnone" width="1920"] Dhambit Mununggurr, 'Can we all have a happy life' 2019-20, courtesy Salon Indigenous Art Project. Installation view at NGV International, photographed by Sean Fennessy.[/caption] DHAMBIT MUNUNGURR: CAN WE ALL HAVE A HAPPY LIFE If you've got a thing for hues of blue, this immersive work from Yolnu artist Dhambit Munungurr will surely resonate. While artists from her home of Yirrkala (Northeast Arnhem Land) traditionally paint using hand-ground ochres and other natural pigments, Munungurr was granted special permission to switch to acrylic paints after a 2005 car accident left her with ongoing injuries. She's since developed a special love for the colour blue and as such, her recent works have left a significant mark on Yolnu art as a whole. This NGV installation Can we all have a happy life (2019–2020) is the latest to embrace the artist's go-to colour palette, featuring a vibrant series of 15 bark paintings and nine larrakitj (hollow poles). [caption id="attachment_795344" align="alignnone" width="1920"] Cerith Wyn Evans, 'C=O=D=A' 2019–20, courtesy White Cube, London. Installation view at NGV International, photographed by Tom Ross.[/caption] CERITH WYN EVANS: C=O=D=A Big and bold is the name of the game for Cerith Wyn Evans' latest work, titled C=O=D=A (2019–20). The London-based artist has created a large-scale, neck-tilting celebration of light and movement, with his series of neon 'drawings' suspended brightly together in mid-air. Among them, you'll spy frantic scribbles, carefully structured shapes and even doodles referencing chemical compounds, each design experienced in countless new ways from different angles as audiences move around the installation. The full display towers at up to six metres high, challenging viewers to continually switch their perspective as they explore how each shape interacts with the next. [caption id="attachment_795349" align="alignnone" width="1920"] Atong Atem, 'Studio series' 2015, courtesy MARS Gallery, Melbourne. Installation view at NGV International, photographed by Tom Ross.[/caption] ATONG ATEM Atong Atem serves up some fresh cultural perspectives with her series of early photography works offering a vibrant exploration of identity. Born in Ethiopia in the 90s and now based in Melbourne, the artist has developed her body of work honing in on migrant stories and post-colonial practices in the African diaspora. For this portrait project she gives a nod to the old-school studio photography practices of her homeland, via a collection of staged shots dripping with colour. The vintage-inspired images are heady and impactful, featuring a festival of patterns and hues delivered through props, backgrounds, textiles and garments. [caption id="attachment_795351" align="alignnone" width="1920"] Stuart Haygarth, 'Optical (tinted)' 2009 (foreground), Mark Rothko, 'Untitled (Red)' 1956 (left) and Sabine Marcelis 'Dawn XXXIII' designed 2015. Installation view at NGV International, photographed by Sean Fennessy.[/caption] STUART HAYGARTH: OPTICAL (TINTED) A collection of over 4500 recycled tinted prescription spectacle lenses are the unlikely heroes of this stunning piece by British artist Stuart Haygarth. Optical (tinted) (2009) speaks to ideas of consumption, time and loss, as a thing of beauty is hatched from a bunch of discarded objects. Best known for his work repurposing everyday items into unexpected lighting installations, Haygarth here puts together a layered, shimmering sphere of used lenses. The intricate work features a careful assembly of elements, with cloudier lenses at the core making way for clearer glass pieces towards the outer edges. It's then lit from within, creating a sort of dazzling disco ball that'll have you reassessing your thoughts about waste and trash. [caption id="attachment_795355" align="alignnone" width="1920"] Porky Hefer, 'Plastocene – Marine Mutants from a disposable world' 2020, courtesy Southern Guild, Cape Town. Installation view at NGV International, photographed by Tom Ross.[/caption] PORKY HEFER: PLASTOCENE — MARINE MUTANTS FROM A DISPOSABLE WORLD We'd imagine there won't be too many times in your life you'll get to admire a giant octopus crafted from hand-felted cigarette butts. But this supersized oceanic beauty will be just one of many featured in a new large-scale installation by Porky Hefer. Plastocene – Marine Mutants from a disposable world (2020) sees the South African artist and his collaborators create a series of handmade sea creatures plucked from some dystopian future. The work's built on the notion of species being able to transmutate, eventually adapting themselves to fit a world of polluted oceans and plastic waste. The NGV Triennial 2020 will be on show at NGV International from Saturday, December 19 until Sunday, April 18, 2021. For more info and to see the full program, visit the NGV website. Top image: Cerith Wyn Evans, 'C=O=D=A' 2019–20, courtesy White Cube, London. Installation view at NGV International, photographed by Tom Ross
In case you were wondering if the IKEA/Airbnb experiment was actually any good, their guests were woken up in the most painfully adorable way possible. After a night staying in the IKEA showrooms, three families were woken up with breakfast in bed, live classical orchestras and tiny, tiny, extra fluffy puppies. But we don't care, not even, shut up, we're not jealous, you're jealous, whatevs. Just a couple of weeks ago, IKEA became the latest registered accommodation on Airbnb, offering Sydneysiders the opportunity to stay the night instore at the furniture giant's Tempe store in Sydney. For free. Setting up their room displays as so-called quirky accommodation, IKEA let three winning families snuggle in to their fake homes for one epic slumber party on Sunday, August 31. After a Sydney-wide competition, IKEA selected three young families to take the three temporary stays — leaving the unwashed, debaucherous rest of us to wait for some kind of bad review with crossed fingers. After the three winning families were to a big communal dinner feast (featuring dem meatballs), the lucky ducks had Playstations to take the slumber party vibe next level. Airbnb put on a whole bunch of sessions with top notch hoster Claire Ferguson on how to make your home better equipped to become an Airbnb hosting (there's the branding exercise). Before all those rotten customers rolled in for the day, IKEA woke up the three families in three pretty kickass ways (even though, you know, you're snuggled in with your parents and surrounded by flashing cameras, no biggie). Awkward strings: Sweet, sweet breakfast in bed with your parents: AND ADORABLE FLUFFBALLS: Plus, they got to keep their sheets. So. Have a great sheetless, puppyless day.
The year was 1997. For the first time, Fortitude Valley's music scene came together to celebrate. Around the inner-city suburb, Valley Fiesta was born. A quarter century later and the event is still going strong, albeit after running in plenty of different formats over the years — and it's back in 2022 to celebrate its 25th birthday with 45-plus acts hitting stages across 13 venues. 2022's Valley Fiesta will run from Friday, November 25–Sunday, November 27, showering Fortitude Valley with live tunes, and giving Brisbanites a helluva way to spend the last weekend of spring. On the lineup: a whole heap of musicians to see, events dedicated to jazz and art, a carpark party, a laneway fest within the fest and even a food fiesta. Leading the music bill: Holy Holy, Gordi, Kian, WIIGZ and Alter Boy, all as part of an entirely free program. They're joined by Jess Day, Safety Club, Scraps, Radium Dolls, Dulcie and more, in venues spanning The Sound Garden, Fortitude Music Hall, outdoors at The Brightside, Woolly Mammoth, Ric's Backyard, Kickons and 4ZZZ. The jazz afternoon will showcase both existing and up-and-coming talent, while the arts session will be filled with creative workshops. Bringing the fun to the Winn, Bakery and California laneways is the returning Hidden Lanes Festival, running as a pop-up event, while King Street will host the King Street Food Fiesta on the Friday night to get this year's Valley Fiesta started. The program also includes a night of voice, circus, burlesque and drag artists; Quivr DJs doing their thing multiple times; a cultural celebration of People of Colour; and the return of 4ZZZ's legendary carpark party. "This year's Valley Fiesta hits upon all of the elements that make Fortitude Valley so unique — from the food experiences on Friday night, to family events in the Laneways; massive music gigs on the Saturday night through to independent community events on the Sunday. It's every reason we love the Valley!" said QMusic CEO Kris Stewart, announcing the program. Now, block out your diary. [caption id="attachment_875909" align="alignnone" width="1920"] Dave Kan[/caption] VALLEY FIESTA 2022 LINEUP Holy Holy Gordi WIIGZ Jess Day Safety Club Scraps Radium Dolls KIAN Dulcie Cloe Terare Dean Brady Ash Lune Dulcie DANCINGWATER Andy Martin Moss I Was Eros Arig Guppy Doggie Heaven Valley Fiesta 2022 takes place from Friday, November 25–Sunday, November 27. For further information and to buy tickets, head to the festival's website. Images: Dave Kan.
Sydney is currently experiencing a wave of new hotel openings. From the sleek-as-hell Ace Hotel and the lavish Capella Sydney to exciting upcoming openings like the forthcoming W Hotel, the Harbour City is awash with flash new accommodation providers. On top of all of this, a five-star Sydney favourite has just received a multimillion-dollar transformation with heritage CBD hotel Swissôtel unveiling its new look, Euro-influenced rooftop pool and grand lobby bar. Both the bar and pool are located high in the sky, nestled among Sydney's high rises. Enter the hotel from Market Street and head up to level eight to find Arches On Market, a no-holds-barred dining and drinking experience within the building's pre-existing 1930s lobby. A luxurious fit-out has brought new life to the space, and an award-winning chef now heads up the kitchen, serving up a selection of finger food and bar snacks. Take your pick from intimate booths, relaxed lounge seating and the more formal dining space, or take a seat at the eight-metre-long Calacatta marble bar where you can really analyse the cocktail list with the bartenders to determine the beverage your heart truly desires. On the drinks menu, you'll find the signature martini served straight out of the freezer and garnished depending on your preference, as well as sours, cobblers and a twist on an Old Fashioned. Executive Chef John Giovanni Pugliano has pulled together a snack menu that will have you cancelling your dinner reservations elsewhere. Oysters, finger sandwiches, goats cheese and caramelised onion croquettes, prawn cocktails and pork terrine all make appearances alongside caviar and mandarin cheesecake. These vibrant cocktails and stellar eats are all calling to be enjoyed poolside, and hotel guests are in luck with the Arches fare available at the new rooftop pool. This inner-city oasis now boasts built-in cabanas and sun-soaked day beds, as well as booths set up to accommodate a spread of snacks from the lobby bar. Pristine white pool club-style walls surround the timber deck, giving the sky-high swim spot a sense of privacy without shutting it off from the sun and the surrounding skyline. The new-look 369-room hotel and all of its fresh amenities are open now. Rooms start from just over $350 a night and include access to the Ten Stories restaurant, Arches on Market, the rooftop pool and the wellness and spa facilities, all in the heart of the Sydney CBD. Swissôtel Sydney is located at 68 Market Street, Sydney. Restaurant images: Steven Woodburn
One of the oldest, and most intricate questions man has ever posed to his peers is if Frankenstein, Dracula, and King-Kong worked together, could they save Tokyo from Godzilla? The Gallery of Modern Art's latest exhibit, Monsters, probably won’t touch on this topic, but will definitely be providing a rare insight into these legendary cinematic creatures. Monsters, is an exploration of monsters in cinema, covering all six groups of these much feared villains - bloodthirsty fiends; zombies, mutants and shapeshifters; misunderstood monsters; mad doctors; foreign entities; and monstrous absurdities. This unique exhibit offers an opportunity to rediscover some of the most popular films featuring these creatures on the big screen, including recent digital restorations and archival film prints from around the world. Monsters is your chance to not just see vampires, zombies, and mutants, but to ask why vampires? Why zombies? Why mutants? Titles like Dr Jekyll and Mr Hyde, and Dracula are considered the a part of the stable diet of nearly all cinema goers and this GOMA exhibit is a chance to indulge in these great meals gluttonously, but also introspectively.
Not all that long ago, the idea of getting cosy on your couch, clicking a few buttons, and having thousands of films and television shows at your fingertips seemed like something out of science fiction. Now, it's just an ordinary night — whether you're virtually gathering the gang to text along, cuddling up to your significant other or shutting the world out for some much needed me-time. Of course, given the wealth of options to choose from, there's nothing ordinary about making a date with your chosen streaming platform. The question isn't "should I watch something?" — it's "what on earth should I choose?". Hundreds of titles are added to Australia's online viewing services each and every month, all vying for a spot on your must-see list. And, so you don't spend 45 minutes scrolling and then being too tired to actually commit to watching anything, we're here to help. We've spent plenty of couch time watching our way through this months latest batch — and, from the latest and greatest to old favourites, here are our picks for your streaming queue from September's haul of newbies. BRAND NEW STUFF YOU CAN WATCH IN FULL RIGHT NOW THE MAD WOMEN'S BALL Hitting streaming mere days after premiering at the 2021 Toronto International Film Festival, The Mad Women's Ball marks the latest thoughtful and enthralling stint behind the camera for Mélanie Laurent. The French actor who'll forever be known for Inglourious Basterds features on-screen in this, too, and turns in a layered and textured performance. But, behind the lens for the sixth time — and the first since 2018's Galveston — she transforms an already-gripping tale into a film that's vivid, passionate, empathetic and resonant. You could compare The Mad Women's Ball to One Flew over the Cuckoo's Nest, although that's oversimplifying things. Both are primarily set within comparable facilities, with the Salpêtrière neurological clinic the key location here, and both hone in on the power imbalance between those admitted and those running the show. But the Salpêtrière's patients are all women, most have been checked in against their will, the word 'hysteria' is thrown around too often by the male doctors, and 19th-century Paris treats anyone who doesn't conform to to the placid, dutiful female norm with contempt. That's what Eugénie Cléry (Lou de Laâge, who also starred in Laurent's 2014 film Breathe) learns after she starts hearing spirits. When her wealthy family find out about her new ability to communicate with the dead, she's packed away despite her pleas and protests, and confined to a place where she's little more than an inmate for men to torture with ice baths and other supposed cures. Laurent plays a nurse who becomes sympathetic to Eugénie's cause, but the film has just as much time for the sense of camaraderie that springs between the facility's wrongly institutionalised charges. It also offers space for other on-screen women to make an imprint, and serves up not just a potent but a handsomely staged adaptation of Victoria Mas' novel Le bal des folles. The Mad Women's Ball is available to stream via Amazon Prime Video. SQUID GAME Exploring societal divides within South Korea wasn't invented by Parasite, Bong Joon-ho's excellent Oscar-winning 2019 thriller, but its success was always going to give other films and TV shows on the topic a healthy boost. Accordingly, it's easy to see thematic and narrative parallels between the acclaimed movie and Netflix's new highly addictive Squid Game — the show that's on track to become the platform's biggest show ever (yes, bigger than everything from Stranger Things to Bridgerton) less than two weeks since it released. Anyone who has seen even an episode knows why this nine-part series is so compulsively watchable. Its puzzle-like storyline and its unflinching savagery making quite the combination. Here, in a Battle Royale and Hunger Games-style setup, 456 competitors are selected to work their way through six seemingly easy children's games. They're all given numbers and green tracksuits, they're all competing for 45.6 billion won, and it turns out that they've also all made their way to the contest after being singled out for having enormous debts. That includes series protagonist Seong Gi-hun (Lee Jung-jae, Deliver Us From Evil), a chauffeur with a gambling problem, and also a divorcé desperate to do whatever he needs to to keep his daughter in his life. But, as it probes the chasms caused by capitalism and cash — and the things the latter makes people do under the former — this program isn't just about one player. It's about survival, the status quo the world has accepted when it comes to money, and the real inequality present both in South Korea and elsewhere. Filled with electric performances, as clever as it is compelling, unsurprisingly littered with smart cliffhangers, and never afraid to get bloody and brutal, the result is a savvy, tense and taut horror-thriller that entertains instantly and also has much to say. Squid Game is available to stream via Netflix. MIDNIGHT MASS No one can accuse Mike Flanagan of being lazy. In the past three years, he's made four different Netflix horror series, plus The Shining sequel Doctor Sleep. In the two years before that, he directed four other movies. Yes, he's prolific, and he also knows and loves his unsettling niche. Midnight Mass is the third of those aforementioned shows, and forgoes the ghostly setup of The Haunting of Hill House and The Haunting of Bly Manor — and it spins its musing on loss in multiple forms, faith in just as many varieties, and mortality and everything it means into a commanding seven-part miniseries. For Riley Flynn (Zach Gilford, Good Girls), the show's narrative begins with the biggest mistake of his life. After killing a woman while drunk driving, he spends four years in prison, haunted by her bloody face whenever he tries to close his eyes. Upon his release, he has no choice but to head home to Crockett Island, where his god-fearing mother (Kristin Lehman, Altered Carbon) is thrilled, his Ron Swanson-esque dad (Hill House and Bly Manor alum Henry Thomas) barely says a word, and his now-pregnant childhood sweetheart (Kate Siegel, Gerald's Game) has just made a comeback after her own absence. Also upsetting the status quo: the arrival of Father Paul (Hamish Linklater, Legion) to fill in for the island's ailing priest, and a wild storm that wreaks havoc. When he's spinning episodic stories, Flanagan likes to tease. He likes fleshing out his always-eclectic range of characters, too, and Midnight Mass is no different. Here, he adores monologues as well, but that's hardly surprising given the stellar cast he's writing for. It's been a great year or so for disquieting miniseries set on small, sparsely populated islands, thanks to The Third Day as well, and this is just absorbing. Midnight Mass is available to stream via Netflix. STRONG FEMALE LEAD When The Final Quarter opted to explore AFL footballer Adam Goodes' career purely using footage from the time — focusing on his stint on the field during its last stages, as the name makes plain — it weaved together media clips from his games, general AFL coverage, news stories, press conferences and interviews from the era. The result: a heartbreaking picture of the ex-Swans captain's experiences with racism that couldn't paint a clearer picture. Strong Female Lead does the same, but swaps sports for politics and discrimination based on race for prejudice predicated upon gender. Given that Australia has only ever had one female Prime Minister, that's where this fast-paced documentary heads, with director Tosca Looby (See What You Made Me Do) and editor Rachel Grierson Johns (Roller Dreams) letting existing media materials about Julia Gillard do all the talking. Anyone who can remember the headlines, news commentary, panel shows and talkback radio discussions from her 2010–13 spot in the nation's top job will know what they're in for, but seeing it all so deftly sliced together couldn't be more powerful. The sexism she faced at every turn isn't a relic of that not-at-all-distant past, of course. Indeed, Looby's approach makes all the horrendous words flung Gillard's way cut like a fresh wound, and simultaneously also sting like an old scar that won't heal. That's the cumulative effect of enduring the horrific things said, her overall treatment as PM, the odious behaviour of her parliamentary peers, and the belittling comments and placards, too. Strong Female Lead is a film to get angry with, as it's meant to be. It's also a celebration of Gillard's achievement in becoming Prime Minister, her work both along the way and in the role and other world leaders who've broken the glass ceiling. What lingers, though, is the fierce and formidable indictment of what women in positions of authority have been forced to navigate. Strong Female Lead is available to stream via SBS On Demand. EVERYBODY'S TALKING ABOUT JAMIE They're both underdog stories, they're both set in Sheffield in England's north, and they both have the accents to prove the latter. They each follow struggling locals trying to carve out a better life, and feature the entertainment industry prominently. And, they both chronicle characters breaking out of their comfort zones, shocking plenty around them, and working towards a big show, event or both. The movie that got there first: The Full Monty. The newcomer: Everybody's Talking About Jamie. That's about where the similarities between the two end, however, other than the inescapably feel-good vibe they both stir up. In this case, that crowd-pleasing sentiment springs from teenager Jamie New (first-timer Max Harwood), his quest to become a drag queen and his determination to chase that dream by first frocking up for his school prom. Already bullied, considered a disappointment by his soccer-loving father (Ralph Ineson, Gunpowder Milkshake), but adored by his mother (Sarah Lancashire, Yesterday) and best friend (fellow film debutant Lauren Patel), he isn't certain about showing his drag side to the world. He needs mentoring by a former drag icon (Richard E Grant, Can You Ever Forgive Me?), in fact, to even get the courage to do so. And, from there, the path to unleashing his inner queen is nowhere near as sparkly as the red heels his mum gives him for his 16th birthday. Where Everybody's Talking About Jamie isn't at all surprising, whether you're familiar with the stage production it's based on, or the real-life tale it's inspired by — or if you've just seen other against-the-odds British flicks such as Kes and Billy Elliott. Nonetheless, from its first frame to its last, this lively and sweet musical still shimmers, glows and charms. Everybody's Talking About Jamie is available to stream via Amazon Prime Video. NEW AND RETURNING SHOWS TO CHECK OUT WEEK BY WEEK SCENES FROM A MARRIAGE In the initial two episodes of Scenes From a Marriage, Mira (Jessica Chastain, IT: Chapter Two) and Jonathan (Oscar Isaac, Star Wars: Episode IX — The Rise of Skywalker) brush their teeth in front of their ensuite mirror. It's an everyday task in a familiar place, spanning something we all do in a space we all use, but this five-part HBO miniseries turns these two scenes into a complex snapshot of its central couple. It takes not just skill but feeling and understanding to turn such a mundane activity into a must-see; however, that's this weighty show's remit. Scenes From a Marriage gets viewers engrossed in cleaning teeth because it's ordinary, and because everything within its frames fits the same description. Its central relationship careens from happy to heartbroken, comfortable to distraught, and assured to messy, but it also charts a path that countless others have. Accordingly, Mira and Jonathan start the series cemented in their routine, but with each of its five episodes dedicated to a significant day over the course of several years, much changes. The ambitious tech industry executive to his ex-Orthodox Jewish philosophy professor, Mira drops a bombshell, their lives shift over and over, and yet plenty stays the same as well. As penned and helmed by The Affair's Hagai Levi — remaking the 1973 Swedish TV miniseries by iconic film director Ingmar Bergman — Scenes From a Marriage is a show about patterns, cycles and echoes, in fact. It ponders how they ripple through relationships and, when broken or changed, how their absence is felt. The result is devastating and powerful, shot and scored with intensity, and home to exceptional performances from Chastain and Isaac, who prove just as irresistible in their second collaboration in a stormy union as they did in 2014 also-stellar A Most Violent Year. The first three episodes of Scenes From a Marriage are available to stream via Binge, with new episodes dropping weekly. Read our full review. ONLY MURDERS IN THE BUILDING If you've ever listened to a true-crime podcast, decided that you'd make a great Serial host yourself and started wondering how you'd ever follow in Sarah Koenig's footsteps, then you should be watching Only Murders in the Building. The Disney+ series follows three New Yorkers who follow that same process. Actor Charles-Haden Savage (Steve Martin, It's Complicated), theatre producer Oliver Putnam (Martin Short, Schmigadoon!) and the much-younger Mabel Mora (Selena Gomez, The Dead Don't Die) are all obsessed with a series hosted by the fictional Cinda Canning (Tina Fey, Girls5eva), to the point of bonding over it as strangers. Then, when someone turns up dead in their building, they decide that they can sleuth their way through the case — by getting talking themselves, naturally. But being a true-crime podcast diehard and making a true-crime podcast clearly aren't quite the same thing, and turning amateur detective isn't clearcut either. Entertaining and exceptionally well-cast, Only Murders in the Building makes makes the most of its main trio's mismatched vibe. It's filled with hearty affection for everything it jokes about, resulting in an upbeat satire of true-crime obsessions, podcasting's pervasiveness and the intersection of the two. It adores its single-setting Agatha Christie-lite setup, it's always empathetic, and it also loves peppering in highly recognisable co-stars and guest stars such as Fey, Nathan Lane (Penny Dreadful: City of Angels), Amy Ryan (Late Night) and even Sting. The series is also written and acted with enough depth to pair relatable character insights with its bubbly, clownish fun. If Knives Out was a sitcom, and also a little goofier, it'd turn out like this — and that's a delight, obviously. The first seven episodes of Only Murders in the Building are available to stream via Star on Disney+, with new episodes dropping weekly. Read our full review. WHAT WE DO IN THE SHADOWS How do you match a season of TV that introduced the world to yet another ace Matt Berry character? That's a question What We Do in the Shadows faced with its third season, after its last batch of episodes featured Jackie Daytona — the "regular human bartender" persona adopted by Berry's bloodsucker Laszlo Cravensworth. Thankfully, this vampire sharehouse comedy found an easy solution. It's still doing what it does best, which includes gifting the glorious Berry (Toast of London) and his co-stars Kayvan Novak (Four Lions), Natasia Demetriou (Eurovision Song Contest: The Story of Fire Saga), Mark Proksch (The Office) and Harvey Guillen (Werewolves Within) reams of witty and hilarious dialogue. Picking up where the last season left off, the show's vamps now have a new job running the local Vampiric Council; however, the mockumentary-style series still knows that it's at the best when its stars are riffing either together or directly to the camera. Obviously, the Staten Island-dwelling bloodsuckers' new gig comes with ample chaos and, as it dives into everything that follows, What We Do in the Shadows is still one of the silliest yet smartest horror-comedies that's ever been made. But as proved the case with the movie it sprang from — aka Jemaine Clement and Taika Waititi's 2014 film of the same name — so much of the joy and laughs here come from watching exceptional comedic talents inhabit their characters' fangs, banter about undead tropes and bounce off of each other. That hasn't changed in season three, and the entire series is still a side-splitting gem in each and every episode. The first five episodes of What We Do in the Shadows' third season are available to stream via Binge, with new episodes dropping weekly. Y: THE LAST MAN On paper, Y: The Last Man sounds familiar, even if you haven't read the source material. Based on the 2002–08 comic book series of the same name, it steps into a post-apocalyptic time where an eerie illness wipes out everyone with a Y chromosome — humans and other mammals alike. Accordingly, it initially resembles a reverse version of The Handmaid's Tale and Children of Men. Thankfully, this dystopian tale heads in its own direction. First, it spends an episode plotting out the pre-plague status quo for Yorick Brown (Ben Schnetzer, The Grizzlies), his US Congresswoman mother Jennifer (Let Him Go) and his paramedic sister Hero (Olivia Thirlby, Goliath). Then, it dives deep into the world-changing event that sees males wiped out en masse. It isn't a spoiler to say that Yorick survives, because the title ensures that's clear. Also making it through: his Capuchin monkey Ampersand. As the globe's women react, adjust and endeavour to traverse a whole new way of life, Yorick endeavours to do the same — and, based on its first episodes, it makes for gripping viewing. It's the type of show that starts out with an obvious been-there-done-that vibe, especially at the moment. Anyone who has filled even part of the pandemic binge-watching movies about contagions, outbreaks and infections will recognise plenty of elements, but this is also the kind of series that takes its time to settle in, and to expand and grow. It's ongoing focus on what comes next, rather than simply exploring what happened, is also filled with possibilities — timely ones, too, given the current state of reality. The first five episodes of Y: The Last Man are available to stream via Binge, with new episodes dropping weekly. A RECENT MUST-SEE YOU CAN (AND SHOULD) STREAM NOW ANOTHER ROUND Even the most joyous days and nights spent sipping your favourite drink can have their memory tainted by a hangover. Imbibe too much, and there's a kicker just waiting to pulsate through your brain and punish your body when all that alcohol inevitably starts to wear off. For much of Another Round, four Copenhagen school teachers try to avoid this feeling. The film they're in doesn't, though. Writer/director Thomas Vinterberg (Kursk) and his co-scribe Tobias Lindholm (A War) lay bare the ups and downs of knocking back boozy beverages, and also serve up a finale that's a sight to behold. Without sashaying into spoiler territory, the feature's last moments are a thing of sublime beauty. Some movies end in a WTF, "what were they thinking?" kind of way, but this Oscar-winning Danish film comes to a conclusion with a big and bold showstopper that's also a piece of bittersweet perfection. The picture's highest-profile star, Mads Mikkelsen (Arctic), is involved. His pre-acting background as an acrobat and dancer comes in handy, too. Unsurprisingly, the substances that flow freely throughout the feature remain prominent. And, so does the canny and candid awareness that life's highs and lows just keep spilling, plus the just-as-shrewd understanding that the line between self-sabotage and self-release is as thin as a slice of lemon garnishing a cocktail. Another Round is available to stream via SBS On Demand. Read our full review. Need a few more streaming recommendations? Check out our picks from January, February, March, April, May, June, July and August this year — and our top straight-to-streaming movies and specials from 2021 so far, and our list of the best new TV shows released this year so far as well.
What will open with the Australian premiere of one of this year's Sundance hits — an Aussie movie that won one of the prestigious fest's audience awards, no less — and also feature a huge music celebration right at its centre? The 2023 Melbourne International Film Festival. Just under three months out from the Victorian capital's annual cinema showcase, MIFF has revealed its first two titles for this year, both with strong local connections. Launching the festival for 2023 is Noora Niasari's Shayda, which is set and shot in Melbourne, marks the Tehran-born, Australian-raised writer/director's feature debut and tells an autobiographical tale. Seeing Niasari leap from participating in the MIFF Accelerator Lab for short film helmers to opening the fest, the movie follows an Iranian woman and her daughter who seek refuge at a suburban Melbourne women's shelter. Cate Blanchett's Dirty Films executive produces, while 2022 Cannes Best Actress-winner Zar Amir-Ebrahimi (Holy Spider) and Australian great Leah Purcell (The Drover's Wife The Legend of Molly Johnson) star. Since returning to in-person fests after two pandemic-affected virtual-only years in 2020 and 2021, this is MIFF's second homegrown opener in succession. In 2022, Goran Stolevski's coming-of-age feature Of an Age did the honours. Of course, Shayda will have ample company when it comes to local titles in 2023, including the also just-announced Ego: The Michael Gudinski Story. The documentary will enjoy its world premiere at MIFF, as the festival's first-ever gala screening from its regular Music on Film program. Celebrating the late Australian record executive and promoter, who passed away in 2021, Ego: The Michael Gudinski Story steps through its namesake's life and career. Unsurprisingly, it has plenty of well-known names joining in to pay tribute, with featured interviewees spanning Kylie Minogue, Dave Grohl, Sting, Ed Sheeran, Bruce Springsteen, Billy Joel and Jimmy Barnes. And, when the Paul Goldman (Suburban Mayhem)-directed doco plays MIFF mid-fest, it will score red-carpet events across multiple Melbourne venues. As for what else will screen in the festival's 71st year, the rest of the program will start being revealed in early June, ahead of the full 2023 MIFF lineup drop in July. Whatever ends up on the bill after Shayda and Ego: The Michael Gudinski Story, they'll join a fest that'll continue its 2022 format of playing in cinemas in Melbourne (from Thursday, August 3–Sunday, August 20) and at regional Victorian locations (from Friday, August 11–Sunday, August 13 and Friday, August 18–Sunday, August 20), and also once again expand its audience by bringing back online platform MIFF Play (from Friday, August 18–Sunday, August 27). Shayda's opening-night session will screen on Thursday, August 3, with tickets for MIFF members available from 8am on Tuesday, May 23 and general public sales from 10am on Thursday, May 25. If you're keen to see Ego: The Michael Gudinski Story, it'll premiere on Thursday, August 10, with tickets available at the same times as Shayda. The 2023 Melbourne International Film Festival runs from Thursday, August 3–Sunday, August 20 at a variety of venues around Melbourne; from Friday, August 11–Sunday, August 13 and Friday, August 18–Sunday, August 20 in regional Victoria; and online nationwide with MIFF Play from Friday, August 18–Sunday, August 27. For further details, including the full program from Tuesday, July 11, visit the MIFF website.
The changes of the past couple of weeks have hit Australia's hospitality industry hard. First, there were the tighter restrictions on venue numbers and spacing; then the government's closure of all non-essential businesses means hospitality venues were forced to shut their doors and rely solely on whatever takeaway service they had operating — or adapt and launch new ones. As a result, a huge number of hospitality workers have been left without jobs. According to website I Lost My Hospo Shift, as of Thursday, April 23, 2594 Aussie hospo workers had lost their jobs and 13,237 shifts had been cut, equating to around $2.1 million in lost wages this week alone. Thankfully, some industry legends are coming to the rescue, lending a helping hand in the form of a few much-needed free feeds. And they're not just helping out unemployed hospo workers either, they're providing free meals to frontline health workers, international students and those just generally doing it tough right now. In Sydney, James Thorpe — co-owner of Petersham's Oxford Tavern and The Taphouse in Darlinghurst — announced both his venues will continue serving up free takeaway meals for any struggling hospo workers. "If you are a casual hospo worker who is currently underemployed, I will pay for your meal," he said in a post on The Taphouse Instagram page last week. "Simply make yourself known at the bar with your RSA in tow (or just let us know where you work if a cafe worker) and our team will hook you up with a menu." https://www.instagram.com/p/B95Th-Np__4/?utm_source=ig_web_copy_link Meanwhile, Newtown restaurant Hearth & Soul made a comeback especially to throw some support behind struggling Sydneysiders. Owner Rachel Jelley closed the venue in November, but has thrown open the doors for a series of free Friday meal services, catering to both staff and employers in any industry who've lost jobs or income as a result of the COVID-19 pandemic. Alongside a crew of volunteers, she's serving up a rotating menu of produce-focused dishes from 12–2pm each week, inviting diners to register via the website. "These are the people who have been working tirelessly to provide you with the dining-out experiences you love," Jelley explained. "They've also been cutting your hair, doing your physio, making your coffee and baking your croissants, and now their livelihoods have simply evaporated overnight, in silence. So, I want to feed them." https://www.instagram.com/p/B9-5LUHjva2/ Over in Enmore, Colombo Social is a Sri Lankan restaurant that provides employment opportunities and support to asylum seekers and refugees. But in response to these turbulent times, it's now expanded its focus, teaming up with Mission Australia and a bunch of other local charities to feed as many vulnerable community members as possible. The kitchen's being put to good use, whipping up over 4600 hot, nutritious meals for free to those who are hungry or struggling to feed their families. Italian chain Fratelli Fresh is also donating 650 meals every week to healthcare workers via its Feed the Front Line program, which is running until the end of June. You can donate a meal for $10 over here, too. Then, there's the group of Manly venues that have banded together in an effort to feed vulnerable hospitality workers. Via a new Go Fund Me campaign, spots like The Cumberland, The Hold, Hugos Manly and 4 Pines are raising money to fund free meals for those in the industry who've lost income and work. Impacted workers are invited to get themselves verified, then to register for any of the nightly-changing, home-delivered dishes. The meals are created using leftover food stocks donated by local restaurants. And Chippendale local Sneaky Possum has transformed into soup kitchens, dishing up free feeds to hard-hit hospitality staff with complimentary hospo meals from 8pm nightly. Down in Melbourne, Attica has set up its own soup kitchen. It's selling $25 Thai-inspired chicken broths, with $5 from each one sold going towards preparing food for unemployed hospitality workers on temporary visas. The crew from Brighton barbecue restaurant Coal Blooded Griller are drumming up donations to enable them to whip up free meals for those in need. Having already raised over $3500, they're able to serve hundreds of ready-to-heat, two-person food packs. https://www.instagram.com/p/B_N8a2rg0wD/ Meanwhile, Essendon burger joint Dribbles is handing out four free meals each week to people who've lost their jobs as a result of the pandemic. It's currently taking nominations for the freebies via its Facebook and Instagram. Newly-hatched non-profit event organisation The Issue X has made a mission to shed honest light on the issues and obstacles faced by the hospitality industry. And in these troubled times, it's turned its attentions to our city's hard-hit hospo staff, especially those on temporary visas who can't bank on any government support. The Issue X team knocked up a heap of nightly meals for those in need. And Brunswick's Viet-inspired restaurant Shop Bao Ngoc is giving back to its hard-hit hospo community by offering up a nightly changing meat-free dish, available for contactless delivery within three kilometres of the venue. The crew's encouraging a $10 donation for the meals — think, tofu pad thai and vegetable shepherd's pie — but say no one will be turned away for lack of funds. You can even pay it forward by donating money towards someone's future feed. https://www.facebook.com/baongocbrunswick/photos/a.439164586552477/841547599647505/?type=3&theater In the Brisbane suburb of Annerley, South Indian restaurant Sankalp is lending a hand by cooking up a swag of free vegetarian meals each Monday, Tuesday and Wednesday. The dishes are on offer to international students and any locals in need, to collect from the restaurant between 6.30pm and 8.30pm. Having pivoted its business in response to new public health regulations, Gold Coast eatery The Henchman is now operating as both a takeaway restaurant and food store. For as long as is possible, the owners are inviting anyone feeling the pinch to pop by and fill a bag with pantry supplies, on the house. And on the Sunshine Coast, a group of Noosa Junction venues have joined forces on a mission to support both their local hospo community and international students staying in the region. Together, eateries including Pasta Pronto, Bombetta and Moto are serving a stack of free breakfasts, lunches and dinners, across a range of daily offers. If and when you do decide to head out to get food, remember to follow the Australian Government Department of Health's social distancing guidelines. Know of any other restaurants, cafes or bars doing their bit to help the community? Let us know at hello@concreteplayground.com.
Earlier in 2020, when social distancing and public gathering rules were in place across the country, KFC did everyone a solid by offering up free home delivery for the first time ever Down Under. Life is slowly returning to normal now, but the fried chicken chain is bringing back the deal anyway — so you can round up your housemates again and tuck into those 11 secret herbs and spices. The reason this time: State of Origin. KFC's free delivery will be available across the next three Wednesdays to coincide with this year's postponed games — so on November 4, November 11 and November 18. The great news is that you don't have to care about the matches, or watch them, to get that chicken brought to your door without paying extra. The free delivery is simply available all day on each of those three days, from open till close at your local store. The limited-time offer is available nationwide, too — and there is no minimum spend required. To get your hands on some finger lickin' good chook with no added cost, you'll just need to head to Menulog's website or use the Menulog app. And while your food is on its way, you can meditate with KFChill, a wellness website that lets you unwind to the sound of chicken frying, gravy simmering or bacon sizzling away in a pan. Yes, it'll make you hungry. KFC is offering free delivery across Australia on all orders via Menulog, with the special available on Wednesday, November 4, Wednesday, November 11 and Wednesday, November 18. To order, head to the Menulog website and or use the Menulog app.
Since arriving in town a few years back, Salt Meats Cheese has been giving Brisbanites a pizza-filled treat. And, as part of its lineup of Italian eats, it's been known to give the city's residents plenty of specials in its time — including the return of its $25 all-you-can-eat pizza nights every Monday at its Newstead store. "Does this look like someone who's had all they can eat?" isn't something you'll be saying when you devour as many slices as your stomach can handle in 90 minutes, so calm your inner Homer Simpson. The main catch is that you'll have to buy a drink as well, but you can choose from both boozy and non-alcoholic options. Available from 5pm, this hefty feast serves up multiple options, too. You can stick with the $25 pizza-focused option, or add any pasta from the menu to your all-you-can-eat dinner for an extra $5. And if you're vegan or eat a gluten free diet, those can also be catered for for another $5. You do need to finish each serving of pizza or pasta before ordering your next, but that's hardly a tough rule.
Dinner and a movie now has an entire cinema dedicated to it: FoMo Cinemas. The brand's name isn't about fearing missing out; instead, it refers to its blend of food and movies. Every one of the six screens in the new Melbourne picture palace is all about watching a film while having a meal. You'll pick between blockbuster, arthouse and retro flicks on the program, plus pizzas, burgers and deli sandwiches on the chef-designed menu. Before you take your seat, you'll also hit up the neon-lit Blade Runner-inspired bar. First announced in 2023, the 392-seat dine-in FoMo Cinemas opens its doors on Thursday, January 18 at East Brunswick Village — and adds something new not just to Melbourne's but to Australia's cinema scene. Co-owners Natalie Miller AO and Barry Peak, who co-founded Carlton's Cinema Nova, have taken their cues from two famed names in the global business: the Alamo Drafthouse chain across the US, plus Nitehawk Cinema in Brooklyn. "Barry and I have been partners in the Nova for 32 years, and Barry's always looking for new ideas and new ventures. And he was very anxious to do a cinema with food and movies based on the Nighthawk and the Alamo in America. So he went out on a survey over there and come back with all the ideas," Miller, who also spent 17 years running South Yarra's old Longford Cinema, tells Concrete Playground. "What very much appeals is the fact that people are time-poor and we are trying to encourage people to come 20 minutes earlier, sit down, they can order their food off an app and then the movie will start. Or if they want to, they can do it during the film. But the idea is to let people have their meal and their film together," Miller continues. "It's not a totally new concept because there's gold class and platinum and all those other cinemas, but ours are at standard ticket prices. So you can come at a standard ticket price and order your meal accordingly." As designed by Head Chef Darren Collier, food choices also include cheese and antipasto platters, as well as desserts — and, when it comes time to deliver your bites and drinks as the movie plays, the focus is on discreet service that doesn't disrupt the viewing experience. As is a drawcard at Alamo Drafthouse, all films are preceded by a pre-show presentation. Expect trivia, interactive quizzes and clips celebrating classic movie moments — and trailers, but no ads. The idea is that you peruse the menu while the pre-show plays, and that it's all part of the experience. And the films? Although Cinema Nova is known for its arthouse selections — and Miller is behind film distributor Sharmill Films, which has brought movies such as Triangle of Sadness and Compartment No. 6 to Australian screens in recent years — FoMo is combining those kinds of flicks with broader fare. So, in its opening weeks, you can see the Mean Girls musical, Sofia Coppola's Priscilla, Michael Mann's Ferrari, Golden Globe-winner The Holdovers, wrestling biopic The Iron Claw and Jason Statham in The Beekeeper. Among repertory titles, both Blade Runner and Blade Runner 2049 will have a date with the venue, as will Chef — all befitting the picture palace's look and focus. Specs-wise, two of FoMo's cinemas have a 3D setup, and the 114-seat biggest theatre with a screen that ten-metres-plus wide boasts 4K resolution. While the newly opened East Brunswick Village is the site of the first-ever FoMo, it won't be the last if the debut location proves a success. "If you ask Barry Peak that question, he'd say absolutely yes," Miller advises about the possibility of expanding the chain across Melbourne and even nationally. "We'll test it out and we'll see how it works. We feel that Brunswick's such a growing area with such a young population and student population, and probably a cross-section of the community. And we'll see how it works, and then take it from there." Find FoMo Cinemas at East Brunswick Village, 133 Nicholson Street, East Brunswick from Thursday, January 18.
It's an interesting experience to watch a film when you know exactly how it's going to end. And when that end is tragedy, it's more interesting still. In the case of Fruitvale Station, Ryan Coogler's debut feature film, we're aware from the word go that the film culminates in the fatal shooting of a young man. Don't fret, it's not a spoiler: the movie opens with the camera phone footage of the shooting captured by witnesses. It's an interesting way to open the film, as you become instantly aware of the gravity of the movie. You have just witnessed a man die, and you are about to see why. Twenty-two-year-old Oscar Grant (Michael B. Jordan) was shot in the back by police officers in the early hours of New Year's Day, 2009, and Fruitvale Station lays out his final hours. The film tracks Grant's relationships with the major players in his life — his mother, his girlfriend, his daughter. The audience is allowed, in a somewhat voyeuristic way, to look into the life of a regular guy. A life that ends up being cut far too short. The film itself is beautifully made. It's filmed entirely with a handheld camera (much like another Sundance Winner, Beasts of the Southern Wild), which adds to the effect of the audience bearing witness to a life, not a story. The camerawork also mimics the actual footage at the start of the film, lending a certain truthfulness to the entire piece. The score is played down and sombre, and so doesn't detract from the dialogue, the plot and the actors at all, while still building a mood of dull dread. The actors are phenomenal, with Jordan (from The Wire and Friday Night Lights) tenaciously capturing the character of a young man yearning for a second chance. In support, The Help's Octavia Spencer is the perfect picture of a concerned and loving mother, and 29-year-old indie star Melonie Diaz is beautifully heartbreaking as Grant's girlfriend, Sophina. The film was produced by screen legend Forest Whitaker and has cleaned up on the awards circuit, including taking out the Grand Jury prize at the Sundance Film Festival. The events that transpired at Fruitvale Station featured heavily in the US headlines, detailing the questionably unsubstantiated murder of a young man by law enforcement officers. Oscar Grant's death was a terrible tragedy, and Fruitvale Station carries that emotion onto the silver screen. A film of unmet redemption, it's a stunningly made, deeply emotional story that will have you glued to your seat and, perhaps, wiping away tears. https://youtube.com/watch?v=ceVVVils8z4
Feeling a little chilly, Brisbanites? That's understandable — the sky is grey and cloudy, sunshine is mostly absent and the unseasonably cooler weather isn't expected to lift until next week. It's not just a colder-than-usual spell at this time of year that's making the city shiver, however, but the fact that Brisbane just experienced its coldest May day since 1980. Yesterday, Friday, May 22, the mercury didn't pass 17.9 degrees. And if you can't remember the last time it was this cool at this exact time of year, that's because it has been almost half a century since anything in May came close, the Bureau of Meteorology reports. Usually, Brissie averages a maximum of 23.2 degrees in May, so that frosty temperature is well below the norm. In fact, the average minimum at this time of year is usually 13.3 degrees. Today, Saturday, May 23, might beat yesterday's record, too — with BOM only forecasting a maximum of 17.5. At the time of writing, the mercury hasn't ventured past 13.6 degrees as yet for the day, in case you're wondering why you're feeling particularly cold while you're reading this. https://twitter.com/BOM_Qld/status/1263981305408167937 While tomorrow, Sunday, May 24, is only expected to reach a top of 21 degrees, that'll obviously be considerably warmer than the last few days. And, it'll be the start of more normal temps, too. From Monday, May 24 onwards, maximum temperatures will hover between 24–25 and come paired with either sunny or mostly sunny conditions — just the way Brisbanites like their lead-up to winter. Via Bureau of Meteorology.
Usually, when people open a cafe, they do so after earning their hospitality stripes in coffee shops and restaurants. But the people behind Little Black Pug haven't done anything the typical way. Proprietors Louise and Joshua Daly met at The University of Queensland in 2016 while studying bioinformatics and pursuing careers in the sciences. Yes, they were interested in food — Lou, in particular — but more the chemistry behind it. Think Maillard reactions rather than mochas. As their burgeoning relationship grew, Lou opened Josh's eyes to gastronomy, and within a year, Josh's untested palate had tackled frogs' legs, snails, and black fungus. As their relationship — with food and each other — developed, their love for science dwindled. They toyed with the idea of opening a macaron stall but instead found a suitable space in Mount Gravatt, Brisbane, to open a cafe. Inspired by their pug Bowie, the newly married couple took a risk, and Little Black Pug was born. Today, Little Black Pug is a community favourite and won the Toby's Estate Local Legends Award for Queensland in 2023. It's expanded from a tiny cafe with a shoebox kitchen to an eatery with three separate dining areas, an event space next door and a food prep area. The latter is, apparently, "coffin-sized," which is presumably an improvement. Lou and Josh's family has grown, too, with a second pug, Mate, having joined the clan recently. Bowie and Mate are, unsurprisingly, the cafe's mascots and arguably their main draw, with LBP's social media accounts announcing the dogs' cafe visits ahead of time to satisfy their adoring public. This attention to detail and careful curation of a community vibe means relationships with customers bloom. Josh and Lou talk of these experiences: "You meet people and watch them get married; you see tiny babies become toddlers that one day are bouncing to Party Rock Anthem in the safe space that is your cafe. You even begin questioning the sanity of your regular customers that come almost every weekend and have eaten everything on the menu more than five times but still come back because they love the food so freaking much." Like practically everyone in the hospitality industry, the pandemic hit hard, and Josh and Lou had to get creative to survive. A new takeaway menu was devised, featuring gluten-free doughnuts, gluten-free hot cross buns, sausage rolls, lasagna, and mac and cheese waffles. These days, Little Black Pug is abuzz again, and that ingenuity, plus the support of loyal patrons, has made it the place it is today. And there is something for everyone. As the duo put it, the menu is suitable "whether you're a dog or a human, a carnivore or a vegan, a celiac or a gluten-fiend." From using food and coffee as a shared interest, a way of procrastinating instead of studying and an excuse to spend more time together to the cornerstones of their livelihood and the bedrock for an inclusive community space, it's been quite the journey for Lou and Josh. We spoke to Louise about what makes them tick and asked for recommendations on other local legends in the area. What's your coffee order? I keep it pretty simple: small flat white with an extra shot. Do you have a secret trick for making the perfect cup? I think the secret to a good, consistent coffee is straightforward. Good beans, a clean machine and the right person making the coffee. From your food menu, what's the perfect pairing with a morning coffee? From our current menu, I reckon the Donut Think Twice. A house-made cinnamon doughnut waffle that would go perfectly with a morning coffee. What made you choose to open in the area you're in today? It's hard when opening a cafe. You need to look at many different factors. We wanted a place that wasn't too big, had good visibility, had dog-friendly seating and was in an area with growth. It just so happened there was a cafe for sale in Mount Gravatt that met many of those requirements, and we jumped at the chance. Where's your favourite local spot to grab a feed? Not necessarily a feed, but if it's a coffee we're after, we'll always drop by to see Simon and the gang at Supernumerary Coffee in Salisbury. Where's your favourite local spot to grab a drink after work? We're not big drinkers to be honest, but if it's in the evening, we like to drop by Sonder Dessert for a sneaky hojicha latte and matcha parfait. What's the most underrated spot for dinner in your area? I wouldn't say it's underrated, but we can't go past Market Square in Sunnybank. Where do you like to go to escape in nature nearby? We love taking the pugs for a hike up Mount Coot-tha. Amazing views of Brisbane. Little Black Pug is the Toby's Estate Local Legends winner for QLD in 2023. For more information on it or other cafes that serve Toby's Estate, visit the website.
Forty years after first forming, Cirque du Soleil still knows how to notch up firsts among its lineup of dazzling circus shows, especially for Australian audiences. In 2023, the Montreal-based company headed Down Under with CRYSTAL, its first-ever ice production on ice. In 2024, it's following that up with LUZIA, which takes inspiration from Mexico, and also marks Cirque du Soleil's first touring performance that features rain in its acrobatic and artistic scenes. LUZIA's name is a combination of the words 'lux' and 'lluvia' in Spanish, with the first translating as light and the second as rain. What that means in the production will be unveiled to Aussie audiences throughout the year, starting in Melbourne in March. Seasons in Adelaide from June, Perth from July, Brisbane from September and Sydney from November will all follow. While it has been four decades since Cirque du Soleil was created back in 1984, 2024 is the 25th anniversary of the troupe's performances in Australia, making LUZIA the tenth big-top show to hit our shores. So, although it's already an ode to Mexican culture, the production has even more to celebrate as it spends the bulk of 2024 and into 2025 making its way around the nation. Packing their bags to help: a team of 120 people, which includes 47 artists from 26 countries. First staged in 2016 and becoming Cirque du Soleil's 38th original production at the time, LUZIA has already been seen by 4.5-million people, a number that'll grow in Australia. Audiences are in for a trip to an imaginary version of Mexico, where the performance gets playful and surreal amid the light and rain. Some of the settings include an old movie set, the desert, the ocean and a dance hall, all backdropping the company's acrobatics, trapeze displays, contortionist feats, juggling and more. In the Cyr wheel, artists will roll and spin through the rain. And that trapeze work? That happens through showers. LUZIA also spans hoop diving on giant treadmills, a natural sinkhole, seven pins being flung in the air by jugglers and street dancing that includes footballs. Daniele Finzi Pasca wrote and directs the production, which begins with a parachutist falling into a field of cempasuchil flowers, turning a huge metallic key, then taking a magical journey. From there, the clown antics give LUZIA a beach clown and clown scuba diving, the acrobatics even take to a bike, a luchador mask makes an appearance in the swing segment — 1000-plus costumes are seen across the show in total — and a hair-suspension act features. Cirque du Soleil's LUZIA — Australian Tour 2024–25: From Sunday, March 24, 2024 — Flemington Racecourse, Melbourne From Sunday, June 9, 2024 — Adelaide Showground, Adelaide From Thursday, July 25, 2024 — Claremont Showgrounds, Perth From Wednesday, September 25, 2024 — Next to Royal Queensland Golf Club, off Curtin Ave East, Brisbane From Sunday, November 24, 2024 — Entertainment Quarter, Sydney Cirque du Soleil's LUZIA tours Australia from March 2024. For more information, or to buy tickets, head to the show's website. Images: Anne Colliard.
This is the X-Men movie for X-Men aficionados; a filmic Grange Hermitage, Stradivarius and Cohiba Behike rolled into one. That's not to say newcomers won't enjoy themselves, but X-Men: Days of Future Past is a considered, intricate and devoted film that rewards both the audience's fidelity to, and memory of, its predecessors. It's set (initially) in the future, where earth's mutants — good and bad — have all but been exterminated via an unstoppable army of adaptive, mutant-seeking robots named 'Sentinels'. With one last throw of the dice available, the survivors send their own indestructible spork, aka Wolverine (Hugh Jackman), back in time to 1974 to attempt to alter the course of history. Wolverine's principal task is to reunite a young Charles Xavier (James McAvoy) with the man responsible for putting him in a wheelchair — the metal-manipulating champion of mutants known as Magneto (Michael Fassbender). Xavier, however, has become an addict of alcohol and painkillers whilst Magneto has been buried in a cement prison for participating in a tricky little incident in Dallas, 1963. Together, they must all reconcile their grievances and work collectively towards stopping an embittered Mystique (Jennifer Lawrence) from attacking the inventor of the Sentinels, Bolivar Trask (Peter Dinklage). Back in the director's chair is Bryan Singer, whose first two X-Men films were by far the strongest in the franchise. The key to their success was focusing on stories bolstered by special effects, rather than delivering 'special effects movies' for the sake of special effects. They were rip-roaringly fun and exciting pictures that also represented compelling parables on prejudice and discrimination. One or two space-time continuum hiccups notwithstanding, X-Men: Days of Future Past rediscovers that balance and the result is a complex and comprehensive film that ingeniously marries the old Singer cast with the younger, First Class one. It also introduces some fantastic new mutants, including a Portal-esque character named Blink and the lightning fast Quicksilver (Evan Peters), whose keynote slow-mo scene is the film's undisputed highlight. X-Men: Days of Future Past is a delightful reboot of a series that was in danger of losing its way. Full of subtle yet instructive allusions to future moments from past films (remember: time travel), it refreshingly keeps things relatively small-scale amid a growing compliment of contemporaries that now deem city-wide devastation par for the course. Dark, enthralling and undeniably exhilarating, it's an elegant and accomplished thrill-ride for both new fans and old. https://youtube.com/watch?v=pK2zYHWDZKo
COVID-19 clusters keep popping up, lockdowns are still part of Australian life and whether Aussies can head to states other than their own — or to New Zealand — can change quickly. This is the reality of life during the pandemic. That said, if you have a trip to Queensland in your future, the Sunshine State has revealed one definite new part of your next visit. The state's government has advised that it is introducing online travel declarations for all visitors to Queensland. So, from 1am on Saturday, June 19, anyone travelling to the Sunshine State from another Aussie state or territory — or from NZ — will need to fill out the form. And yes, this should sound familiar, because similar online forms were implemented back when Queensland's borders were beginning to reopen post-lockdown in 2020. Queenslanders returning home from other Aussie states and territories, and from NZ, will also need to fill out the declaration. You're required to do so up to 72 hours before heading to Queensland, after which you'll be issued a 'green Queensland travel declaration' — as long as you haven't been to a hotspot or exposure site while you were outside of the state. The declarations will apply to everyone, unless you live in the Queensland or New South Wales border zone and have only been in that zone or in Queensland for the past fortnight — and then, only if you're entering the Sunshine State via road. Workers in emergency health services, emergency services, national defence, state security and police who are responding to an emergency in Queensland will be exempt, too, as will ambulance and aeromedical passengers, anyone heading to Queensland in an emergency situation, some maritime crew, folks assisting with or participating in a State or Commonwealth law enforcement investigations, and disaster management workers under their operational protocol. https://twitter.com/AnnastaciaMP/status/1405311966072037382 Announcing the news today, Thursday, June 17, Queensland Minister for Health and Ambulance Services Yvette D'Ath advised that the declarations were about contact tracing efforts. "It's vital that if an interstate exposure site or hotspot is declared, our health experts can quickly contact anyone who has travelled into Queensland from that area," the Minister said. Also coming into effect: a traffic light-style system like Victoria's, which will designate sections of Australia and New Zealand as green, amber and red areas. If somewhere is green, there are no travel restrictions. In the amber category, the area in question has interstate exposure venues — and if it's red, it's a hotspot. Queensland already requires anyone heading to the state who has been to an interstate exposure venue to either quarantine at your home or in other appropriate accommodation for 14 days if you're already in the state with the exposure venue is identified. Or, if you enter Queensland after an exposure site is named, you'll need to isolate in government arranged accommodation for a fortnight. Queensland's online travel declarations will come back into effect from 1am on Saturday, June 19. For further information, head to the Queensland Government website.
The discovery of Slinky Espresso was one of those 'yes!' moments. It's not often you uncover a gem left hidden. Tucked away in unsuspecting Fairfield between a Liquor Land and sushi train (stay with me here…) this popular and trendy cafe is the last thing you expect to find in such location, but well worth a visit to those from out of the area. The first thing that'll catch your eye is Slinky's striking mural. Next is the crowd of locals perched on bar stools and around tables outside, many with their pooches here for a morning coffee. Inside, the cafe has a welcoming and trendy interior that says cool without being pretentious, with the coffee machine buzzing and smiling staff making the atmosphere shine. The beauty of venturing outside the inner-city to more humble establishments is finding a gourmet breakfast for under $15. With the exemption of its big breakfast, Slinky is well-priced in every way, including extras. Nothing irks myself more than forking out $5 for a side of avocado on top of a breakfast meal already tipping $20. Speaking of avocado, Slinky are generous (and artistic) with its classic avo toast ($8.5) offering – served on toasted sourdough with all the trimmings. With well-priced extras in mind, the vege stack ($13) with roasted pumpkin, haloumi, rocket, poached eggs and pesto on toasted sourdough, was screaming out for a serve of hollandaise ($1.5). As a sucker for an eggs benny, this DIY vegetarian version more than hit the spot – it may have bumped benny down a spot. With the sharing nature of the internet it is hard to keep much a secret these days, and we're so glad we stumbled upon Slinky. The secret is now out, and there is no longer an excuse not to know.
It's that time of year, somehow. Christmas is almost here, summer has officially started and you're probably thinking about your 2021 shenanigans. While jetting overseas still isn't an option for Australians at the moment, you can make plans to roam around much of this country we all come home now that borders are reopening — and, if you'd like to head over to South Australia in the new year, its government wants to give you an extra incentive. As part of the returning Great State Vouchers scheme — which first ran in October this year — the SA Government is giving away $50 and $100 vouchers to use at hotels in the state between Thursday, January 7–Wednesday, March 31, 2021. The amount of the voucher varies depending on where you're planning on staying, with $50 vouchers on offer for regional and suburban accommodation, and $100 vouchers available to use for Adelaide CBD and North Adelaide stays. During the first round of vouchers, more than 50,000 where snapped up in just over an hour — but they were only available to South Australian residents. This time around, with more than $2 million worth of vouchers available, the scheme is open to interstate folks as well. And, in another expansion, they can be redeemed over a longer booking period, and can also be used at accommodation places with five or more rooms (up from ten or more last time). That means that you'll be able to choose between hundreds of places to stay — with more than 800 accommodation providers eligible to participate. To take part, you'll need to download a voucher from the scheme's website on Tuesday, January 5, then make your booking between Thursday, January 7–Sunday, January 31. There are a few caveats, unsurprisingly. The vouchers don't cover Saturday nights and, to try to nab one, you'll have to log on to the voucher website and prove your identification via your driver's license or proof of age card. Border-wise, SA currently doesn't require interstate visitors to quarantine, after opening its borders to Victoria on Tuesday, December 1. But some states do currently have restrictions in place for anyone who has travelled to South Australia, or parts of it (such as Queensland, Western Australia and Tasmania) — or require permits (Victoria) to enter if you've been in SA. So, it's best to keep an eye on your state's requirements when you're trying to score a voucher and then making a hotel booking. For further details about South Australia's Great State Vouchers scheme — or to nab one on Tuesday, January 5 — head to its website.
First, it was a popular 80s comedy starring Dolly Parton, Jane Fonda and Lily Tomlin. Then, it became a five-season television sitcom led by Parton's real-life younger sister. In 2009, 9 to 5 made the leap to the stage too, because you just can't stop a good story about female empowerment in the workplace. Revived in the West End earlier this year, it's still a huge hit — and now the latest version of the production is coming to Sydney. Just by reading the show's title, we know that you already have Parton's catchy song of the same name stuck in your head. Pour yourself a cup of ambition, because that tune isn't going away anytime soon. Indeed, you'd best get ready to exclaim "what a way to make a living" more than once when 9 to 5 The Musical plays its Australian premiere season, with its local run playing the the Sydney Lyric Theatre from April 21, 2020. Ahead of its time when it first reached cinemas, this tale of three women who take on their sexist, egotistical and all-round despicable male boss is obviously still highly relevant today. Before #TimesUp and #MeToo, workmates Doralee, Violet and Judy decided to turn the tables by kidnapping their supervisor and reforming their office. Expect the same story in 9 to 5 The Musical, as penned by the original film's screenwriter Patricia Resnick, just with more songs. With Parton herself writing the score — and earning Tony and Grammy nominations for her efforts — expect plenty of feel-good music as well. Although she doesn't appear on stage, the famous country star is still involved with the show, and with bringing it to Australia. While the show will premiere in Sydney, it's possible it'll head to other cities around the country after — cross your fingers and we'll let you know if more dates and locations are announced. While you're still singing 9 to 5 to yourself, check out Parton's announcement video below: https://www.youtube.com/watch?v=-eLfds3BNk8 9 to 5 The Musical will hit Sydney Lyric Theatre at The Star from April 21, 2020, with tickets on sale from 4pm on Friday, September 13. For more information, or to join the ticket waitlist, visit the musical's website.
What has Wade Wilson's (Ryan Reynolds, Ghosted) wisecracks, Logan's (Hugh Jackman, Faraway Downs) surliness, Madonna's 'Like a Prayer' and "let's fucking go!" exclaimed several times? The full trailer for Deadpool & Wolverine, which follows on from the movie's 2024 Super Bowl teaser — which became the most-watched movie trailer of all time — by bringing its namesake frenemies together and giving viewers a bigger look at what's in store. The 34th film in the Marvel Cinematic Universe, and the only one arriving in 2024, is gifting the sprawling pop-culture franchise a few things that fans have been waiting for for years. Deadpool officially enters the MCU. So does X-Men hero Wolverine. The end result, which was initially announced in 2022, hits cinemas this July. After the film's debut sneak peek had Deadpool calling himself "Marvel Jesus" when he's brought into the Marvel fold by the Time Variance Authority — and the Merc with a Mouth declaring that "your little cinematic universe is about to change forever" while he's at it — the latest glimpse gets him dubbing Wolverine "the X-Man". Wade is endeavouring to enlist Logan to help save the world. Sometimes he does so by sticking a gun in his face, but often it's by talking, aka one of Deadpool's go-to traits. One won't stop nattering. The other prefers to say as little as possible. Naturally, they're becoming the Marvel Cinematic Universe's favourite big-screen odd couple. Reynolds has been playing Deadpool since 2009's X-Men Origins: Wolverine, so this isn't the first time that him and Jackman are teaming up as their famous characters — but, again, it is the first time in the MCU. Before now, Jackman has already busted out the adamantium claws in nine movies, starting with 2000's X-Men and running through to 2017's Logan, which was poised as his swansong in the role. But when you've been playing a part for that long, in that many flicks, what's one more go-around? After a non-Wolverine gap spent starring in The Greatest Showman, The Front Runner, Bad Education, Reminiscence and The Son, Jackman is clearly ready to get hairy again. That Deadpool & Wolverine falls into the MCU, the comic-to-screen realm that's been going since the first Iron Man flick and will likely never ever end, isn't a minor detail. The two characters have always been Marvel characters, but because of rights issues behind the scenes, they've stayed in their own on-screen sagas. But when Disney (which owns Marvel) bought 20th Century Fox (which brought the X-Men and Deadpool movies to cinemas so far), those business issues disappeared. Deadpool & Wolverine arrives six years after 2018's Deadpool 2. It also marks a reunion in another way. Behind the lens: director Shawn Levy, reteaming with Reynolds after Free Guy and The Adam Project. Also featuring on-screen in the new trailer: Emma Corrin (A Murder at the End of the World) as Cassandra Nova, the X-Men supervillain that's also Deadpool & Wolverine's big bad. Check out the full Deadpool & Wolverine trailer below: Deadpool & Wolverine releases in cinemas Down Under on July 25, 2024. Images: courtesy of Marvel Studios. © 2024 20th Century Studios / © and ™ 2024 MARVEL.
It’s often said that there’s no such thing as an original thought, but clearly that’s bollocks because it takes a very original mind to come up with a concept like this. Same goes for the snuggie - millions of years of evolution have honed humans to be the absolute geniuses that we are, coming up with useful concepts every day. Not just limited to infomercials and the Japanese, originality is abound everywhere, if you know where to look for it. Running alongside the Surrealism exhibition, GoMA Talks is a discussion program with the topic: what makes creative minds tick? Amanda Smith, Philip Brophy, Dr Jason Gallate, Fiona Hall and Dr Damon Young make up the distinguished panel who tackle the topic from varying angles, dissecting the inner workings of innovators from a range of disciplines and how they create (and enable the creation) of new ideas and concepts. The event is free, but if you can’t make it down to the Cultural Centre you can also stream the webcast and join in the discussion on Twitter using the #GoMAtalks hash tag.
However you spend the 9-to-5 grind, including singing Dolly Parton songs in your head, everyone's working hours are always better with a pet. Had an average meeting? Rover will always be there for you. Stressed about a deadline? Patch's purring will help soothe whatever ails you. Need to look at something other than a screen for a bit? Whatever kind of animal companion you have, they're perfect for exactly that. Most of the above situations lend themselves to working from home, as we've all enjoyed over the past few years — but if you're back in the office, or at least out of your house and away from Zoom calls, you mightn't have a furry, feathered or scaly friend on hand to help brighten up your day. Well, usually. Today, Friday, June 24, just happens to be National Take Your Dog To Work Day. Yes, there's a day for everything. Yes, you still have time to bring Fido with you today. And, to help — because wrangling an animal on public transport isn't necessarily easy — Uber is doing discounted rides for everyone taking their pets into the office. The half-price fare comes courtesy of Uber Pet, which launched in Australia back in 2020. To grab the deal, you'll need to travel between 7am–7pm today — and, if you do so with your pet for company, you'll nab 50-percent off your trip up to a total of $30 off. The discount is valid everywhere that Uber Pet is available in Australia, which covers Sydney, Brisbane, Melbourne, Perth, Adelaide, Gold Coast, Canberra, Newcastle, Hobart, Cairns, Sunshine Coast, Geelong, Wollongong and Darwin. There is a $6–7 'pet fee' on top of the standard ride fare, though. To get the discount, just go to the Uber app, click on your account in the bottom right corner, select 'wallet' and then scroll down till you hit 'add promo code'. That code: FURBABY. (What else would it be?) Each person can only use the code twice, but that'll get you and Max to work and back. And yes, your day just got better, obviously — for you and your fluffball. Uber Pet is doing half-price rides from 7am–7pm today, Friday, June 24. For more information, head to the Uber website.
In winter, Marysville is a sea of red. It's like the damp, cool air is keeping autumn's leaves — which have already fallen from the trees — alight and burning until spring comes along, when new ones will be ready to take their place. The sentiment is a lot like Marysville itself. This one-street country town was left with nothing after it was devastated by the Black Saturday bushfires of 2009; everything was charred black, and only now has it regained its full colour. Marysville has all but been reborn, just like the leaves in springtime. With homes rebuilt, storefronts repaired and new buildings erected — including a massive new commercial hotel, which takes up most of the frontage on Murchison Street — the little country town has life again. And winter is the perfect time to appreciate it. Bereft of much else but good wine and nature, Marysville is the place to spend that weekend away from the city (and your computer) that you've been talking about; doing all those classic, wholesome activities you associate with a cosy winter weekend in the country. The air is cold and a little damp, the kind that tastes like the trees it comes from and freshens you from the inside out. There's plenty of opportunity for walking, drinking and eating, or just reading from the comfort of your hotel room — all the sort of stuff that will make you feel like you've had a soul massage before returning to work on Monday. Best part is, it's less than two hours drive from the city. SEE AND DO One of the best things you'll see in Marysville presents itself before you even get there. If you follow the Maroondah Highway through the Yarra Valley (stops for wine optional, but recommended) and past Healesville, you'll find yourself driving through the lush, dense forest of the Black Spur. This winding road is completely surrounded by crazy tall mountain ash and a lush buffer of ferns. It's really beautiful and it can be hard to keep your eyes on the road, so pull over at one of the overtaking lanes if you need a few minutes to take it all in, and do your Instagramming outside of the car. Once in Marysville, it won't take you that long to scope out the main drag. But we recommend getting off it and disappearing into the depths of the surrounding forest. The Tree Fern Gully Trail is one of the best walks you can do; almost immediately you feel isolated as the dirt track winds from the town down to Steavenson Falls. It's not a necessarily easy walk — there are a few hills and it takes about an hour each way — but it's just what your inhibited winter soul needs: fresh air and enjoyable exercise. And if you want to visit at night, you can drive straight to the falls carpark and walk down to the viewing platform. It's lit up until midnight. For something a bit more fantastical, take a walk through Bruno's Art and Sculpture Garden. The work of Bruno Torfs in enclosed within a somewhat magical garden, and will probably take you back to a time of looking for fairies in the bottom of the garden and tearily watching The Secret Garden. The whole garden was destroyed in the 2009 fires, and local legend Bruno has painstakingly recreated all his work from scratch. There's a $10 entry fee on weekends. EAT AND DRINK Being so close to the Yarra Valley, it makes sense that the Marysville area is prime for growing grapes and making wine. In neighbouring Buxton, Buxton Ridge Winery's cellar door is worth a visit. Lorna Gelbert and her son Michael run the family-owned winery, and will give you a taste of their best drops. They'll even make you up a cheese platter to eat outside on the terrace with a glass of your choice. We recommend the rose or the Shiraz. Whether you've been for a walk or have simply tired yourself out tasting wine, there will no doubt come a time on your Marysville weekend that you'll want to take refuge indoors, with cake. There aren't any trendy cafes here (and you won't get a Small Batch coffee, sorry!), but at Fraga's Cafe, you will be able to get a mean piece of banoffee pie. And really, that's all you need. But the brand new jewel in Marysville's culinary crown is Radius Bar & Eatery, which is adjoined to the new Vibe hotel. All the locals are talking about it (many have already visited multiple times), and on a Saturday night — despite my scepticism about the size of the restaurant in a tiny little town — the place is basically full. Nearly all produce is sourced from within a 100km radius, which explains why locals are so keen to get behind it — by supporting the restaurant, they're supporting their own businesses, and that of their friends. Everything on the menu specifies how far it's travelled to get to the restaurant; the feta-stuffed zucchini flowers use zucchinis from Flowerdale (96km away) and the chicken liver parfait gets its comes from Mansfield (98km). The idea here is to choose your meat and the sides to go with it, and it's the 12-hour roasted lamb shoulder that you really should order. The lamb is pulled and tossed with green olives and eggplant, which makes it rich and decadent, and altogether perfect for a winter meal with a bottle of red. The dish would easily feed three people (which is good value at $28), and you'd only need a few sides — maybe the woodfired barbecue corn and the shaved baby fennel salad. A no-brainer if you're in the area. STAY At last count, an Airbnb search returned only two property results in Marysville. These might be very viable options (if you can nab your preferred weekend in advance), but you'll have much better odds at getting a room at the brand new Vibe Hotel. That's because, by Marysville standards, it's massive — with 101 rooms, it seems like it's been built to house every person who could possibly be in town on any given night. There's a gym, spa, sauna and (for the adventurous) an outdoor pool, so even on cold nights, you'll have multiple ways to keep warm. Ideal for one-nighters where you want the fresh-sheet feel of a hotel, and a buffet breakfast in the morning. CP stayed as a guest of Vibe Hotel Marysville.
Every now and then, Airbnb wants you to sleep somewhere you wouldn't normally be able to visit, such as Barbie's Malibu DreamHouse, the Ted Lasso pub, the Moulin Rouge! windmill and Gwyneth Paltrow's Montecito abode. Whichever spots that the accommodation platform is offering up, there's usually a common denominator: these once-in-a-lifetime stays aren't Down Under. Hobbiton broke the trend, and the Bluey house, too. So does Logan Martin's Gold Coast home. Fancy spending a long weekend at the Olympic BMX gold medalist's house? This spring, you can. Airbnb has been focusing on well-known folks of late, following up Paltrow's guesthouse with Ashton Kutcher and Mila Kunis' own oceanside equivalent in Santa Barbara County. Now comes Martin's place, with the Australian champ — who won his gold at the 2020 Tokyo Olympics in the first-ever men's BMX freestyle competition at the games — welcoming a group of up to four people from Saturday, September 30–Tuesday, October 3. In some Aussie states — including Queensland — the dates do indeed fall over a long weekend. Even if they don't for you, this is a three-night getaway. And it's cheap. How cheap? Just $16 per night, which is a real cost-of-living crisis bargain. If you're wondering whether Martin will be hanging around, the answer is yes — for a BMX demonstration and session in his backyard. He'll put his very own state-of-the-art, Olympic-sized skatepark to good use, and also show you how to, in an effort to inspire future BMX riders. Scoring the booking also includes making the most of the three-bedroom, two-bathroom Gold Coast hinterland home's views, putting green and sandpit, as well as its pool. Inside, you'll be surrounded by Martin's trophies, medals and other memorabilia. Like all of these special Airbnb stays, you do need to be available to kick back on the specific dates — and you need to be lucky enough to score the reservation, which opens at 9am AEST on Tuesday, September 12. Also, all travel costs fall on you, with the $16-per-night accommodation fee just covering access to the property. "I stay in Airbnbs all over the world, and love how these stays have given my family and I a unique way to explore amazing places and really authentically connect with new communities," said Martin. "As a host, I will bring a unique and adventure-fuelled experience to my guests so they can create exciting lifelong memories — including a very special one-on-one BMX experience in my world class skatepark in my backyard." Airbnb adds this new extremely short-term listing to its roster after also doing the same with Japan's World Heritage-listed Suganuma Village, the Paris theatre that inspired The Phantom of the Opera, the Scooby-Doo Mystery Machine, The Godfather mansion, the South Korean estate where BTS filmed In the Soop and the Sanderson sisters' Hocus Pocus cottage in recent years. For more information about Logan Martin's Gold Coast home on Airbnb, or to book at 9am AEST on Tuesday, September 12 for a stay from Saturday, September 30–Tuesday, October 3, head to the Airbnb website. Images: Luke Marsden Photography. Feeling inspired to book a getaway? You can now book your next dream holiday through Concrete Playground Trips with deals on flights, stays and experiences at destinations all around the world.
The stunning Mary Cairncross Scenic Reserve is as scenic as its name suggests and is home to 55 hectares of subtropical rainforest overlooking the beautiful landscape of the Glass House Mountains. Th reserve boasts a number of leisurely walking trails and guided tours that'll get you up close with the enchanting surrounds, while the Rainforest Discovery Centre is where you can learn about the diverse life that makes up the ecosystem of this beautiful forest via a bunch of cool multisensory educational exhibits. While you're out and about, keep your eyes peeled for local birdlife — the park plays host to nearly 150 different species. Head to the website for directions, opening hours and further info.
After months of discussion and debate, Queensland is reopening its border from Friday, July 10, allowing residents from all Australian states and territories other than Victoria to enter the state for the first time since March. But anyone hoping for a quick trip over the border — whether you're holidaying up north or heading home to the Sunshine State — should expect plenty of company. In fact, more than 200,000 Aussies are planning to make the trek in the next seven days alone. At a press conference today, Thursday, July 9, Queensland's Chief Health Officer Dr Jeannette Young advised that the state has already received 238,000 applications for border declaration passes — the permits that anyone entering Queensland from interstate, including Queenslanders returning home, are required to obtain before they'll be allowed across the border. The passes only permit entry into the state within seven days from approval, which means that a hefty amount of people are planning to make the trek within the next week. As Dr Young notes, "that is a lot of people — so that will mean that we'll see congestion and delays". The huge figure was revealed as Queensland announced significant changes to its border policies, including increasing restrictions on travellers who've been to Victoria in the past 14 days. While, since Friday, July 3, Queensland has required anyone travelling from Victoria, including Queenslanders, to go into forced quarantine for 14 days — in a hotel, at your own expense — it'll now completely ban visitors from Victoria from noon on Friday, July 10, including from both accessing the state and quarantining in the state. Exemptions will be given "for essential specialist workers, as well as for health, legal or compassionate grounds", but Premier Annastacia Palaszczuk advises that "very few exemptions will be granted". Although Queenslanders returning to the state from Victoria will still be able to come home, they'll continue to be required to go into forced quarantine for 14 days, in a hotel, and pay for the costs. https://twitter.com/AnnastaciaMP/status/1281002263457132545 Queensland also revealed that it's implementing new requirements for interstate visitors who develop COVID-19 symptoms while in the state. As announced by Deputy Premier and Minister for Health and Ambulance Services Steven Miles, anyone entering Queensland will be required to get tested if they show any signs of the coronavirus within 14 days of arriving in the state — and, to commit to that requirement, you'll have to make a binding declaration to get tested when you apply online for your border pass. Mobile testing clinics will be set up at popular tourist destinations to help travellers get tested — and anyone who refuses testing will face a $4004 fine. The testing requirement will also apply to Queenslanders returning to Queensland, with folks in both categories receiving text messages from Queensland Health to ask if they have developed symptoms and remind them that they must get tested. At the time of the announcement — and at the time of writing this article — Queensland only has two active cases of COVID-19 in the state. To find out more about Queensland's COVID-19 restrictions, and the status of the coronavirus in the state, visit Queensland's online COVID-19 hub. To find out more about the status of COVID-19 in Australia and how to protect yourself, head to the Australian Government Department of Health's website. Top image: Tourism and Events Queensland.
M.I.A just added another notch to her rebellious belt, calling in Julian Assange to open her gig at NYC's Terminal 5 via a live Skype feed. In what some might say is a canny publicity move (her fourth album, Matangi, has just been released today), the performer took her fans by surprise when Assange appeared on an enormous screen over the stage. After briefly lamenting he couldn't be at the show due to his ongoing confinement in London's Ecuadorian embassy, the WikiLeaks founder told the American audience "your government sucks", stressing the seriousness of the sinister relationship between government and media in the west. Assange spoke for just over ten typically glitchy Skype minutes, declaring that "we are in a battle" and stressing to his listeners that truly caring means getting personally involved, which in turn could lead to an enormous collective power. He also expressed his admiration for the politically passionate English/Sri-Lankan artist, saying “I think she is the most courageous woman working in western music.” Assange actually helped write one of the tracks on M.I.A's new album, 'aTENTion', for which he seemingly hacked the word 'tent'. They have previously collaborated in his promotion of M.I.A's free 2011 mix tape Vicki Leekx, and she later contributed music to Assange's TV program The World Tomorrow. You can watch an audience member's recording of the unexpected address below. The sound isn't great, but if you fiddle around with the volume levels you can catch most of it. Via New York Times and Spin.
Pickles and beer are a winning mix. If you've ever paired meat, cheese and fermented vegetables with a pint or several — and who hasn't? —then you clearly think so too, even if you don't realise it. Ploughman, Alderley's latest cafe-bar hybrid, certainly does; indeed, that's what the new addition to Samford Road is all about. Because you can't beat a good food-and-drink combo, you'll find platters overflowing with all the usual charcuterie essentials and house-made pickles, plus taps flowing with a rotating range of local, national and international brews. Yum. If it sounds rather straightforward, that's because it is — but sometimes the best things in life are the simplest. Plus, it's a nifty idea for a bar that's housed within a former 19th century general store and saddler, has been overhauled by an electrician and architect, and also serves grilled cheese toasties and small-batch spirits. And yes, like the name suggests, ploughman sandwiches stacked with leg ham, cheese, bread, mustard and pickles are also on the menu.
Since 2016, the cinema-loving world has had a Studio Ghibli-shaped hole in its heart. That's when the acclaimed Japanese animation house released its most recent film, the gorgeous French co-production The Red Turtle. Its last solo production actually came two years earlier, courtesy of 2014's When Marnie Was There. Still, much has happened in Studio Ghibli's world over the past decade. Hayao Miyazaki announced his retirement, then changed his mind. In 2018, fellow co-founder and acclaimed director Isao Takahata sadly passed away. And, over the past few years, the company has been busying itself with its very own theme park. The latter is due to open in 2022 and become quite the tourist attraction — but that doesn't mean that fans aren't keen for more Ghibli movies. Thankfully, the studio revealed earlier this year that it's working on just that, with two new films on its slate for 2020. One of those movies will be helmed by My Neighbour Totoro, Spirited Away and Howl's Moving Castle icon Miyazaki, with How Do You Live? actually first announced a few years back. As for the second film, information have been scarce to date; however the company has just provided more than a few details. Called Aya and the Witch — and also known as Earwig and the Witch in English — the movie will mark the first Studio Ghibli completely made using computer-generated animation. Director-wise, it's helmed by Hayao Miyazaki's son Goro Miyazaki, who previously directed Tales from Earthsea and From Up On Poppy Hill. It's also based on a novel written by British author Diana Wynne Jones, who penned the book that Howl's Moving Castle was adapted from, too. And, it'll head straight to Japanese television, with the film airing on local broadcaster NHK TV sometime during Japan's winter. Just when audiences elsewhere will get to see Aya and the Witch is yet to be revealed; however it was announced this week that it would've screened at the 2020 Cannes Film Festival if the event had gone ahead this year. In lieu of holding a physical fest, the prestigious event announced a lineup of 56 movies it would've shown, giving them the 'Cannes 2020 Official Selection' label — and Ghibli's latest is one of them. In terms of story, Aya and the Witch focuses on a girl at an orphanage. She enjoys living there, but her world changes when she's chosen to live with a couple — including, as the title makes plain, a witch. Fingers crossed that Aya and the Witch will head to screens Down Under sooner rather than later. In the interim, you can get your Ghibli fix by checking out the company's online tours of its museum on the outskirts of Tokyo: https://www.youtube.com/watch?v=Ccgm1Pp5Whw Via Studio Ghibli. Top image: Howl's Moving Castle.
The super adorable Finders Keepers Markets have been home to Brisbane's most creative and quirky designers for more than seven years. And keeping with tradition, the independent hip-fest is returning to their home at The Old Museum in Bowen Hills for 2016. The autumn winter edition of the market will take place over two days July — just in time for the snuggly season. The biannual, designer-centric, come-one-come-all mini-festival has managed to bridge the gap between local market and exclusive exhibition, creating a space for independent designers to engage with the wider community. You'll be able to nab some marvellous treats difficult to find anywhere else. From bespoke leather goods to bespoke stationery, unique neckties, artisan jewellery and all manner of cute and kooky knick-knacks, every stall will be a unique shopping experience that combines innovative design with grassroots feel-goodery. And even if you're a Finders Keepers regular, you'll be sure to discover something new — 30 percent of the stallholders will be brand new to Brissie. Local artists Lilly Piri and Mel Stringer will also be holding their first stall, selling their signature artworks as well as zines, stickers, badges, totes and cute wooden animals. As usual, there will be live music, a cafe and heaps of other Brisbanites celebrating independent art and design. Feeling a little overwhelmed? Finders Keepers are aware this cornucopia of new design can be a little large to navigate. So they've got their own app, with interactive maps to help you find out more info about stallholders, a personal itinerary tool, and notifications to keep you looped in to what's happening on the day. You can download the app from the App Store or on Google Play. Finders Keepers is open 9am-4pm on both Saturday, July 2 and Sunday, July 3. Entry is $2 for adults, and free for kids. Image: Bec Taylor.
After playing host to Brisbane's decadent Lobster Shack pop-up, Petrie Terrace is now home to the city's newest American-themed eatery and watering hole. Open in the spot formerly known as Sandy's Goodtime Bar, Fat Belly Jack's is the inner-city area's new home of fried chicken, bourbon, whisky and beer. The new venture actually comes from the folks behind the aforementioned short-term lobster and Champagne venture. Indeed, they were so impressed with its success that they decided to settle into 48 Petrie Terrace for the long haul. This time around, though, they're all about Nashville-style poultry pieces cooked in a southern-style batter, then dunked in spicy coatings that range from mild to 'really fucking hot', as well as specially paired boilermakers. Food-wise, patrons can choose from burgers, wings, tenders, and either quarter or a half birds, which all come with bread, pickles and a choice of sides. And as far as those accompaniments go, Fat Belly Jack's is slinging bacon-fried greens, Memphis slaw, creamed corn, mac 'n' cheese and crinkle cut fries. With bare brick walls on display, neon signs a-blazing, and a soundtrack of American blues, rock, soul, funk and country music, the venue leans into its theming; however, other than the chook, it's the huge back bar that's the focal point. A sizeable range of American spirits sits alongside a rotating lineup of US beers, plus Fat Belly Jack's special boilermaker menu. Spanning from high-end to more affordable options, the lineup includes the likes of the Baller Boiler, pairing Deep Creek IPA with five-year-old Willet Pot Still Reserve whiskey, as well as the Poor Boy, which combines a can of Pabst Blue Ribbon with a shot of Jameson. Find Fat Belly Jack's at 48 Petrie Terrace, Brisbane. It's open from 12–10pm Tuesday–Saturday, or until later if busy.
A Halloween without pumpkin is no Halloween at all, so South Bank's Little Stanley Street likes going all out. A few years back, the inner-city stretch first conjured up Trick or Treat Little Stanley Street, an October street party that's all about getting into the spooky spirit and splashing around plenty of orange-coloured vegetables. After a pandemic-sparked hiatus, the event is making its big return in 2023. We hope you like pumpkins, because this fest does. Indeed, when it makes its comeback across Friday, October 27–Saturday, October 28, Trick or Treat Little Stanley Street is bringing back its pumpkin patch. After you pick the perfect gourd, you can take it home with you — for decoration as it is, or for carving into a jack-o-lantern — for a fee. That's not all that this event has to offer, especially if Halloween or just being the vicinity of so many pumpkins makes you hungry. Attendees can settle in at one of the eateries along the South Bank roadway to enjoy a meal that matches the mood, themed cocktails, dishes and all. A heap of bars and restaurants will be embracing the Halloween vibe, whether you're keen on a witches hat margarita at Ahmet's over a roast pumpkin and spinach pide, voodoo people punch at Baba Ganouj — or a zombie juice mocktail if you're not partaking in the hard stuff — or Brooklyn Depot's Satan's wing roulette (aka five buffalo wings and one with Fugheddaboudit hot sauce). Ahmet's is also doing free Halloween bellinis for anyone in costume, while spooky sangria in various guises is on offer at Baba Ganouj, Vici Italian, Ole Spanish Restaurant and Mucho Mexicano. Bloody margaritas are also a common fave at the latter three joints. If Halloween to you means scary movies — or films with horror themes that aren't necessarily fright-inducing — then you'll want to hit up the Little Stanley Street South Lawn during Trick or Treat Little Stanley Street. A big screen will be set up playing all-ages-appropriate titles such as Frankenweenie, Corpse Bride, The Addams Family and Casper. Also on offer from 5–10pm on both days: a trick-or-treat trail, Halloween decorations everywhere, a ghost train, roving entertainment and craft workshops for kids. Yes, this is a family-friendly affair, so expect plenty of little trick-or-treaters for company. Attendance is free, but registering in advance is recommended if you're keen to head along.
Call it fate, call it destiny, call it feeling so deeply that you were always meant to cross paths with another person that no other outcome could ever be conceivable: in Korean, that sensation is in-yeon. Call it having a connection that sprawls yet binds like an endless piece of string, always linking you to someone no matter how far apart you each wander: stretch that out over many, many lifetimes and, yes, that is in-yeon as well. Watching Past Lives, which references the kismet-esque concept both in its three-part story and its title, gives viewers a brush with in-yeon, too. Writer/director Celine Song's feature debut is that affecting; that vivid, evocative and haunting; that alive with been-there-lived-that energy. Wading through layers of love, identity, roads taken and not, and the versions of ourselves that we are at each fork, Past Lives is that acutely able to make a very specific experience mirror everyone's experiences. Partway through the film, aspiring playwright and writer Nora (Greta Lee, Russian Doll) talks through in-yeon with fellow scribe Arthur (John Magaro, The Many Saints of Newark). She shares that in-yeon lingers with everyone that you meet, the very act of making one's acquaintance signifying that you've done so before — and if two people become lovers, it's because they've kept falling into step in life after life. As Nora speaks, Past Lives' audience are well-aware of an unshakeable truth, as is the movie's central figure: that she knows in-yeon in her bones. Indeed, this is what Song's sublime feature is about from its first frames to its last in every way that it can be. With Arthur, Nora jokes that in-yeon is something that Koreans talk about when they're trying to seduce someone. There's zero lies in her words, because she's working that move right there and then, and she'll end up married to him. But with her childhood crush Hae Sung (Teo Yoo, Decision to Leave), who she last saw at the age of 12 because her family then moved from Seoul to Toronto, in-yeon explains everything. That one perfect term sums up Nora and Hae Sung's firm friendship as kids, as chronicled in Past Lives' first third. As pre-teens, the duo (Voice of Silence's Moon Seung-ah and Good Deal's Leem Seung-min) are virtually inseparable — walking home from school together daily, competing over grades, bantering with effortless rapport — until half a globe separates them. Then, when they reunite in their 20s via emails and Skype calls after 12 years without each other, Past Lives' crucial word also describes their instant spark and pull. The latter is so magnetic that they're basically dating without saying it, and while he's still in South Korea but she's now in New York. Next, it captures the complicated emotions that swell when Nora and Hae Sung are finally in the same place together again after decades. Arthur is in the picture by then and, ever-adaptable, in-yeon even encapsulates that development. If Past Lives didn't leave its viewers certain to their core about its emotional authenticity, that'd be a greater surprise than how strongly and tenderly it resounds. The Korean-born Song also emigrated to Canada with her parents at the same point in her life as Nora. While she hasn't made a strictly autobiographical work, there's fact dwelling behind this fiction. Her picture would pair astoundingly well with Minari and Aftersun, in fact. In its way, leaping in souls and minds rather than through realms, it's a multiverse tale and companion to Everything Everywhere All At Once also. Feeling so intimately applicable to the characters loving, living, immigrating, yearning and growing within its frames, and yet echoing so universally, is that always-sought-after holy grail of storytelling feats. Although her film hones in on the heart — on-and off-screen alike — as it gets poetic and philosophical (and delivers a Big Apple-set Before Sunrise/Before Sunset/Before Midnight sequence), that Song studied psychology and once planned to become a therapist isn't astonishing to learn. Each time that Nora and Hae Sung slide back into each other's existences, a dozen years have passed, but it feels no time at all for both. Still, that sentiment can't and doesn't smooth their way onwards. Fittingly, Past Lives is crafted to resemble slipping into a memory, complete with patient looks and visuals (Skate Kitchen and Small Axe cinematographer Shabier Kirchner lenses) and a transportingly evocative score (by Christopher Bear and Daniel Rossen of Grizzly Bear, which gives the picture a bond with the also-heartwrenching Blue Valentine and its own knotty romance). This feature knows every emotion that springs when you need someone and vice versa, but life has other plans. It feels the weight of the trails left untrodden, even when you're happy with the route you're on. It understands what it's like to be see your past, plus the present and future it could've influenced, shimmering in front of your eyes. Past Lives is a film about details — spying them everywhere, in Nora and Hae Sung's lives and in their faces, while recognising how the best people in anyone's orbits spot them as well. Of course every second appears meticulous, then, but also equally dreamy and ripped from reality. Of course Lee, Yoo and Magaro are each magnificent, as is this entire sensitive, blisteringly honest and complex masterpiece. Lee charms Nora's two love interests and Past Lives' viewers in tandem, in a sincere and sharp performance as a woman who is as witty as she is wistful while grappling with who she is. Yoo hops from the best movie of 2022 to what'll be difficult to beat as the best of 2023 with quiet dedication and potency. And Magaro plays adoring, accepting but never elementary; Arthur knows how intricate the situation is, so his way through is just that, through, gleaning his part in helping Nora and Hae Sung be who they need to. Contemplating what's written in the stars also involves contemplating beginnings and endings, even when in-yeon has cycles and reincarnations all a-fluttering. Again, Song fashions Past Lives to embody all that it muses on, including via an opening that's utterly immaculate and a closing scene that's breathtakingly divine. Both are also unforgettable. To start, jumping forward before going backwards, Nora, Arthur and Hae Sung sit at a bar. Her body language is all about her lifelong friend, as fellow drinkers peering on comment on; regardless of how things appear, though, only Nora, Arthur and Hae Sung can ever truly grasp their own full story. To wrap up, simply walking and waiting is so impeccably considered and staged, down to the direction that events flow in across the screen, that they say everything about advancing, retreating and wishing you were doing one while going through the other. Past Lives is a movie to lose yourself in, and gloriously; a film to fall head over feels for, and fast; like it feels fated to be, it's also just extraordinary.
Soon your canine companion could be the envy of his naked four legged friends, thanks to an unusual and highly adorable collaboration between a pair of local fashion labels and Guide Dogs Australia. On sale from today, Elk and Gorman have created an exclusive dog range of coats and accessories, to help keep your pooch looking on point. For their part, Elk have designed a range of durable high end leather collars and leads. Gorman's contribution, meanwhile, comes in the form of four distinct winter coats in four different sizes and print styles. And yes, before you ask, they've also designed matching coats for dog owners. 100 percent of proceeds from the sale of these new items will go directly to Guide Dogs Australia. "We're proud to be working with such progressive and innovative designers whose great sense of social responsibility will enable us to raise funds for breeding, raising and training more Guide Dogs," said Guide Dogs Victoria CEO Karen Hayes in a statement. "There have been many requests over the years for Gorman to do dog coats in our prints," said Gorman founder and creative director Lisa Gorman. "But this cause gave us very good reason to put it into action." You can pick up some new threads for your pupper at Elk and Gorman shopfronts, or from their respective online stores. Find their websites here and here.
In 2013, 300 people danced to Kate Bush's 'Wuthering Heights' in a field — and in 2022, the idea is back and bigger than ever. Yes, The Most Wuthering Heights Day Ever is happening in Brisbane again from 2pm on Saturday, July 30. Yes, everyone should be dressed as Kate Bush, complete with a red dress, red stockings and black belt (men, that means you as well). On the day, a clowder (that's the collective noun for Kate Bushes, just FYI) will descend upon Milton and copy Bush's swaying, kicky dance in unison just for the pure joy of it. Support for this weird and wonderful outing has been widespread, and Kate Bush fans from around the world have been inspired to create events in their home cities. So get your gear together (dressmakers are usually flooded with orders for the day) and ready yourself to roll and fall in green, out on the wily, windy moors of Frew Park. If you need an incentive — other than the event itself, of course — it's now 44 years since the song was first released. Also, this year's celebration of all things Kate Bush is taking place on the British musician's birthday. Running up that hill beforehand (whichever hill you like) isn't compulsory, but it feels fitting. And yes, when it comes to Kate Bush worship, she sang it best herself : don't give up.
Broadway and West End smash An American in Paris is singing and dancing its way into Brisbane, with the four-time Tony-winner kicking off its Australian run of shows at the QPAC Lyric Theatre on Saturday, January 8. The dazzling show is based on 1951 film of the same name so yes, if you're a fan of classic movies — and classic big-screen musicals starring none other than the inimitable Gene Kelly at that — its name will definitely sound familiar. Story-wise, the musical follows an American soldier in Paris (because its moniker is that straightforward). Set at the end of the Second World War, it charts US GI's Jerry Mulligan's exploits as he falls for a French woman. Well, he is celebrating the end of the combat in the notably romantic city, after all. Bringing the Oscar-winning 70-year-old film to the stage, this version of An American in Paris is directed by acclaimed contemporary ballet choreographer Christopher Wheeldon — and adapted for theatre and choreographed by him, too. The Aussie run is also being staged in collaboration with the Australian Ballet, so expect to see some of their dancers helping to bring the musical to life. George and Ira Gershwin's songs make the leap to the theatre as well, including 'I Got Rhythm', 'S Wonderful', 'But Not For Me' and 'They Can't Take That Away From Me'. Initially, An American in Paris debuted in Paris — where else? — in 2014, before hitting Broadway, Boston and West End. In Brisbane, it'll play until Sunday, January 30. [caption id="attachment_828886" align="alignnone" width="1920"] Tristram Kenton[/caption] Images: Tristram Kenton.
Satellite Boy is a truly great Aussie film. It's not just a great film that happens to be shot in Australia; this touching and evocative little fable from first-time film director Catriona McKenzie is a great film that was both born and bred in Australia and whose primary protagonist is Australia herself. And what a protagonist she is! If Tourism Australia had any sense, they would put Satellite Boy on every cinema screen in the world, as it may be the most dazzling advertisement for Australia's natural beauty that has ever been committed to celluloid. The celestial night sky, the pink sunsets and the dry lake beds of the Kimberley region are so gorgeously photographed by cinematographer Geoffrey Simpson that they come to take on an almost otherworldly quality, perfectly befitting the film's fascination with the spiritual wonder of the Australian outback. Much like Terrence Malick's legendary cinematographer, Emmanuel Lubezki, Simpson seems acutely aware that setting always equals character. The film tells the story of two Aboriginal boys, Pete and Kalmain (newcomers Cameron Wallaby and Joseph Pedley). After hearing that a major mining company are planning to tear down Pete's home in order to make way for a massive industrial development, the two boys head cross country to give the company's executives a piece of their mind. Inevitably this path is one of enormous self-discovery, with both boys coming to understand what living in and of the land truly means. Basically, what McKenzie gives us is the Indigenous equivalent of a road trip/coming-of-age film, or perhaps more accurately, a walkabout film. To the film's discredit, the story is at times as hackneyed and overwrought as its premise suggests. Many of the characters' revelations, particularly towards the film's conclusion, are stiflingly conventional and detract from the more subtle and gradual developments of the first two acts. Yet Roger Ebert often wrote that "it's not what a movie is about, it's how it is about it", and in this case Satellite Boy manages to transcend its inherent simplicities due to the visual and lyrical flair with which the filmmakers imbue each and every shot. The story itself never pretends to be anything more than a grand allegory for what is essentially the central Aboriginal struggle of the last 200 years: displacement from spiritual home. The beauty of the Australian landscape is contrasted with the rotted and ruined nature of technology. Disused tractors have become heaps of rusted iron, telephones fail to connect Pete with his estranged mother and a single handgun threatens to tear the boys' friendship apart. Ultimately, this story belongs to the two newcomers, Wallaby and Pedley. Their genuine chemistry and naturalistic performances gives the characters an infectious warmth and youthful exuberance that is as compelling as it is endearing. Satellite Boy may well have passed as another Australian "also-ran" if it weren't for these phenomenally mature performances.
The menu might change on a daily basis, but one thing always remains the same at Red Robin Supper Truck. That'd be the presence of a burger — and sometimes more than one — that's worth heading to Morningside for. Named for the tea room it sits behind, the Southside is as tasty as the combination of beef, cheese, bacon, lettuce, tomatoes and pickles gets, however whether the blue bacon, big kahuna, Dorito chicken, kimcheese, red curry or thai fish burger also grace the food van's chalkboard, it's always in good company. Plus, a trip to Red Robin Supper Truck means a trip to Death Valley, the city's best inner-east dive bar.
If you're in Melbourne or southeast Queensland and you're a fan of Lin-Manuel Miranda, rejoice: your next chance to enjoy the musical talent's work is on its way in 2025. Hamilton has already done the rounds, including seasons in the Victorian capital and Brisbane. Next, it's time for another of Miranda's big Tony Award-winning shows to take to the stage locally — and his debut smash, too. Both Comedy Theatre and HOTA, Home of the Arts are set to turn into New York City's Washington Heights for seasons of In the Heights. Initially staged in 2005, then leaping to off-Broadway in 2007, then playing Broadway from 2008–11 (which is where it nabbed those 13 Tony nominations and four wins), Miranda's first stage sensation spends its time with Usnavi, a bodega owner from the Dominican Republic who dreams of going back — and who also sports a crush on Vanessa, who aspires to move out of the neighbourhood. Miranda himself originated the role of Usnavi, scoring a Tony nomination for his efforts. In Australia for this run, which began in Sydney in 2024, Ryan Gonzalez (Moulin Rouge! The Musical) has stepped into the part. When the show heads to Melbourne from Friday, August 1 and then to the Gold Coast from Friday, September 12, fellow Moulin Rouge! The Musical alum Olivia Vásquez is playing Vanessa. Alongside Gonzalez, she's joined by Richard Valdez (All Together Now — The 100) as the Piragua Guy — another character that Miranda has brought to life personally, this time in the 2021 film version of In the Heights. On the stage and on-screen, the production not only follows Usnavi and Vanessa's connection, and their respective hopes for the future, but also the residents of Washington Heights, their family ties across multiple generations and their friendships. The soundtrack — which helped In the Heights win Best Musical and Best Original Score Tonys — as well as the vibe and mood bring together salsa, soul, rap, hip hip, merengue and street dance. If you're keen to watch the movie — or rewatch — in the interim, it stars Anthony Ramos (Twisters) as Usnavi and Melissa Barrera (Abigail) as Vanessa, as well as Leslie Grace (The Thicket), Corey Hawkins (The Piano Lesson), Jimmy Smits (East New York), Stephanie Beatriz (A Man on the Inside) and Olga Merediz (Spellbound). In the Heights 2025 Australian Dates From Friday, August 1 — Comedy Theatre, Melbourne From Friday, September 12 — HOTA, Home of the Arts, Gold Coast In the Heights is playing Melbourne from August 2025 and the Gold Coast from September 2025— head to the production's website for more details and tickets. Images: Daniel Boud.
Whether or not making movies has ever been your goal, everyone knows that some film achievements that are just the dream. Getting into SXSW is one of them. If you're from Australia, and from Sydney at that, having your first feature play at Sydney Film Festival ranks as highly. Amy Wang has now notched up both thanks to Slanted, which premiered at Austin's OG version of SXSW in March, then made its Aussie debut at SFF. Was this the dream for Wang? "100 percent. Yes. Yes. Growing up — and I went to film school here in in Sydney as well — there are those film festivals like the Cannes, the Sundances and SXSWs, where you're just like 'wow, even to just play'," she tells Concrete Playground. "I think they choose ten films or eight films to play in competition at South By. I remember that day. I had a friend who had a film that played at South By the previous year, and they had said they got their acceptance email around the beginning of December. So I just had this inkling. I was like 'if I don't get this email today' — it was a Friday — 'then it's probably a no go'. And I got it. It was so surreal for sure. Just so happy." That's how Wang discovered that she'd be unveiling her body-horror satire about a Chinese American teen's desire to be like her peers at her US high school — plus the lengths the character goes to to achieve that aim — in America. For her troubles, she took home 2025's SXSW Narrative Jury Award. Playing Sydney Film Festival is another treasured milestone. "In many ways, I am even more excited to show it in Sydney," she notes. "Growing up in Sydney, I would go to Sydney Film Festival every year since I was a teenager. So I've been to the State Theatre so many times, lined up outside. It's such a prestigious venue." Slanted's first Aussie session did indeed play at the grand venue at the heart of SFF. It's a US-set and -made film, but screening in Australia is a homecoming because its Chinese Australian writer/director has taken inspiration from her childhood experiences right here. The story of Joan Huang (Shirley Chen, Dìdi) isn't far from Wang's own growing up, when she was teased and attacked due to her race, she advises. Well, that setup has its parallels, at least. With Slanted, the filmmaker takes that trauma and transfers it into a world of prom queens and blonde obsessions, crafting a biting exploration of such a nightmare — one where Joan is convinced that the radical step that is "racial transformation surgery" is her only choice. When Joan walks her school's halls, she strolls past photos of past tiara-wearing teens, all blue-eyed and fair-haired. Her bedroom walls are filled with pictures of blonde celebrities. On her phone, she changes her own image with filters. Lightening her tresses IRL follows. Upon arriving in America with her family (Starring Jerry as Himself's Fang Du and The Afterparty's Vivian Wu) as a kid (Kristen Cui, Knock at the Cabin), she was mocked quickly, cementing the idea in her impressionable young mind that assimilating with her classmates was the ideal option. Also as a child, courtesy of her dad's job as a high-school janitor, she discovered prom queens and the adoration that the title brings. So, when a company called Ethnos slides into adolescent Joan's DMs with a proposal, securing all of her fantasies — and befriending the most-popular girl in school (Amelie Zilber, Grown-ish), too — appears closer to becoming a reality. If this sounds like a "be careful what you wish for"-esque setup, that's because it is as Slanted also works Ghostbusters: Afterlife and Ghostbusters: Frozen Empire star Mckenna Grace into its cast as Jo — and as Wang digs into the desire to belong, its costs, caucasian-centric beauty standards, white privilege and class clashes. Wang knows that this is well-populated territory in general, but "nobody had really done what I've done", she reflects. "Even around White Chicks, for example, it's still the same actors. And obviously Freaky Friday is another example of a body-swap kind of film, but with this, still it's the same person. And it's to do with race, and that's something I think that hasn't really been touched. Obviously a lot of people have been comparing the film to The Substance, which is a little similar as well in terms of themes, but still different. I think it was just the race aspect of it — the fact that it's so personal to myself — that's how I made it different and my own." Was the process of penning and helming Slanted cathartic for its guiding force? "100 percent. 100 percent. I use film and I use writing and directing to work through my own trauma, I think, and it's been deeply cathartic," Wang shares. As much of a focus is ensuring that everyone else that has ever felt like Joan does can see that others have been there. "I made this film so that people didn't feel alone," Wang continues. "And I could express a story about somebody who maybe the majority of Australians or the majority of Americans don't really think about — and to do it an entertaining way so that they are entertained, but also are made to think and reflect on themselves." Wang's path to Slanted spans studying at the American Film Institute, winning accolades for her short film work before her feature's SXSW triumph — 2017's Unnatural picked up a gong at the Cannes Lions — and diving into a sequel to a Hollywood hit. When Crazy Rich Asians 2 makes its way to cinemas, it'll do so with Wang as its writer. Netflix's From Scratch and The Brothers Sun are also on her resume so far. We chatted with Wang about her Slanted journey to date, the movie's response, having an Australian perspective on US teendom and more, including the picture's balancing act, its crucial casting, the visual approach and more. [caption id="attachment_1008985" align="alignnone" width="1920"] Amy E. Price/SXSW Conference & Festivals via Getty Images[/caption] On How the 12 Months Since Making Slanted Have Panned Out for Wang "Oh my gosh, it's been nuts. It is kind of crazy to think — like even today on my phone, you know how your iPhone sometimes gives you memories of the last couple of months? I hadn't even started shooting this time last year. So we shot June–July. I think I flew back to LA — because we shot in Atlanta — I flew back to LA in August to start post. And it's been pretty fast, when I think about it. And it was — I mean, it's still crazy. We delivered the film like three days before we premiered. I'm sure SXSW hated us with that. So it was kind of non-stop until the premiere. The night before, I couldn't sleep because I was so nervous. And then we had such a great reaction after that first screening. I thought the festival will tip you off if you win anything, but they don't. I wasn't even going to even go to the awards night. And I just rocked up in a t-shirt and jeans. Other people were dressed up in dresses and suits and everything, and me and my husband were just sat in the back. It was the most-crazy experience, and so I'm still pinching myself." On Whether Wang Expected the Type of Response That Slanted Has Been Receiving "I think I wanted for this response, and I'm really happy that that I've received it. There was definitely a part of me that was a little bit afraid. I like to push buttons with all of my films, the scripts that I write — and in a way, I do like a bit of controversy within the stuff that I do. So I think I was more afraid of that of — like would people take it the wrong way? Would people get offended? But surprisingly it's been — you always get the random Letterboxd reviews or even film critics critiquing the film, but the majority have been so amazing and supportive. I remember after my premiere at South By, when I was walking to the afterparty, there were multiple people who came up to me with tears in their eyes and just telling me about how much they related to the story. And these were Americans. I'm even more excited to see the reaction in Sydney, because, again, the film came from my own experience growing up in Sydney. And Australia, Sydney in particular, has such a huge Asian population. So I'm so interested to see how people relate to the film." [caption id="attachment_938017" align="alignnone" width="1920"] Tim Levy[/caption] On How Slanted Evolved From Wang's Childhood in Australia — and Why It Embraces the US as a Setting "The reason why I set it in America was because I moved to America in 2015 to go to film school at AFI. And I ended up staying and working in LA. And it felt, at the time when I came up with the concept, like all of my connections, my career, was really in the US. So I knew I needed to adapt the story that I had in my head to a US audience — because all the money, all of the filming crew, cast, everybody, would have been US-based. So that was really the main reason. If I had written a story that was in Australia, I wouldn't have the slightest clue how to get it made in the Australian bubble. The story is very closely based on my own life. Growing up in Sydney, I, unfortunately for a really long time — and even now to a degree, I think we're all still working towards fully embracing and accepting who we are — but as a teenager, I definitely was very, very aware that I looked very different. And I received a lot of, I wouldn't say very violent attacks, but definitely had people throw things at me, follow me around, say very, very horrible racist, just blatantly racist things to me. And it really just made me feel ashamed of my culture, what I look like, and made me want to look like the blonde surfie girls who I went to high school with, who were the always the most popular. And I remembered wanting to — I didn't grow up very wealthy, I would nag my mum to get me Billabong boardies and those types of bags to fit in a little bit more. And I'd get so ashamed over the lunches my dad would make me, because the kids would tease me about how badly they smelled and how weird they looked. I'm happy that I went through it, because it's made me who I am. And I'm just really happy that I was able to make a film that I think connects to a lot of people who have experienced very similar things — even if you're not Asian Australian. I think everybody feels in some way as an outsider." [caption id="attachment_1008986" align="alignnone" width="1920"] Gilbert Flores/SXSW Conference & Festivals via Getty Images[/caption] On Whether Having an Outsider Perspective in the US Assisted When Satirising the Prom and American High Schools "Yes, absolutely. You definitely hit the nail on the head. I feel like I was able to really satirise America because I'm not American. And growing up in Australia, growing up on American films and American TV, I think I had that separation and I was able to make fun of it. And also, I think what is cool is because I've been living here so long, to also firsthand experience the ins and outs and the intricacies of American society. I didn't, when I was in Australia, I never knew that American kids did the Pledge of Allegiance. And it was so shocking to me. I remember when I was doing research and visiting high schools in California, and they would all do the Pledge of Allegiance — and I was like 'what? What is this?'. And it just felt so bizarre. But to an American, it's what they grew up with, so they wouldn't question it." View this post on Instagram A post shared by SXSW (@sxsw) On Finding the Right Tone When You're Making a Satire with a Clear Sense of Humour, But That Comes From a Personal Place — and Is a Body-Horror Film, Coming-of-Age Movie and Family Drama as Well "I feel like it's interesting because I didn't really think too hard about — I definitely thought about the tone a lot, but in terms of weaving all of these things together, I didn't think 'ooh, I have to have some body horror in there, I have to have some satire in there'. I think the satire came organically because the initial concept was just 'oh, what if a Chinese girl turned herself into a white girl?' — and so that concept itself was so absurd and surreal that it just automatically steps into that satirical tone and zone. And then, the reason why I'm a filmmaker is because of films like Fight Club and Seven — David Fincher in particular. My favourite filmmaker is Michael Haneke. And I grew up watching a lot of Cronenberg. So I love dark material. And it just makes sense — I wanted to make a film about learning to accept who you are but in a nightmarish storyline, so it just makes sense to see the repercussions of what happens when you decide to transition into something so drastic." On the Importance of Also Digging Into Class Clashes "That's just another theme that I'm very passionate about, because I don't come from a lot of money. And both of my parents are very working class, don't have any association with the film business. And especially coming out to LA, not really having anything, going AFI — which is a great school, but really being surrounded by a lot of people who do come from a lot of money, or has a famous dad or whatever. Especially in the film industry, in Hollywood, I think, I'm constantly surrounded by people who are just wealthier. And I think that's just something that I'm very aware of. Again, I'm really happy with everything I've been through because it always informs my work, but classism and race, those are definitely things that I just am very aware of — of my own differences and of society in general, the wealth disparity, especially in America." View this post on Instagram A post shared by Shirley Chen (@shirleylchen) On the Importance of Finding the Right Joan in Shirley Chen and the Right Jo in Mckenna Grace "I found Shirley first. I watched a lot of auditions. And I'd always known of Shirley, cause I've seen her in Dìdi, I'd seen her in this great short called Krista, I think that also played the South By. And then she did Beast Beast, which is a great film as well. She just had such a naturalistic, kind of edgy vibe about her that I just loved. And I remember watching her initial audition just being like 'fantastic, I've found my person'. And then we had lunch and got to know her a little bit. So I knew I had to find Joan first. And then from Shirley, getting to know Shirley a little bit more, I figured out 'okay, this is her general vibe, this is her energy', and I needed to find someone who could match that. And I met with Mckenna — and same with Shirley, I'd seen Mckenna in obviously Ghostbusters, but I saw her in A Friend of the Family, The Handmaid's Tale. She's just an incredible young actress. We also had lunch, and she just told me how much she related to the script — and really blew me away with her interpretation. And after that meeting, I was like 'yeah, she's the one'. After I cast the two of them, we did a lot of rehearsals and body-language imitating exercises and things like that, to really make sure they feel like the same person." View this post on Instagram A post shared by Mckenna Grace (@mckennagraceful) On How Chen and Grace Worked Together to Play the Same Character — and Take That Figure on a Shared Emotional Journey "They did so much homework. I know they had shared playlists and really used music to tie themselves, the both of them, together. But I did a lot of exercises. I had Mckenna follow Shirley around, copy how Shirley ate, how she walked, how she danced — all sorts of little fun exercises I came up with. And we also figured out one thing in the movie, that both of them will squeeze their nose, and that was something that really tied it together. And that's something I used to do and my dad used to do. So I think that was a really easy tic that they both really caught onto. And sometimes even on set, I would forget and then they would add it into the scene, and I'd be like 'oh, this is amazing'. So they just they did the work. And Shirley would be on set when Mckenna would be on set, and vice versa, because we'd obviously shoot their scenes intersectionally, so that really helped as well." On Mixing Naturalism and Surrealism in the Film's Stylistic Approach "So my DP and I — my wonderful DP Ed Wu [Mother of the Bride] — we had this almost like a map that's one to ten. One was the most grounded, realistic types of films, like Fish Tank, Andrea Arnold types of films. And then on the other end of the spectrum were the Sorry to Bother You kind of way-more out-there-visually satire. And so with each scene, we'd be like 'okay, this scene, it's sitting more in the one to two', which is more the Andrea Arnold kind camp. But then some scenes, like when we're in Ethnos, definitely ventured more into that hyper-real, Being John Malkovich kind of world. So we had that communication during set, in pre-production as well. And sometimes it was hard, because there would be some scenes where it would go back and forth a little bit. The first half might be more of a one, but then the second half is a ten. So those were a little bit more difficult to really nail. But I think the music was also really big thing. Shirley Song [XO Kitty], she's a fantastic composer." On How Short Films, From Scratch, The Brothers Sun and Writing on Crazy Rich Asians 2 Helped Lead Wang to Her Feature Debut "I was never much of a writer when I got into AFI, to be totally honest. I had always wanted to direct and I went to the American Film Institute for directing. And it was my second year when I really started getting into writing, because a graduate came back and was like 'if you don't want work at Starbucks after you graduate, you're just not going to get paid to direct anything for a very long time, so you need to learn how to write'. So that advice really stuck with me. And that's kind of what I did. So I think that on the writing side, just writing for a lot of studio films — I sold scripts to Paramount and Netflix and all sorts of places. It definitely helped me craft the screenplay in the best way. And then for directing, I think it was just I really enjoyed my experience at AFI. It taught me a lot about directing. And you're just really drawing from personal experiences, and you take apart films. And I made a lot of short films back in Sydney. And all of that experience I think really contributed to making this feature." Slanted is screening at Sydney Film Festival until Sunday, June 15, 2025. Head to the fest's website for more details.
There's no such thing as 'just a cocktail', as everyone who's fond of making and sipping them knows. Sourcing the exact right ingredients, combining them in the ideal way, perfecting your favourite recipe — ace all three stages, and you'll find yourself with a refreshing, drinkable work of art. One particular part of the above equation is especially crucial, of course. If you don't pick the right spirit to start with, your cruisy afternoon cocktail just won't taste the same. And, if you can go one better and find a standout local drop — a creative gin or a flavoursome rum, for example — you'll be able to both enjoy a stellar beverage and support a homegrown distillery at the same time. When it comes to great spirits made right here in Queensland, you might already have your go-to. Or, you could be looking for ideas for your next concoction. Either way, we've teamed up with our pals at BWS to highlight five local outfits pumping out first-rate spirits you should know about.
When Marc Grey and Steve Maiden launched their first venue in Fortitude Valley's California Lane, they leaned into Grey's fondness for comic books, theming 22-seater 1st Edition around caped crusaders in its decor and menu. Less than two years later, they're adding a second venue to the same stretch of pavement off McLachlan Street, and also going all in on a concept. Indeed, when Viva La Cali opens its doors to kick off winter, it'll be in the perfect location. California Lane was always going to welcome a California-inspired joint at some point, and Viva La Cali is that place. Set to start greeting patrons from Saturday, June 3, it sees Grey (Destino Sanctuary Cove) and chef Maiden (Baja Fortitude Valley) team up with fellow hospitality figure Morgan Webster to celebrate the cuisine and vibe of southern California — and, reflecting the region, to mix dishes from Central and South America into the menu as well. At this bar and restaurant, diners can chase an endless summer to match Brisbane's usually sunny climate. The palm tree-heavy artwork by Steen Jones, which wraps around one side of the venue including under the bar, heartily champions that mood. So does the setup in the 80-square-metre space, thanks to an openair and undercover abode that caters to 50 folks seated — including at a sizeable communal high table — or 70 cocktail-style. The menu unsurprisingly heroes tacos while also getting creative. A banh mi-inspired taco made with pulled chicken, pickled veg and chicken pate tops the must-try list, alongside pork jowl with fermented cabbage, apple wild rice and smoked yoghurt; fish ceviche with cucumber, pickled jalapeño and pomegranate; and beef carnitas with pineapple habanero salsa. Diners can also look forward to snacks such as Peruvian empanadas, beef tartar with egg yolk and the Viva La Cali's take on popcorn chicken with chimichurri. Short ribs, wagyu smoked in-house with cherry and apple wood (then paired with cactus salsa), and spiced eggplant with cacao mole are highlights among the bigger dishes, while the dessert options include picarones, aka crispy fried Peruvian doughnuts. "As chefs, we strive to create dining experiences that are vibrant, fresh and, in our case, a little bit quirky. It's about delighting the senses and pushing culinary boundaries," says Maiden. "When it comes to my favourite dishes, I simply can't resist the King River wagyu and the spiced eggplant." To wash all of the above down, margaritas are Viva La Cali's signature sip from a tequila-centric drinks list. Whether you go with the classic sip whipped up with house-made orange bitters, a version with coffee lime agave or a Tommy's, you'll be picking from a range featuring tipples that require a comprehensive gastro process to come to fruition — a source of pride for the venue's team. Among the standouts: the Watermelon Margy Hiiiii, made with house-made watermelon cordial and a natural watermelon rind sour strap; the Bugs Bunny Margarita, which uses house-made sour carrot juice; and chilli mango coconut slushies. Operating Wednesday–Sunday, Viva La Cali will also do $79 two-hour bottomless margarita and bottomless taco sessions on Sundays, and host California Lane laneway parties with live music, and local chef and kitchen takeovers. "Above all, our ultimate desire is for our guests to embark on a flavour-filled journey. We want them to feel a sense of casual relaxation, fun and energy. Picture Sundays with a contagious laneway party vibe, all while upholding our uncompromising standards of quality. We want to make a first great and longlasting impression," says Grey. Find Viva La Cali at California Lane, 22 McLachlan Street, Fortitude Valley from Saturday, June 3 — open 5pm–late Wednesday–Thursday and 12pm–12am Friday–Sunday.
For the second year in a row, movie buffs will need to get their Melbourne International Film Festival fix purely from their couches. After the 2020 fest jumped online due to the pandemic, the 2021 event was meant to go ahead as a hybrid of both in-cinema and digital sessions. But then not one but two lockdowns hit, venue restrictions were put in place when the city wasn't under stay-at-home conditions, and the COVID-19 situation in Melbourne in general has kept complicating plans, leading MIFF organisers to scrap its in-cinema screenings. Initially, in-person sessions were set to span the festival's first week or so, before the event closed up online; however, just days before this year's MIFF kicked off on Thursday, August 5, the fest flipped that order and expanded its virtual component. It was due to then add in-person sessions from Thursday, August 12, but that'll no longer be happening. "MIFF's heart was in a return to cinemas this year, and this is a goal that we have pursued with determination to this point," said Artistic Director Al Cossar. "It is with deep sadness and profound frustration that we must take the step of cancelling our Melbourne cinema-based screenings for 2021." This year's MIFF was designed to be able to adapt to changing conditions, given that it was always likely that the pandemic would continue to impact the festival's plans — and so it is well-positioned for the move online. "Despite the duress of this moment, we are proud that elements of our program can still continue," said Cossar. "Through our XR platform, global audiences anywhere can continue their season of MIFF's exciting range of immersive experiences; and, centrally, through MIFF Play we can continue to deliver the very best Australian and international films to audiences not just in Melbourne but right around the country, at a time that it's most needed." Via MIFF Play, the festival is screening more than 90 features, with its catalogue of titles growing in recent days. Exisiting highlights include college-set rom-com Freshman Year, Spanish influencer satire La Verónica, New Zealand thriller Coming Home in the Dark and Norwegian comedy Ninjababy, while the Mads Mikkelsen-starring Riders of Justice and psycho-thriller music mockumentary The Nowhere Inn — featuring Carrie Brownstein and St Vincent — sit among the just-added newcomers. More films are set to become available on Saturday, August 14, too, such as documentary Hopper/Welles, which sees Dennis Hopper and Orson Welles meet and chat back in 1970; Night of the Kings, a prison thriller set on the outskirts of Abidjan; and Stray, a doco about the 100,000-plus stray dogs that rove freely around Istanbul. And, other titles will drop later in the fest, like Australian drama Little Tornadoes, which is co-written by The Slap's Christos Tsiolkas; Woodlands Dark and Days Bewitched: A History of Folk Horror, a documentary exploring the folk horror genre; and closing night's Language Lessons, which takes place via video calls. MIFF's digital platform is available Australia-wide, ensuring that cinephiles around the country — including those in lockdown elsewhere, like in Greater Sydney — can enjoy its lineup as well. That facet of the online program proved popular last year, unsurprisingly, with 2020's virtual festival resulting in MIFF's biggest fest yet, audience-wise. The 2021 Melbourne International Film Festival runs via MIFF's online platform MIFF Play until Sunday, August 22. For further details, visit the MIFF website.
Everyone's favourite keyboard playing, Irish comedian is in Brisbane to perform his show, David O'Doherty Will Try to Fix Everything. O'Doherty has had a pretty successful run as a comedian. After working in telemarketing, he made his first bold steps into the world of all things funny at the Dublin's Comedy Cellar in 1998. He has performed across the globe, yet has a special place in the hearts of Aussie's. He has performed sell-out gigs in Melbourne, Montreal, New York City and Wellington. He has also joined top comedians on tour such as The Flight of the Conchords, Rich Hall and Demetri Martin to deliver serves of piping hot funny. If you're new to O'Doherty's musical performances, check this clip out of one of his classics, 'Text Song'. Expect the unexpected and prepare for a night of belly laughs at the Powerhouse this Thursday night.
Netflix viewers, toss a coin to your new favourite watering hole — the only spot in Australia that'll bring The Witcher, Stranger Things, Squid Game and more to life while you're sinking a brew. For five days only, the Who's Watch Inn will pop up in Melbourne, offering fans of the streaming platform's hit shows a unique pub experience. Always wanted to throw down a beverage or several while sitting under a mounted demogorgon head? Yes, that's on the menu. Also on offer: coveting the piggy bank jackpot, reclining on Emily in Paris' Parisian garden bench and just generally feeling like you've stepped inside (and you're drinking inside) your Netflix faves. That covers the food and drinks menu, too, which'll showcase pub grub favourites and themed tipples — including the 'Emily in Parma' (taking on the old pub classic, obviously) and a Squid Ink Dark Ale. Even better: everyone who drops by the Who's Watch Inn will get a free drink on arrival (although there is just one per person). That's probably all the excuse you need to head to Carlton's Clyde Hotel across the Netflix takeover's five streaming-worshipping days, running from Wednesday, September 28–Sunday, October 2. The pub pop-up is only happening in Melbourne, which means you'll need to be in the Victorian capital this week to enjoy the fun. Whether you're a local or you'll be travelling down south, the Who's Watch Inn will also host a Netflix pub trivia night on Thursday, September 29, plus a comedy evening on Friday, September 30 featuring Urzila Carlson, Nazeem Hussain and Melanie Bracewell live — and all events are free. Bookings are recommended, and if you're wondering why the themed watering hole is happening at all, that's because it's been a big couple of days for Netflix — all thanks to a celebration that the streaming platform calls Tudum: A Netflix Global Fan Event, where the company drops details about and trailers from its upcoming slate. That's why you might've seen a sneak peek at The Crown season five, a trailer for Dead to Me's third and final season, and a clip from Queen Charlotte: A Bridgerton Story over the past few days, for instance. Also, Netflix sure does love these kinds of pop culture-themed shenanigans. Over the past 12 months, it has given away free clothes at a Heartbreak High uniform shop, set up a barber giving out The Gray Man-style moustaches and goatees, opened a Stranger Things rift and had the Squid Game doll lurking about, after all. Find Netflix's Who's Watch Inn at The Clyde Hotel, 385 Cardigan Street, Carlton, Melbourne, from Wednesday, September 28–Sunday, October 2 — open from 7–11pm on Wednesday, 12–11pm on Thursday, 11am–1am on Friday, 12pm–1am on Saturday and 12–11pm on Sunday.
UPDATE, APRIL 4: Due to concerns around the coronavirus, Disney has announced that Jungle Cruise will no longer release on its initially scheduled date of Thursday, July 23, 2020, with the film now hitting cinemas on July 29, 2021. To find out more about the status of COVID-19 in Australia and how to protect yourself, head to the Australian Government Department of Health's website. When Disney isn't turning its beloved movie franchises into new theme park zones, as it's currently doing with both Star Wars and Marvel, the enormous entertainment company has been known to take the opposite approach. Plenty of its rides and attractions have inspired films, such as the entire Pirates of the Caribbean series, as well as Tomorrowland, The Haunted Mansion, The Country Bears and Mission to Mars. Now, Jungle Cruise is the latest to join the fold. As the Mouse House did with Pirates, it has enlisted some serious star power, with Emily Blunt and Dwayne Johnson taking the watery journey in the first movie based on Disney's popular river boat ride. She plays an explorer and scientist on a mission, while he captains the vessel she hires to transport her along the Amazon River. From there, as seen in the just-dropped first trailer, it seems that typical action-adventure hijinks ensue. The film's initial sneak peek also sets up a vibe that's part The Mummy, part Indiana Jones, part every other flick about someone scrambling through vast landscapes searching for something precious — in this case, a tree in the Amazon that possesses unparalleled healing powers. When Jungle Cruise floats into cinemas, it'll also feature Edgar Ramirez, Jack Whitehall, Jesse Plemons and Paul Giamatti. Behind the camera, Jaume Collet-Serra is in the director's chair, marking a change of pace after the Liam Neeson-starring Unknown, Non-Stop, Run All Night and The Commuter (and Blake Lively shark flick The Shallows, too). Script-wise, the film is penned by Bad Santa writers (and Crazy, Stupid, Love. filmmakers) Glenn Ficarra and John Requa, as well as Logan, Alien: Covenant, Blade Runner 2049 and Murder on the Orient Express' Michael Green. Check out the trailer below: https://www.youtube.com/watch?v=ydnzilTiBcY After being delayed from its original release date of July 23, 2020, Jungle Cruise will now open in Australian cinemas on July 29, 2021.
The year Falls Festival is really teasing us. After announcing that they would expand to Western Australia this year back in June, and then confirming that none other than Childish bloody Gambino would be headlining earlier this month, this morning they've let slip another headliner before the full lineup is released this afternoon. And, much to our delight, it's London Grammar. Yep, the British trio will return to Australia for Falls Music & Arts Festival over the New Years period. It's a quick return to the country — after all, they only toured last year — and they'll join musical (and acting and writing) wunderkind Donald Glover to play all four shows. As always, Falls will be heading to Lorne in Victoria for four nights, and Marion Bay in Tassie and Byron Bay on the NSW coast for three nights over New Year's Eve. They'll also be setting up shop in Fremantle for the first time with Falls Downtown, a two-day city festival slated to take place over the weekend of January 7-8. The main stage will be set up in Freo's town square, while an old-world ballroom and a stone-walled church will house the smaller ones. They'll also be taking over the abandoned Myer building, turning it into a creepy crib for art installations, "unexpected performance areas", markets and "bunkered basement danceterias". There'll even be a small number of glamping tents on the roof. It sounds similar to some of Melbourne Music Week's activations of abandoned spaces, and it sounds insane. This new iteration of the festival and the announcement of Childish Gambino as headliner is another win for Falls, who sell out their Lorne event basically every year. Since its inception in Lorne back in 1993, the festival has grown to span three cities, which include the original site on the Great Ocean Road, Marion Bay in Tassie and, since 2013, Byron Bay. But here's the dates. The full festival lineup will be announced this afternoon. Stay tuned. Lorne, Victoria: December 28-31 Marion Bay, Tasmania: December 29-31 Byron Bay, NSW: December 31 - January 2 Fremantle, WA: January 7-8 Tickets for Falls Festival 2016/17 will go on sale at 9am on Tuesday, August 30 via their website.
There's never a bad time to watch a Studio Ghibli film, or a bad place. Thankfully, the cinema world agrees, delivering regular opportunities to catch the animation studio's flicks on a big screen. Still, we're betting you haven't settled in to view one on a shopping centre's rooftop. In news almost as exciting as venturing onto the greenery-filled upper reaches of the Studio Ghibli Museum — which you can absolutely do in Tokyo — this year's BrisAsia Festival is throwing a Lunar New Year Rooftop Party with a screening of The Tale of The Princess Kaguya. On February 24, you'll want to head to Sunnybank Plaza and head up to the top of the carpark. The fun kicks off at 4pm, with dragon and lion dancers, lantern workshops, markets, Kpop and plenty to eat, before the film screens when the sun goes down. Entry is free, as is the movie, but bring your wallet to feast on dinner from the nearby restaurants.
