Imagine starting the day with a spot of yoga and one of the best views of the city. That's the new weekly promise at Eleven Rooftop Bar, with the Ann Street venue adding a spring and summer season of sky-high wellness sessions to its lofty repertoire. And each class is free. From 6am every Tuesday between October 17 and December 12 — other than Melbourne Cup day on November 7 — early risers can stretch their limbs at a great height with yoga and Pilates sessions, or get the blood pumping with some boxing or circuit training. With all of that on offer, you'll probably want to take the lift up to the 11th-floor rooftop — best save your energy for working out while staring at the city below. The appropriately named Rooftop Wellness at Eleven is a collaboration between the Fortitude Valley spot and The Cove Workplace, with Facilities Fitness, Studio Pilates Newstead and Eka Shakti Yoga all pitching in as well. Registration is required, and if you'd like to hang around afterwards, an optional breakfast session will serve up juice and a chia bowls after each class for $17.
Cinemas are glorious. There's nowhere better to see a movie. When you're watching a film in the cosy confines of a darkened room, communing devotedly with the projected picture flickering before your eyes, that viewing experience simply can't be beaten. But hitting up your streaming queue instead isn't just for filling time on the couch or catching up on flicks you might've missed on the big screen. And, features that don't get a theatrical run shouldn't be stigmatised by the 'direct-to-streaming' label. Thanks to the ever-growing array of online viewing options, movie buffs can now see more new movies than ever before. Smaller flicks that were never going to reach cinemas, international favourites that would only screen at festivals Down Under otherwise, new releases by big-name filmmakers not getting funding elsewhere: they've all been making their way to us thanks to streaming. In 2022, that online-only roster of features dropped new must-see titles every single month, and came overflowing with fantastic fare. Back in July, we picked the best 15 straight-to-streaming films of 2022's first six months. Now, with a whole year behind us, we've cast our eyes of the entire 12-month period. As a result, we've already sung the praises of some of our overall top 15 straight-to-streaming gems for 2022 — but the very best deserve all the love all the time. Catch up with them from your couch ASAP. KIMI For the second year in a row, Steven Soderbergh has made one of the year's best movies and it has completely bypassed Australian cinemas. Unlike 2021's No Sudden Move, however, Kimi was always destined for streaming. The latest in his series of paranoid thrillers that also includes Contagion, and once again female-fronted as Haywire, Side Effects and Unsane were too, this Zoë Kravitz-starring standout takes its cues from smart devices, humanity's increasing dependence upon technology, and the kinds of events that a virtual assistant like Siri, Alexa or Google Assistant might eavesdrop on. As a result, Soderbergh has crafted another movie that riffs on a growing area of real-life interest, then turns it into a tense, potent and devilishly smart feature. A bonus: focusing on a protagonist who doesn't feel safe leaving her house, Kimi couldn't better capture how the pandemic has felt without overtly needing to be a COVID-19 film. Kravitz (The Batman) plays Angela Childs, who works for Seattle-based tech corporation Amygdala from the comfort of her own sprawling loft — and from her own audiophile's dream of a computer setup — listening to snippets of conversation captured by smart speaker Kimi for quality assurance. In one clip, she hears what she believes to be a horrible crime and is compelled to follow up; however, her bosses aren't thrilled about her probing. Complicating matters: after being the victim of an assault a couple of years earlier, Angela suffers from anxiety and agoraphobia, making leaving the house to investigate a fraught task. As he did to particularly stellar effect in Unsane as well, Soderbergh styles his latest psychological thriller after its protagonist's mindset, making unease and suspense drop from every aesthetic choice — camera angles and placement, jittery frames and a voyeuristic perspective all included. Kimi streams via Binge. ATHENA When a director uses a single take for a lengthy sequence, an episode of television or an entire film — even with some editing trickery to help — it usually isn't just a gimmick. As everything from The Bear to 1917 have shown, there's urgency and immediacy in that stylistic approach. Given that Athena plunges into a powderkeg situation in a French neighbourhood that shares the movie's moniker, with the banlieue's residents understandably incensed after the brutal killing of a teenager from their midst by law enforcement, this latest stunner from writer/director Romain Gavras (after the excellent The World Is Yours) was always going to feel unrelenting, inescapably tense and utterly in-the-moment anyway. See also: 2019 French Oscar-nominee Les Misérables, similarly about the response to police violence, which was penned and helmed by Athena's co-screenwriter Ladj Ly. Still, the unbroken shot that opens Gavras' latest spectacular film is up there with 2022's best in any feature. Long takes pop up often in Athena, which starts with French soldier Abdel (Dali Benssalah, No Time to Die) confronting the fact that his 13-year-old brother Idir (first-timer Mohamed Amri) is dead — and, as seen in online footage, that the cops are responsible. He's managing to keep calm, however, until another of his siblings Karim (debutant Sami Slimane) throws a Molotov cocktail inside a crowded police station. Cinematographer Matias Boucard (Eiffel) captures it all without looking away, and keeps doing the same as they return home, with Athena soon under siege as the authorities swarm in and the home crowd explodes with anger. Even when edits come, this is an unflagging and unflinching feature, as aided by close-up and handheld camerawork, impassioned performances, its topical storyline and staggering action cinematography. Athena uses its aesthetics to make a statement, too, about race, power and inequality — and it firmly knows that this tale can only be a tragedy. Athena streams via Netflix. WE'RE ALL GOING TO THE WORLD'S FAIR "Hey guys, Casey here. Welcome to my channel. Today I'm going to be taking the World's Fair Challenge." So says We're All Going to the World's Fair's protagonist (feature newcomer Anna Cobb) twice to start this absorbing horror film, to camera, in what makes a spectacular opening sequence. Next, an eerie wave of multicoloured light flashes across her face. Watching her response brings the also-excellent She Dies Tomorrow to mind, but Casey has her own viral phenomenon to deal with. She's doing what she says she will, aka viewing a strobing video, uttering a pivotal phrase and then smearing blood across her laptop screen — and she promises to document anything that changes afterwards, because others have made those kinds of reports. Written, directed and edited by fellow feature debutant Jane Schoenbrun, the instantly eerie and intriguing We're All Going to the World's Fair is that record. Schoenbrun's film is more than that, however. It also charts the connections that spring and splinter around Casey just by joining the online trend, where her videos spark others in return — and the spirals she goes down as she watches, which then sparks a response in her own way, too. A portrait of isolation and alienation as well, while chronicling the after effects of playing a virtual horror game, We're All Going to the World's Fair is also a picture of an always-recorded world. Take your lockdown mindset, your social-media scrolling, all that Zooming that defined the beginning of the pandemic and a gamer vibe, roll them all together, and that's still not quite this arresting movie — which keeps shifting and evolving just like Cobb's enigmatic and evocative performance. The entire flick earns that description and, not that it needs an established name's tick of approval, the fact that The Green Knight and A Ghost Story director David Lowery is an executive producer speaks volumes. We're All Going to the World's Fair streams via Shudder. GREAT FREEDOM Great Freedom begins with 60s-style video footage captured in public bathrooms, showing Hans Hoffmann (Franz Rogowski, Undine) with other men, and with court proceedings that condemn him to prison purely for being gay. That was the reality in West Germany at the time due to Paragraph 175, which criminalised homosexuality — and, when he's incarcerated at the start of this equally tender and brutal Austrian film, Hans isn't surprised. He's been there before, as writer/director Sebastian Meise (Still Life) conveys almost like he's chronicling time travel. It's a canny touch, as relayed in the movie's cinematography, editing and overall mood. The minutes, days, hours, weeks and more surely move differently when you've been locked up for being who you are, and when being in jail is the better alternative to being in a concentration camp. Meise jumps between Hans' different stretches, exploring the imprint all that time behind bars leaves, the yearning for love and freedom that never dissipates, and his friendship with initially repulsed fellow inmate Viktor (Georg Friedrich, Freud). In the process, Great Freedom resounds with intimate moments and revealing performances, as anchored by another stellar turn by Rogowski. The German talent has had an outstanding few years thanks to Victoria, Happy End, Transit, In the Aisles and Undine. He's as absorbing as he's ever been here, too, in a movie that stares his way so intently — and with such a striking sense of light and shade — that it could be painting his portrait. Friedrich is just as impressive, in an outwardly thorny part. Great Freedom streams via SBS On Demand. RESURRECTION Another year, another engrossing thriller starring Rebecca Hall. Another film giving the English actor a new standout performance for her packed resume, too. After proving remarkable in 2021's The Night House, and also turning director with the marvellously moving Passing, Hall plays a woman virtually synonymous with tension in the sleek and twisty Resurrection. Even when her character, Margaret, is calm and empathetic at her job in pharmaceuticals, including while counselling her junior colleagues, unease flickers in her haunted eyes and rigid posture. When she's fussing over her almost 18-year-old daughter Abbie's (Grace Kaufman, The Sky Is Everywhere) comings and goings, such as soon leaving for college, Margaret comes off as overprotective — but with a tormented edge. Resurrection lingers in this feeling, teasing out the details behind it while also making it plain that constantly being on guard can be a reality thanks to traumas and simply life. Indeed, thanks to his ambiguous tale, writer/director Andrew Semans (Nancy, Please) ensures that that sensation remains even when Margaret's demeanour and behaviour gets an explanation. If a human tooth suddenly showed up in your daughter's wallet, an eerie man from your past (Tim Roth, Sundown) re-emerged after two decades and the worst pain you'd ever experienced was drudged up again, you'd find it impossible to remain composed and collected, too. As Resurrection thrusts Margaret through her own personal horror show, it isn't concerned with simply showing a woman unravelling — rather, it focuses on a woman pushed to her limits by tragedy, malevolence, manipulation and one helluva toxic man. Semans's knack for crafting a skin-crawlingly unsettling atmosphere is immense, and so is his willingness to take gloriously unhinged swings and his talent for casting. It's no wonder that the film can barely look away from Hall, who is stellar from start to finish but next-level astounding during a lengthy monologue and a big confrontation. And as for Roth, creepy doesn't even begin to describe his work here. Resurrection streams via Google Play, YouTube Movies, iTunes and Prime Video. CAUSEWAY Trauma is a screenwriter's best friend. If on-screen characters didn't have past stresses to overcome or new hardships to cope with — usually both — then dramatic scripts would barely last a few pages. Neither would horror flicks, or thrillers, or plenty of comedies; however, few films are happy to sit with trauma in the way that (and as well as) Causeway does. Starring Jennifer Lawrence (Don't Look Up) as a military veteran sent home from Afghanistan after being blown up, working her way through rehab and determined to re-enlist as soon as she has medical sign-off, this subtle, thoughtful and powerful movie grapples with several stark truths. It knows that some woes do genuinely change lives, and not for the better. It's well aware that many miseries can't be overcome, and completely alter the person experiencing them. It's keenly cognisant that that simply existing can be a series of heartbreaks, and escaping that cycle can be the most powerful motivator in the world. And, when Atlanta and Bullet Train's Brian Tyree Henry enters the picture as a New Orleans mechanic with his own history, it sees the solace that can be found between people willing to face their tough realities together. When Causeway begins, Lawrence's Lynsey is freshly out of hospital, and learning how to walk, dress, shower, drive and do all other everyday tasks again. Even then, she still wants to redeploy. Directed by feature first-timer Lila Neugebauer (The Sex Lives of College Girls), and penned by fellow debutants Ottessa Moshfegh, Luke Goebel and Elizabeth Sanders, the film spies the determination in its protagonist's eyes — and the pain she's trying to bury after she goes home to stay with her mother (Linda Emond, The Patient), gets drawn into old unhealthy dynamics, but finds a friend in Henry's kind, eager but haunted James. There's no cross-country drive with a canine, if the similarly themed Dog comes to mind, but rather a willingness to steep in Lynsey and James' complicated emotions. Neugebauer has the perfect central duo for the movie's key parts, too; neither Lawrence nor Henry's resumes are short on highlights, acclaim or award nominations, but their respective textured, naturalistic and deeply felt performances in Causeway ranks among each's best work. Causeway streams via Apple TV+. FRESH Finally, a film about dating in the 21st century with real bite — and that's unafraid to sink its teeth into the topic. In this hit Sundance horror-comedy, Normal People's Daisy Edgar-Jones plays Noa, and once again gets entangled in a romance that'll leave a mark; here, however, the scars aren't merely emotional. Swiping right hasn't been doing it for Fresh's protagonist, as a comically terrible date with the appropriately named Chad (Brett Dier, Jane the Virgin) demonstrates early. Then sparks fly the old-fashioned way, in-person at the supermarket, with the curiously offline doctor Steve (Sebastian Stan, Pam & Tommy). Soon, he's whisking her away to a secluded spot for the weekend — a little too swiftly for Noa's protective best friend Mollie's (Jojo T Gibbs, Twenties) liking, especially given that no one can virtually stalk his socials to scope him out — and that getaway takes a savage and nightmare-fuelling twist. If Raw met Ex Machina, then crossed paths with American Psycho and Hostel, and finally made the acquaintance of any old rom-com, Fresh still wouldn't be the end result — but its tone stems from those parts, as do some plot points and performances, and even a few scenes as well. First-time feature director Mimi Cave doesn't butcher these limbs, though, and screenwriter Lauryn Kahn (Ibiza) doesn't stitch them together like Frankenstein's monster. As anchored by the excellent Edgar-Jones and Stan, there's care, savvy, smarts and style in this splatter-filled, satirical, brutal, funny, empowered and sweet film. Its twists, and its cutting take on predatory dating, are best discovered by watching, but being turned off apps, men and meat in tandem is an instant gut reaction. Fresh streams via Disney+. COW As its name so clearly explains, Cow devotes its frames to one farmyard animal — and it's one of the most haunting films of the past few years. It's the third feature to take its title from a four-legged critter in the past two years, after the vastly dissimilar Pig and Lamb. It's also the second observational documentary of late to peer at the daily existence of creatures that form part of humanity's food chain, following the also-exceptional Gunda. And, it also joins 2013's The Moo Man in honing its focus specifically upon dairy farming, and in Britain at that. But the key to Cow is Andrea Arnold, the phenomenal filmmaker behind Fish Tank, Wuthering Heights, American Honey and the second season of Big Little Lies. She sees Luma, her bovine protagonist, with as much affection and understanding as she's ever seen any of the women who've led her projects. While watching, viewers do as well. Starting with the birth of Luma's latest calf — and, in the beginning, taking detours to see how it's faring as well — Cow unfurls with the rhythm of its agricultural setting. It's the rhythm of Luma's life, too, as she's milked and fed, moos for the offspring that's taken away too quickly, and is soon impregnated again. There's no doubt where the documentary is headed, either. There's simply no shying away from the fact that Luma and cattle like her only exist for milk or meat. Without ever offering any narration or on-screen explanation, Arnold stares at these facts directly, while also peering deeply into its bovine subject's eyes as often as possible. The result is hypnotic, inescapably affecting, and also features the best use of Garbage's 'Milk' ever in a movie. Cow streams via DocPlay. I'M YOUR MAN Since 2013, any film that's involved making an emotional connection with artificial intelligence has brought Her to mind. Since 2014, any movie about human-android relationships has conjured up Ex Machina as well. And, since 2007, any flick that focuses on the companionship that a lonely human soul might find in an artificial companion has walked in Lars and the Real Girl's footsteps, too. In smart, perceptive and warmly humorous German gem I'm Your Man, however, it's a woman who is opening her life to a male presence — an AI-run robot designed to be her perfect match — and she's not too happy about it. Archaeologist Dr Alma Felser (Maren Egger, I Was at Home, But) is merely and begrudgingly testing out the technology that brings Tom (Dan Stevens, Eurovision Song Contest: The Story of Fire Saga) into her life, for three weeks at the behest of her boss at Berlin's Pergamon Museum, and solely for the good of science. I'm Your Man is a rom-com, which means exactly what viewers think it does going in: that Alma slowly starts rethinking her position on Tom. But that's about the only aspect of this thoughtful, witty and yearning exploration of what it means to be human and to truly connect that does what's expected. Fresh from winning an Emmy for directing Unorthodox — and making this before helming She Said — German filmmaker Maria Schrader helms a charming and insightful take on what's beginning to be an oft-considered topic, and is unpacked in a moving and delightful way in her hands. Her film is also extremely well cast, with Egger thoroughly deserving her 2021 Berlinale Silver Bear for Best Acting Performance as Alma, and Stevens pitch-perfect as the supposed robotic man of her dreams — who just wants love himself. I'm Your Man streams via Binge. NANNY In Nanny, Aisha (Anna Diop, Us) is haunted, both when she's asleep and awake. Her slumbers are disturbed by nightmares, but seeing rising waters and unwelcome spiders isn't just relegated to when the Senegalese woman in New York closes her eyes. A gut-wrenching sense of unease also lingers while she works, after securing a childminding job for rich Upper East Side residents Amy (Michelle Monaghan, Echoes) and Adam (Morgan Spector, The Gilded Age). Their five-year-old daughter Rose (Rose Decker, Mare of Easttown) adores Aisha — more than her parents, it often seems. And, the nannying gig helps Aisha distract herself from missing her own son, who she's desperately trying to bring over to the US. She's haunted by his absence, too, and by the stolen snippets of conversation she gets with him on the phone, constantly juggling the time difference. The supernatural disturbances plaguing Aisha and her feelings about leaving her child in Senegal to chase a better future for them both are clearly linked, although Nanny is atmospheric and insightful rather than blunt and overt. The first horror film to win Sundance Film Festival's Grand Jury Prize, this evocative effort hails from writer/director Nikyatu Jusu, who makes her feature-length debut with quite the calling card. 2022 isn't short on affectingly moody and evocative female-focused thrillers with a maternal bent — see: Resurrection above, which also debuted at Sundance — but Nanny's addition to the fold is deeply steeped in Aisha's immigrant experience. Thanks to all that otherworldly water, it feels like it's always steeping, in fact, soaking in the troubles and struggles of trying to snatch even a piece of the American dream when you're not wealthy, white and originally from the so-called land of the free. Also prominent: the dispiriting minutiae of Aisha's day, aka exactly what she has to endure to even have a chance of gaining what comes easily and obliviously to her employers. Like its central figure, Nanny is haunted several times over, too. Nanny streams via Prime Video. PREY No stranger to voicing iconic lines, Arnold Schwarzenegger uttered one of his best-known phrases yet 35 years ago, in a franchise that's still going today. "If it bleeds, we can kill it" has been quoted frequently ever since — even by champion AFL coaches — and it's no spoiler to mention that it pops up again in the latest Predator film Prey. Trotting out that piece of dialogue won't surprise anyone, but this fine-tuned action-thriller should. It's one of the saga's best entries, serving up a lean, taut and thoughtful kill-or-be-killed battle set in the Comanche Nation 300 years ago. The Predator series hasn't been big on highlights over the years — Predator 2 is forgettable to put it nicely, 2010's Predators is effective, 2018's The Predator favoured its throwback vibes above all else, and the two terrible Alien vs Predator cross-over films are best left forgotten — however Prey not only breathes new life into it, but paves a welcome path for more. (Bring on a Prey sequel ASAP.) The overall premise remains the same, with the franchise's ruthless, brutal and technologically advanced alien species using earth as its hunting ground as the series has already established — and showing zero concern about leaving a body count. Trained healer Naru (Amber Midthunder, The Ice Road) is the first to notice that something is awry this time, spotting the predator's spaceship in the sky and taking it as a sign to follow her dream to become a hunter herself. Alas, that isn't the done thing. In fact, she's spent her entire life being told that she can't be like her brother Taabe (first-timer Dakota Beavers), and should focus on her assigned role instead. Now, even with an extra-terrestrial foe wreaking havoc, she's still dismissed at every turn. Midthunder plays Naru as a fierce, determined, persistent and resourceful force to be reckoned with, while writer/director Dan Trachtenberg — co-scripting with Jack Ryan's Patrick Aison — gives all things Predator the taut focus, canny shift and fresh feel he also gave the Cloverfield saga with 10 Cloverfield Lane. Prey streams via Disney+. HELLBENDER Meet the Adams family — no, not the creepy, kooky, mysterious and spooky characters that've featured on pages and screens for decades (including in 2022 newcomer Wednesday, plus two terrible recent animated flicks), but the filmmaking collective comprised of couple Toby Poser and John Adams, plus their daughters Zelda and Lulu Adams. The quartet might be missing a letter from their well-known counterparts' names, but they're just as fond of all things horror. Case in point: their second feature Hellbender, a self-financed standout that's both a spellbinding tale of witchcraft and a clever coming-of-age story. It starts in a house in the woods, and also spends most of its time there. It includes the arrival of an unexpected stranger, shattering the status quo. But formulaic and by-the-numbers, this must-see isn't. In making first-rate use of its setting, and of a cast that's primarily comprised of Adams family members, it's also a masterclass in lockdown filmmaking. In the most expected aspect of Hellbender, the film's name does indeed refer to a punk-metal band, with 16-year-old Izzy (Zelda Adams, The Deeper You Dig) and her mother (Toby Poser) its sole members. No one else has ever heard them play, either, given that Izzy is both homeschooled and confined to the family's sprawling mountainside property, as she has been since she was five. Her mum tells her that she can't venture into town or around other people due to a contagious autoimmune disease; however, when a lost man (John Adams) wanders their way and mentions that his teenage niece Amber (Lulu Adams) lives nearby, Izzy gets the confidence to go exploring. As both written and directed by three out of four Adams family members — all except Lulu — Hellbender proves an impressive supernatural affair from its opening occult-heavy prologue through to its astute take on teen rebellion. Here's hoping this Adams family spirits up more DIY horror delights soon, too. Hellbender streams via Shudder. APOLLO 10 1/2: A SPACE AGE CHILDHOOD In 1969, the year that Apollo 10 1/2: A Space Age Childhood is set, writer/director Richard Linklater was nine years old and living in Houston, Texas. This lovely animated film happens to follow a boy around the same age in the same city — and trust the filmmaker behind Boyhood, Dazed and Confused, and the glorious trio that is Before Sunrise, Before Sunset and Before Midnight to make viewers who weren't there then (who weren't even alive and have never been to America, too) to feel as nostalgic about the place and era as he clearly does. As narrated by his Bernie and The School of Rock star Jack Black, the film's entire middle section dances through memories of the time and city with infectious enthusiasm, but its biggest dose of affection radiates towards the technological promise of the 60s. The Mercury, Gemini and Apollo missions were rocketing into space and it patently felt like anything was possible, a sensation so marvellously captured in each second of Apollo 10 1/2. Jumping back into the rotoscoped animation that served Linklater so well in Waking Life and A Scanner Darkly, this loving ode to years and moods gone by also sports a delightful premise. As his older guise (Black) explains, young Stan (debutant Milo Coy) was an ordinary Houston kid with a NASA-employed dad (Bill Wise, Waves), doting mum (Lee Eddy, Cruel Summer) and five older siblings when he was approached by two men (Shazam!'s Zachary Levi and Top Gun: Maverick's Glen Powell) to help them with a problem. In the lead up to Apollo 11, it seems that NASA accidentally built the lunar module a couple of sizes too small, so they need a kid — Stan — to help them by going to the moon to test things out before Neil Armstrong, Buzz Aldrin and Michael Collins make their famous trip in a bigger version. That fantastical idea feels ripped from Linklater's childhood dreams, and it well might be; it also makes for a warm and charming entry point into a movie that's as much about life's ups and downs, the bonds of family and the wide-eyed optimism of youth as it is about heading to space. Apollo 10 1/2: A Space Age Childhood streams via Netflix. ASCENSION Ascension may not be one of this year's Oscar-winners, losing out to the also fantastic Summer of Soul (...Or, When the Revolution Could Not Be Televised), but it'll always be among 2022's nominees. More than that, this two-time Tribeca Film Festival winner will forever remain one of the most arresting documentaries of the past 12 months as well. Helming her first feature-length doco, filmmaker Jessica Kingdon turns her gaze to the Chinese dream — and what she sees, while situated in a very specific cultural context by design, is a clear and easy sibling to its American counterpart. That's part of the statement her film makes, all just by watching on patiently but meticulously as people go about their lives. Starting with factory recruitment on the streets, then moving into mass production, then climbing the social hierarchy up to the rich and privileged, Ascension explores employment and consumerism — and what they mean in an everyday sense in modern-day and modernised China. It's a portrait of the needs that make working on assembly lines a necessity, and of the dreams that inspire every climb, rung by rung, up the societal ladder. Some folks build sex dolls, their uncanny valley-esque forms adding an eerie mood. Others take lessons on etiquette for service jobs, including about not letting your face betray your emotions, and the tone is also unsettling. Observational to a mesmerising degree, Kingdon's exceptional film lets its slices of life and the behaviour, attitudes and patterns they capture do the talking, and they all speak volumes. Indeed, what a clever, telling, incisive and surreal story they unfurl. Ascension streams via Paramount+. TURNING RED What'd happen if the Hulk was a teenage girl, and turned into a giant, fuzzy, super-cute red panda instead of going green and getting ultra-muscular? Or, finding a different riff on the ol' werewolf situation, if emotions rather than full moons inspired a case of not-quite-lycanthropy? These aren't queries that most folks have thought of, but writer/director Domee Shi certainly has — and they're at the core of Pixar's Turning Red, her debut feature after winning an Oscar for 2018 short Bao. As many of the animation studio's movies do, the film takes its title literally. But, it also spins the usual Pixar question. Turning Red does indeed wonder what'd happen if red pandas sported human-style emotions; however, the Disney-owned company has been musing on people becoming other kinds of critters of late, with particularly astute and endearing results here. The movie's focus: 13-year-old Chinese Canadian Meilin Lee (Rosalie Chiang, also making her film debut). The year is 2002, and she loves meeting her strict but doting mum Ming's (Sandra Oh, The Chair) expectations, hanging out with her pals and obsessing over boy band 4*Town. And while her mother doesn't approve of her friends or her taste in music, Mei has become accustomed to juggling everything that's important to her. But then, after a boy-related mishap, the red panda appears. Mei goes to bed feeling normal, albeit angsty and upset, only to wake up looking like a cuddly creature. Like werewolf tales about teenage boys tend to be, Turning Red is all about puberty and doesn't hide it — and whether it's tackling that head-on, pondering generational trauma or showing its rampant love for boy bands, it sports sweetness, soul and smarts. Turning Red streams via Disney+. Read our full review. Looking for more viewing highlights? Check out our list of film and TV streaming recommendations, which is updated monthly. We've also picked 15 exceptional films that hardly anyone saw in cinemas in 2022, the 15 best returning TV series of the year, 2022's 15 best new shows and 15 other excellent TV newcomers from the past 12 months that you might've missed.
It's the movie that was always going to be made, the re-enacted version of one of the most heartbreaking small-town murder mysteries and biggest miscarriages of justice the United States has seen. It's also the movie that never should have been made, for the devastating true tale as told in four documentaries now — the Paradise Lost trilogy, and West of Memphis — can't be embellished, fictionalised or bested. Yet exist Devil's Knot does, a cinematic facsimile of the originals, albeit with an ample dose of star power. Though the potency of the facts remains, the sensationalist and the sentimental combine in an attempt to craft a cautionary case of tragedy crippling a community not just in its initial appearance but in the way it is then handled. Two trios drive the story: eight-year-old schoolboys who meet a gruesome fate, and teen outsiders marked for their difference. In the wake of the crime that rocked Arkansas, panicked locals start braying for the blood of Damien Echols (James Hamrick), Jason Baldwin (Seth Meriwether) and Jessie Misskelley Jr (Kristopher Higgins). For private investigator Ron Lax (Colin Firth), discrepancies complicate the reported information. As grief-stricken mother Pamela Hobbs (Reese Witherspoon) watches on, the untimely demise of her son becomes a circus fuelled by a determination to convict and a disregard for competing theories. Alas, though dead children, blamed adolescents and bureaucratic bungling make for strong material, Devil's Knot places its emphasis on Lax and Hobbs, unconvincing figures of focus rendered as observers, not participants. Their sympathetic access point isn't needed given the strength of what lies beneath, nor are Firth and Witherspoon's overplayed performances. Another issue plagues the adaptation of Mara Leveritt's 2002 text of the same name: only relating part of the puzzle. Many real-life developments occurred after the book's publication; that the outcome is relegated to the film's endnotes robs it of its conclusion. With a wealth of data to draw upon, something had to give, and the problem of recreating oft-seen scenes was always going to be difficult to overcome. Director Atom Egoyan and his writers — Deliver Us From Evil duo Paul Harris Boardman and Scott Derrickson — just can't strike the right balance, indulgent in what they include and troubled by what remains absent. What emerges in Devil's Knot is an unfortunate example of the right pedigree and intentions making the wrong moves, on a subject so scrutinised that any missteps would always stand out. With an auteur's eye on an inflammatory case, and with well-known actors wringing importance from the situation, the film wants to exemplify the kind of haunting deliberation of complexity the story demands, but its lingering gaze — narratively, emotionally and aesthetically — remains superfluously tied to its surface. https://youtube.com/watch?v=Ofkn4zYrF5U
Brisbane loves an arts festival, and it has the jam-packed events calendar to prove it. Some take over the entire city in a huge way, like Brisbane Festival. Others showcase performances beyond the city's mainstream, as seen at Fringe Brisbane. One, aka Anywhere Festival, hosts shows anywhere and everywhere it possibly can. MELT celebrates queer culture, and Wynnum Fringe lives up to its name — giving Brisbane's bayside its own fringe festival. That latter fest is upon us for another year, and it just keeps getting bigger. First staged in 2020 as a three day event, then returning in 2021 for six days, the festival is back for a third go in the seaside suburb. This time, it has almost three weeks of arts and culture on the lineup, running from Wednesday, November 16–Sunday, December 4. At Wynnum Fringe 2022, you'll find everything from cabaret and comedy to music and dance on the bill, and even a ferris wheel. The event is aiming to entice 35,000 folks along across its 19-day run, so you'll also find ample company at a range of venues. Highlights include the first-ever Wynnum Fringe Comedy Gala, with Mel Buttle, Damien Power, Luke Heggie and Chris Ryan taking to the microphone; more laughs from Dave Hughes, Akmal Saleh and Cal Wilson; and Marcia Hines getting her disco on in Velvet Rewired. There's also opening ceremony yana marumba (Walk Good) as part of the First Nations programming, Dolly Diamond's variety show High T and a one-night-only gig by Diesel, as well as an all-ages amateur dance eisteddfod led by Common People Dance Project, Head First Acrobats' circus performances GODZ and Crème de la crème, Dane Simpson's Didgeridoozy and a local Battle of the Bands. The 2022 festival also boasts a new garden hub at George Clayton Park, which is where Wynnum Fringe's spiegeltent will sit — and a ferris wheel, food trucks, pop-up daily gigs and roving entertainment. For drinks, the new fest base includes a cocktail-slinging container bar, too, complete with rooftop seating. Throw in a fancy dress parade for dogs — and program themes that change weekly, starting with an Indigenous focus, then taking on Euro vibes, then going all in on local talent — and there's no shortage of things to see and do. The aim, as with all Fringe fests, is to showcase a heap of talent and entertain the area. "I am hugely proud of how Wynnum Fringe has grown from a three-day event in 2020 — developed as an economic and artistic response to COVID — to this year, welcoming more than 35,000 people over 19 days and celebrating the best in contemporary, independent and alternative arts and entertainment," said festival founder and director Tom Oliver. Wynnum Fringe 2022 runs from Wednesday, November 16–Sunday, December 4. Head to the festival's website for the full program.
Call it the circle of cinema. Call it the movie that was always bound to happen once technology was rolled out to bring The Lion King franchise back to the screen with photorealistic visuals, too. After remaking its 90s animated hit with imagery that helps its animals to appear as if they've walked out of a documentary — well, almost — with 2019's The Lion King, Mufasa: The Lion King is hitting cinemas in 2024 to tell the story before the saga's beloved story. If you just can't wait to spend more time in the lifelike iteration of The Lion King's world, here comes a film about the lion that's king of the Pride Lands before Simba gets the job. As both the initial teaser trailer and just-dropped full sneak peek show, Mufasa: The Lion King is again styled to look like reality, not animation. It also shares Donald Glover (Mr & Mrs Smith), Beyoncé, Seth Rogen (Dumb Money), Billy Eichner (Bros) and John Kani (Murder Mystery 2) with its predecessor, reprising their roles as Simba, Nala, Pumbaa, Timon and Rafiki. As the feature's moniker makes plain, however, Mufasa: The Lion King isn't focusing on any of those characters' tales. Mufasa, aka Simba's father, sits at the centre of a picture directed by Moonlight Oscar-winner Barry Jenkins. The movie is presented as a story told by Rafiki, Timon and Pumbaa to Kiara, the daughter of Simba and Nala, who is voiced by Blue Ivy Carter. So goes a narrative about an orphaned cub who is taken in by a lion with royal blood, then set on a path that leads to the events of The Lion King. Among the voice cast, Aaron Pierre (Foe) does the honours as Mufasa. Kelvin Harrison Jr is Taka (Chevalier), the lion prince who takes Mufasa in like a brother. Tiffany Boone (Hunters), Mads Mikkelsen (The Promised Land), Thandiwe Newton (Chicken Run: Dawn of the Nugget), Lennie James (Genius), Anika Noni Rose (Pantheon), Keith David (Rick and Morty), Kagiso Lediga (The Umbrella Men) and Preston Nyman (A Small Light) also lend their vocals to the flick. As well as Jenkins, Mufasa: The Lion King boasts another huge off-screen name, with Hamilton great Lin-Manuel Miranda writing the movie's tunes. "Elton John. Tim Rice. Hans Zimmer. Lebo M. Mark Mancina. Beyoncé, Labrinth, Ilya Salmanzadeh. Beau Black, Ford Riley, the incredible music team on The Lion Guard, and so many musical contributors over the years. The Lion King has an incredible musical legacy with music from some of the greatest songwriters around, and I'm humbled and proud to be a part of it," said Miranda. "It's been a joy working alongside Barry Jenkins to bring Mufasa's story to life, and we can't wait for audiences to experience this film in theatres." Check out the full trailer for Mufasa: The Lion King below: Mufasa: The Lion King releases in cinemas Down Under on Thursday, December 19, 2024. Images: courtesy of Disney. © 2024 Disney Enterprises Inc. All Rights Reserved.
Huge news: South by South West (SXSW) is coming to Sydney in October of 2023 for its first festival outside of its longtime home in Austin, Texas. The world-renowned festival has been bringing together big names and rising stars in tech, film, music, gaming, culture and education industries since it first began in 1987. Now, it's heading Down Under for the first time, with its week-long edition in Sydney set to become the official location of SXSW's annual Asia-Pacific installment. Running from Sunday, October 15–Sunday, October 22, 2023, the new iteration of SXSW will fill the city with more than 1000 sessions, screenings, performances, parties, networking events and activations over eight days. The Sydney iteration of the festival will bring a wide variety of events hailing from the US edition, but with a greater emphasis on creatives and thinkers from the Asia-Pacific. "Focusing on the creator industries in the Asia-Pacific region, SXSW Sydney will celebrate what's next in culture, tech and the regions thriving creative economy," SXSW Sydney Managing Director Colin Daniels said. "Put simply, SXSW is the Olympics of events for the creator industries, and we are thrilled to bring this legendary festival of gaming, music, screen, tech and innovation to Sydney in 2023," CEO of SXSW Sydney's event producer TEG said. Alongside the Sydney edition of the festival, SXSW will continue its usual programing in Austin with a 2023 festival locked in for March. The festival returned in-person earlier this year after an online iteration in 2021 due to the pandemic. It was headlined by talks from Mark Zuckerberg, Lizzo and Neal Stephenson; performances from Dolly Parton and Beck; premieres of films such as Everything Everywhere All At Once, The Lost City and upcoming A24 horror movie Bodies, Bodies, Bodies; and a Q&A with the cast and crew of Donald Glover's critically acclaimed TV show Atlanta. [caption id="attachment_854807" align="alignnone" width="1920"] Atlanta Season 3 premiered at SXSW 2022 with a cast and crew Q&A.[/caption] Over the years, SXSW has featured appearances from the likes of Barack Obama, Dave Grohl, Jordan Peele, Kendrick Lamar, Lady Gaga and Arnold Schwarzenegger to name just a few — as well as large-scale activations. It also acted as an important space for young musicians, filmmakers and creatives to cut their teeth. The festival has had a close relationship with Australia over the past few years, with Sounds Australia running the Australia House showcase at the festival since 2018 featuring up-and-coming Australian musicians. Major Australian musical exports including Flume, Alison Wonderland, Nick Murphy, Tkay Maidza, Gang of Youths, RUFUS DU SOL and Courtney Barnett have all made appearances at SXSW over the years You can head to the SXSW Sydney website to register your interest for the 2023 event and stay up-to-date as new information emerges over at the festival's Instagram. South by South West will host its inaugural Sydney festival Sunday, October 15–Sunday, October 22, 2023.
Earlier this week, the Australian Competition and Consumer Commission (ACCC) continued its court battle versus Apple; the controversy has been waging since the March release of Apple's latest iPad. Despite product advertising that markets the new iPad as equipped with "Wi-Fi + 4G", it has proven incompatible with Australia's 4G network. As such, the ACCC has asserted that Apple is currently engaging in false marketing and should change the title of the iPad (formally known as the iPad/4G) when it is sold locally. According to the SMH, Apple and the ACCC met on April 16 in Sydney at a mediation session which resulted in "no resolution". The pair were set to meet later that day in Melbourne for a directions hearing to determine the course of action going forward. As of right now, Apple has agreed to refund Australian customers who bought the new iPad under the illusion that they could utilise its 4G network. The company has also posted signage is stores where the device is sold to warn customers of its lack of 4G. The ACCC, however, is still pushing for an official device name change. This case could prove monumental to Apple, the technology company giant which has established a remarkably reputable name for itself. Not only will a court case loss force Apple to admit the shortcomings of one of its most-prized products, but it may set a precedent for how Apple markets is products in different parts of the globe. Already, in the UK, the advertising standards group ASA has begun exploring similar consumer complaints regarding the iPad's 4G capabilities. https://youtube.com/watch?v=BqbRxoF-Oc4
When Seinfeld was the world's biggest sitcom, the show about nothing was also about everything. Its quartet of yada, yada, yada-ing New Yorkers was oh-so-specific, too, but also relatable. It's no wonder that the 90s hit made a star out of Julia Louis-Dreyfus, who ensured that Elaine Benes was a work of comedic genius — with a Best Supporting Actress Emmy and six other nominations to show for it — and someone who could've walked straight in off the street. In razor-sharp political farce Veep, the actor did much the same to ample accolades. Making a Vice President in a gleeful satire feel real is no mean feat. But Louis-Dreyfus is at her best, and a true sensation, whenever she's in leading-lady mode in front of writer/director Nicole Holofcener's lens. That's only happened twice so far; however, both 2013's Enough Said and now 2023's You Hurt My Feelings are as excellent as engaging, lived-in and astute character-led dramedies come. In her finest performances, Louis-Dreyfus inhabits her roles like she's always been in them. There's a lightness to her on-screen presence that never smacks of force, artifice or effort — a naturalism, clearly, even if she's working with comically heightened material. Nothing about Holofcener's two collaborations with Louis-Dreyfus goes big with its laughs, of course. The pair aren't making Seinfeld or Veep together. Instead, their talents combine in sublime and thoughtful works of intimacy and intricacy, wryly funny explorations of small moments, and perceptive slices of life — and You Hurt My Feelings is indeed a gleaming gem. It's also the kind of American feature that rarely gets a silver-screen run in these days of blockbuster franchises, endless sequels and remakes, and ever-sprawling cinematic universes (the filmmaker's last picture The Land of Steady Habits, which starred Ben Mendelsohn and arrived in 2018, was a Netflix affair). The battle to find a home for Holofcener's preferred type of tales earns an in-script parallel in You Hurt My Feelings, with novelist Beth (Louis-Dreyfus, You People) also struggling. Her first book, a memoir about her childhood with an emotionally abusive dad, didn't notch up the sales she would've liked. At lunches between Beth, her sister Sarah (Michaela Watkins, The Dropout) and their mother Georgia (Jeannie Berlin, Hunters), the latter still protests about how it was marketed. And, when she finally submits a draft of her next tome after toiling for years, Beth's editor (LaTanya Richardson Jackson, Grey's Anatomy) isn't as enthused. None of these situations give the movie its name, though, which stems from Beth's therapist husband Don (Tobias Menzies, This Way Up) and his opinion. When she overhears him tell her brother-in-law Mark (Arian Moayed, Succession) that he isn't that fussed about the new text, it's shattering, especially when he's been nothing but her heartiest cheerleader otherwise. Holofcener begins and punctuates You Hurt My Feelings with Don's sessions with clients, including an incessantly bickering and blatantly unhappy couple played by game real-life spouses Amber Tamblyn (Y: The Last Man) and David Cross (Station Eleven). They argue. They complain openly and heatedly about each other. They say awful things, but they're also adamant about staying together. They start expressing their displeasure about paying for Don's services when it evidently isn't making any difference to their domestic disharmony, which feeds his own doubts about whether he's any good — and, while taking time away from the luminous Louis-Dreyfus, these asides also cut to the heart of this supremely well-observed movie. We're all our own worst critics, and we all jump on any chance we can to reinforce our fears, worries and raging cases of imposter syndrome. We all rely upon our partners to be the voice of support, positivity and encouragement. When that falters or rings false, then, it isn't minor. As Holofcener's layered screenplay explains in the film's economical 93-minute running time, Beth and Don have always prided themselves about being close. Their college-aged son Eliot (Owen Teague, To Leslie), who is writing a play and working in a weed store, cringes over his parents' codependence and shared meals. When Beth and Don buy each other anniversary gifts, they even each make the same mistake — but that decades-forged comfort proves fragile the instant that Beth hears what she'd never have guessed that Don would say or think. You Hurt My Feelings unpacks why on both sides, also interrogating self-confidence and insecurity, the need for validation, tiny misunderstandings that feel massive to whoever is on the receiving end, social niceties, and white lies uttered with the best of intentions, with Sarah and Mark's relationship, his up-and-down acting career, her interior-design work, and Eliot's own personal and professional tussles also providing examples. She's been busy with Veep, the unimpressive Downhill and multiple Marvel Cinematic Universe appearances in the decade since she last worked with Holofcener, but here's hoping that it doesn't take as long for Louis-Dreyfus to reteam with the writer/director again. She's that magnetic and, yes, relatable in the filmmaker's fare, and that devastatingly great at both comedy and drama as well. Although You Hurt My Feelings' guiding force has had a packed slate herself, not just with The Land of Steady Habits but also episodes of Enlightened, Parks and Recreation, Unbreakable Kimmy Schmidt, One Mississippi, Mrs Fletcher and Lucky Hank, the same wish applies her way. Her empathetic features about everyday women are that authentic and incisive, as both Enough Said and this demonstrate. Here's a dream: a Holofcener film with both Louis-Dreyfus and the helmer's Walking and Talking, Lovely & Amazing, Friends with Money and Please Give star Catherine Keener. Casting has always been one of the filmmaker's talents; in You Hurt My Feelings, Menzies, Watkins, Berlin, Moayed and Teague are all wonderful as well. Holofcener gets the same honesty out of each, and from Louis-Dreyfus, as she channels into her smart dialogue, earnest insights and pitch-perfect musings about life. Thanks to cinematographer Jeffrey Waldron (A League of Their Own), her movie looks as naturalistic as it always feels — and, while almost everyone watching isn't a NYC-dwelling writer with a shrink husband and wounded pride over a book, the emotions that You Hurt My Feelings trades in are genuine. Also 100-percent sincere: the feature's winning way with finding humour in the need that we all have to be seen and appreciated, the tendency to tell our loved ones what they want to hear and the very real clash between those two behaviours.
Within its first 15 seconds, the trailer for Roadrunner: A Film About Anthony Bourdain states the obvious: "there's no happy ending". June 2021 marks three years since the American chef, author, host and documentarian passed away, and this doco can't explore his work and legacy without also touching upon on his unexpected death. To the surprise of no one, the film's sneak peek quickly gets emotional. The latest project from Oscar-winning 20 Feet From Stardom director Morgan Neville — who also directed affecting Mister Rodgers doco Won't You Be My Neighbour? — Roadrunner steps through Bourdain's ups and downs, successes and struggles, and passion for both food and travel. It showcases his frank, no-nonsense approach and his sense off humour, too. In one clip, just before he jumps into the ocean, he pre-empts an obvious question. "Some of you might ask: how is this food related?" he notes. Then, he replies to himself: "fucked if I know." Indeed, thanks to his long stints in front of the camera in everything from A Cook's Tour and Anthony Bourdain: No Reservations to The Layover and Anthony Bourdain: Parks Unknown, Roadrunner won't lack archival footage. The just-dropped trailer certainly doesn't. Bourdain's face and voice feature in the two-and-a-half-minute clip far more often than its talking-head interviewees, in fact, not that there's any shortage of those. Neville's aim: to peer behind the scenes at the man behind the world-famous personality, and to understand his life and impact — including via using his own words. The end result is set to hit US cinemas in July, with release details Down Under yet to be confirmed. Fingers crossed that the documentary turns up locally sooner rather than later. Check out the Roadrunner: A Film About Anthony Bourdain trailer below: Roadrunner will release in US cinemas on July 16. Release details Down Under are yet to be confirmed — we'll update you when more details come to hand. Top image: Focus Features.
To fall in love and start a travelling folk band seems the impossible, unticked box on every romantic's bucket list. He wields a banjo, she sings, photos are taken, albums are released and life becomes one big beautiful folk ballad. It's impossibly unlikely for most, but for musical duo Those Folk it came quite naturally — as will your jealousy upon learning their story. He, Lawrence, was from California; she, Clare, was from Brisbane. They met in Scotland and before Nicholas Sparks had a chance to steal their story, they were up and away, writing tunes and performing for those who couldn't help but fall in love with their sound. You could listen to their songs with no context of their journey and still feel the heart of the story that precedes their sound. Between Clare's howling voice, and Lawrence's knack for just about everything with strings, keys and buttons, the talent that orbits around these two is rather unbelievable — talk about landing a catch. Now, for what seems like once in their career, they're keeping within 100km radius of home, as they tour their first album, Pacific Passages. We had a chat to Clare in Brisbane and Lawrence in England, about the creation of Those Folk, making their first album and what happens when Australian and Zydeco folk become one. Clare, Lawrence, could you paint us a picture of Those Folk and how you came together? Clare: Those Folk are a musical duo, comprised of myself, Clare Quinn and Lawrence Menard. I'm a Queensland local, whereas Lawrence hails from USA; he was born in the state of Louisiana and grew up in Southern California. In 2012, I took a year off from my music degree in Brisbane to go backpacking through Europe. I met Lawrence at the Edinburgh Fringe Festival, in Scotland in August of 2012. He has spent a lot of time in the UK as he studied music over there and is in an English band called The Buffalo Skinners. Since then we've travelled around a lot together between the UK, Europe, USA and Australia, making music all along the way. You've both been unbelievably busy, and trotting all around the globe this year — what's been a highlight of 2014 so far? Lawrence: 2014 has been full of producing two albums, and doing a lot of gigging and world travel. I recorded an album with The Buffalo Skinners last summer in California. Then a month later, Clare arrived and we decided to record an album as well. Once all of the recording was done which took about a month, I began a nearly ten month long mixing and mastering process which carried over into 2014. A lot of that time was spent in Brisbane with Clare where we continued to gig and polish our sound. I then headed to the UK in May to begin touring the new Buffalo Skinners album, and have been on the road since! Now back to Australia to release Pacific Passage. Clare: My highlights of the year would have to be spending the month of January in Tasmania, where we played a few gigs and a intimate festival called Forest Festival, as well as visiting Lawrence and The Buffalo Skinners in the UK in June and July. It was great to tag along with that band and experience life on the touring road with a bunch of good people, playing shows, making friends, attending festivals. We even got to spend a week in France where I performed a bit — and the French hospitality was superb. https://youtube.com/watch?v=JBr3Bm_Z-14 Congratulations on the album — tell us about Pacific Passage and the process of making it? Lawrence, would you be able to tell us about your analogue approach to sound production? Lawrence: Thank you! Well, when Clare first arrived to California, we spent a lot of time passing guitars around and sitting at the piano. Then one day we just said, "Should we record an album?" So upon realising that we had enough songs for a full length album, we headed to my studio. First we recorded all of the main parts to a four-track tape machine. So, if it was a song with ukulele and piano, we'd record those instruments onto two channels, then our vocals on the other two. I really like how analogue tape reacts to the human voice and acoustic instruments, so to have the main foundation of the song on tape is important to me. Also, it removes the computer screen from the early stages of the song — so we can really just listen and focus on the song in our heads rather than seeing it as a waveform on a screen right off the bat. But then, so we can build the song and overdub more instruments and harmonies, I record the tape into the computer. We can then listen to the analogue recordings and make unlimited overdubs in the computer. However, I still use vintage tube pre-amps and analogue EQs to stay consistent with the warmth and sparkle of the tape. So once all of the recordings are in the computer, I can travel with them and mix just about anywhere. Do you each have a favourite track on Pacific Passages? Lawrence: I think that Clare's voice in 'Higher' sounds magical (laughs). And the drums were recorded at twice the speed by our friend Anders, which is very hard to do for a drummer. I then slowed the tape down to half the speed, which pitched the drums down and dragged each beat out making it feel extra heavy. It's a highlight for me. Clare: Personally I'm really enjoying the final track, 'Willow Tree'. It's a gentle song about accepting death and the notion of reincarnating to become a beautiful tree. I think that this track gives some nice closure to the end of the album. Clare, your roots lie in Australian folk and Lawrence, your music is described as English 'Zydefolk and Roll'. How have you found each of your styles have combined? Lawrence: I think it's a pretty nice mix. The style of music that the Buffalo Skinners play is only one outlet I suppose of music that I strive to create. Even within that band there are songs that some of us present and everyone says, "No, it's not really a Buffalo Skinners song." But with Clare, there aren't any limitations. Because there are only two of us, anything that we play still sounds like 'us'. So I really enjoy exploring other styles and pulling from some other musical influences. I also think we blend well because we complete a lot of each other's ideas. We truly write music and lyrics together, rather than "here's my song, here's your song" etc. Clare: I am thoroughly enjoying sharing music with Lawrence and swapping skills and ideas in regards to the creation of chord structures, melodies, lyrics and performance techniques. It's great because Lawrence is teaching me a lot about the music side of things and I like to call myself the vocal coach, so between us we have all bases covered. What else have you got in store once you've finished the Pacific Passage tour? Lawrence: America! Come late November, Clare and I finally get to enjoy being in the same country without having to watch the calendar and renew visas. So we will be planning a West Coast release and tour of Pacific Passage, with support from some of our friends who are already doing great things musically in California. We're really excited to jump on board and be a part of it all. Also I'll be running my recording studio full time, which means plenty of new music by Those Folk coming right up. Those Folk will play at Black Bear Lodge this Wednesday, October 8 for their Pacific Passages tour. More info here.
If hearing Placebo's 'Every You Every Me' and The Verve's 'Bittersweet Symphony' gets you thinking about Sarah Michelle Gellar, Ryan Phillippe, Reese Witherspoon and Selma Blair, then you're clearly a Cruel Intentions fan. And you if were a 90s or 00s teen who watched and rewatched the 1999 classic over and over again — soaking in all those dangerous liaisons, the scheming that went with them, Joshua Jackson's blonde locks and Gellar in a decidedly non-Buffy role — then you'll probably be first in line to see Cruel Intentions: The 90s Musical. The film-to-theatre production has been unleashing its teen tumult and throwback soundtrack in America since 2015, and now it's finally heading to our shores. And yes, those aforementioned Placebo and The Verve songs get a spin, because of course they do. Because it's a jukebox musical, the show is also filled with a heap other tunes from that late 90s, early 00s era, too; think: *NYSNC's 'Bye Bye Bye', Britney Spears' 'Sometimes', No Doubt's 'Just A Girl', Jewel's 'Foolish Games', Christina Aguilera's 'Genie In A Bottle' and Sixpence None the Richer's 'Kiss Me', for starters. If you've seen the movie — the original, not the direct-to-video 2001 and 2004 sequels, one of which starred a very young Amy Adams (The Woman in the Window) taking over Gellar's role — then you'll know the story. Based on 1782 novel Les Liaisons dangereuses, which was also been adapted in the 1988 film Dangerous Liaisons with Glenn Close, John Malkovich, Michelle Pfeiffer and Uma Thurman, Cruel Intentions follows step-siblings Sebastian Valmont and Kathryn Merteuil. Manipulating each other's love lives is their main hobby, a pastime that levels up a few notches when Kathryn places a bet on whether Sebastian can sleep with Annette Hargrove, the headmaster's daughter at their exclusive prep school. On-screen, Phillippe played Sebastian, Gellar vamped up the film as Kathryn and Witherspoon stepped into Annette's shoes. Exactly who'll be following in their footsteps when Cruel Intentions: The 90s Musical hits Melbourne's Athenaeum Theatre from May 25, 2022 and then Sydney's State Theatre from June 29 — with further cities to be announced — hasn't yet been revealed. Cruel Intentions' writer/director Roger Kumble co-created the musical, so expect it comes with quite the screen-to-stage pedigree. Also, it's coming to Australia via David Venn Enterprises, who also brought The Wedding Singer: The Musical Comedy and Bring It On: The Musical our way. Check out the trailer for the US production of Cruel Intentions: The 90s Musical below: Cruel Intentions: The 90s Musical will play Melbourne's Athenaeum Theatre from May 25, 2022, and then Sydney's State Theatre from June 29 — with further cities to be announced. For more information and to join the ticket waitlist, head to the musical's website.
In recent times, this fine country has seen Harry Potter brunches, dinners, movie marathons, train rides, spoof plays and trivia nights. And that's not to mention the Cursed Child mania that's been taking over Melbourne. But are you sick of it? No chance. If there's one thing we know, it's that the demand for Harry Potter will never die — and this latest pop-up, along with the fact that there is a seemingly endless stream of Harry Potter events to come, proves that. The next piece of mainstream Harry Potter fandom to hit Brisbane in September and October will be the Wizard's Cauldron. Inspired by the experiences that the gang had in potions class — and hopefully avoiding the botched polyjuice potion episode — the pop-up bar will mix magic and mixology. That's to say, there will be cocktails. Probably with some dry ice and bubbling substances. It'll be sort of like a science class, except you'll wear robes and mix your drinks with a wand. And drink what you mix, of course. The 'experience' will take 90 minutes — with sessions held between September 23–October 28. Tickets come with a $40–45.40 price tag. For that, attendees get a hot mug o' mead and help from a (probably) greasy-haired Potions Master to mix two potions for yourself. Challenges are also part of the fun, with participants tasked with unlocking the ingredients for their concoctions. You may or may not have to take your O.W.L exam after — and, either way, there'll be a cash bar so you can celebrate or commiserate your results for further drinks and snacks.
If you've been looking for an excuse to eat cake, don't wait around for the next office birthday. Gelato Messina thinks every day is a good day to eat an entire cake by yourself, which is why the frozen treats expert has launched a new range of its single-serve gelato cakes last year — and now its finally bringing them to Brisbane. Already on the menu at Sydney's Rosebery and Darling Square outposts and Melbourne's Fitzroy, Messina Monoporzione (or Monos for short) is now available to buy at its South Brisbane digs. Unsurprisingly, these single-serve cakes are just as gorgeous as Messina's usual creations, but you don't have to share them. The six adorable mini cakes include the brand's signature Dr Evil's Magic Mushroom (dark chocolate mousse with dulce de leche and peanut butter, placed atop edible grass) and the Bombe Alaska (marsala-soaked sponge cake, vanilla gelato, strawberry mousse and compote, wrapped in torched meringue). [caption id="attachment_745192" align="alignnone" width="1920"] Ballin'[/caption] There's also a striking bubble tea-shaped number — the white chocolate 'cup' is filled with earl grey and lychee mousse, topped with lychee compote and finished with a red and white striped chocolate 'straw'. Then there's the all-black Lamington³, with milk chocolate mousse, raspberry gel, coconut gelato and almond crunch. For nut lovers, the final two in the Monos range are the spherical malt and peanut praline Ballin' and the Seymour Nuts: a disc of chocolate hazelnut ganache and hazelnut gelato, finished with caramel glaze and cocoa nibs. These beautiful babies will cost you $12 a pop or, if you still have it in your mind to share, you can also nab a box of three or six for $33 and $63 respectively. Gelato Messina's Monos are available in-store at Gelato Messina South Brisbane, 1/109 Melbourne Street, South Brisbane. If you're choosing to go out and support local businesses, have a look at the latest COVID-19 advice and social-distancing guidelines from the Department of Health.
If it wasn't for Violet Crumbles, the world wouldn't have quite a few things. Firstly, we wouldn't have the pleasure of biting into those chocolate-honeycomb bars themselves, and tasting that delicious flavour combination. We also wouldn't have the slogan "it's the way it shatters that matters", which is up there with the catchiest advertising lines of all time. And, Bertie Beetles wouldn't exist, because the showbag favourite was initially created to use the pieces of honeycomb left over from making — you guessed it — Violet Crumbles. Thankfully, no one needs to live in a world without either Violet Crumbles or Bertie Beetles — or, thanks to your next must-try cocktail, without Violet Crumble espresso martinis, too. The latter has just hit the market thanks to the Melbourne-based Feminaè Beverage Co, and it is indeed exactly what it sounds like. Now it's the way your caffeinated boozy tipple shatters that matters, too. Sold in hefty two-litre ready-to-drink casks, the VC espresso martinis are made with cold-drip coffee, vodka and Australian cream, and then infused with Violet Crumble honeycomb, caramel and chocolate flavours. A box will set you back $79.90, and includes 24 standard drinks — for parties, or just to keep in the fridge for when the urge strikes. You'll also get a Violet Crumble bar to shatter over the cocktails — or just to eat if you'd prefer. (Let's face it, if you're keen on this kind of espresso martini, you're already a fiend for the chocolate bar itself.) Feminaè is only releasing a limited run, which means ordering sooner rather than latter is recommended — and they're already shipping the casks out. The company also has a passionfruit and pavlova cosmo in its range — now sold out, sadly — if you're already thinking about what other sweet treats deserve to be turned into cocktails. Our suggestion: Bertie Beetles, naturally. Feminaè Beverage Co's Violet Crumble espresso martini casks are available to buy online for $79.90 while stocks last.
Brisbane is already home to two mini-golf bars, multiple arcade bars, several axe-throwing bars and a digital ping pong bar — and now it boasts a huge new two-storey darts hangout, too. Usually the domain of old-school pubs, the projectile-flinging sport is the main attraction at Oche Brisbane, though it's had a thoroughly 21st-century update. Originally launching in Oslo in Norway, Oche (pronounced ockey) has opened its first Australian digs in Fortitude Valley. Lining the walls are dart boards that look exactly how you remember — but they all have an electronic component. Each board comes with dozens of games built in, so you can pick between the knockout-style Killer, high-scoring High Striker and points-accumulating 201, among other options. The boards also keep score, so there's no need for a pencil and paper (and no room for arguments). And, for unknown reasons, some of them chat to you as well. Nestled within the brick walls of the 115-year-old Old Flour Mill Building on Constance Street, Oche's darts sessions run for 85 minutes, and are designed to get patrons to do something that's definitely not common these days: put down your phone. The idea is that you'll head along with your mates, get drinking, throw a heap of darts, and forget about your emails, Insta feed, DMs and the like. (You'll probably keep picking up your phone to take and post snaps, but hey, getting folks to switch off is a noble aim). Inside the 700-square-metre, heritage-listed spot, Oche also features an outdoor terrace and two separate bars, with one dedicated to local beverages. It'll spotlight different local breweries, distillers and winemakers each month, starting with Green Beacon in December. Or, you can sip your way through the regular beer and wine list, or opt for six types of G&Ts, seven kinds of spritzes, or other cocktails that pay tribute to Brisbane. Food-wise, Ben Williamson (Gerard's Bar) has overseen the menu — with highlights including fried prawns with tom yum dust, charred lamb cutlets, Middle Eastern-style pizzas and charcuterie boards, plus four types of tacos, salt blocked cobia, mojito and limoncello gummy bear bowls, flavoured popcorn (with seasoning varieties changing daily), and mango and coconut macadamia ice creams. So you can hurl darts and eat simultaneously, everything is designed to be eaten with one hand. In fact, Oche doesn't stock cutlery. Expect to have plenty of company while you're throwing darts at boards for bragging rights — Oche can accommodate 360 people. And Oche Brisbane is just beginning of the company's Australian plans, with venues in Sydney, Melbourne, Perth and Adelaide in the pipeline. Find Oche Brisbane at 111 Constance Street, Fortitude Valley — open from 12pm–12am Sunday–Thursday and 12pm–2am Friday–Saturday.
Last time that Kenneth Branagh took on a cultural icon, he stepped into Hercule Poirot's shoes, starring in and directing a new adaptation of Agatha Christie's Murder on the Orient Express. He'll return to the character in next year's Death on the Nile, continuing a filmmaking career with a noticeable theme: bringing famous figures and stories to the screen. Mary Shelley's Frankenstein, Mozart's opera The Magic Flute, Marvel's initial Thor flick and fairy tale Cinderella all appear on his resume, however one particular chap has always retained pride of place. Thirty years ago, Branagh jumped behind the camera for the first time for a cinematic version of William Shakespeare's Henry V. In the decades since, he's directed and acted in Much Ado About Nothing, Love's Labour's Lost and As You Like It, too. So it was only a matter of time until he did the obvious, turning his attention to a Shakespeare biopic. Shakespeare in Love, this isn't. Shakespeare in Retirement would've worked as a title, though. With Branagh both starring and helming as he usually does, All Is True's take on the Bard sees him back in Stratford-upon-Avon, where his family has always lived while he's been triumphing in London. It took a fire to bring him home, with his beloved Globe Theatre burning down in 1613 during a performance of Henry VIII. Devastated, old Will has pledged never to work again, vowing to spend time with his wife Anne Hathaway (Judi Dench) and adult daughters Susanna (Lydia Wilson) and Judith (Kathryn Wilder) instead. Alas, absence hasn't exactly made the heart grow fonder. As Shakespeare switches from penning flowery prose to trying to make a garden blossom, drama still keeps finding him. Grief rears its head, over the son he lost years ago, while Anne's stoic sadness at being left to take care of the household also bubbles to the fore. So does Judith's simmering anger at being constantly overlooked due to her gender, as well as Susanna's gossiped-about troubles with her fiercely Puritan husband (Hadley Fraser). If being a genius isn't easy, living in the shadow of one is a much tougher feat. Still, in a reflective screenplay written by Ben Elton, it's Shakespeare's struggle to not only adjust to an ordinary life, but to weigh up his flaws and failings over the course of his life, that drives the film. In a movie filled with allusions to its subject's work, All Is True takes its name from the alternative moniker for Henry VIII, which would prove Shakespeare's last play. Elton's script is definitely fictionalised — although perhaps less than his recent British sitcom, Upstart Crow — and yet the eponymous phrase remains apt. At the heart of the handsomely shot feature sits an important notion that applies not only to the Bard, but to art in general: whatever unfurls on the page or stage speaks to something within its creator. Just as Shakespeare clearly resonates with both Branagh and Elton, the great playwright's acclaimed words were borne of his own emotions. Sure, All Is True includes one of those typically grating moments where a character utters its title in dialogue (no prizes for guessing who does the honours), however in painting a portrait of the Bard as a conflicted, haunted man, it conveys both the inner source and hefty toll of his output. In the acting stakes, Branagh makes for a melancholic later-in-life Shakespeare, repeatedly digging his hands into the earth as he grapples with being brought back to normality. Leading quietly, sensitively but commandingly even under a pronounced prosthetic nose, he's matched by the steely Wilder, a great stint of comic sneering by Alex Macqueen as one of the Bard's naysayers, and a witty appearance by Ian McKellen as the writer's long-term patron, the Earl of Southampton. And yet, while buoyed by strong performances and making good on its premise, the film always plays like a minor ode rather than a major work. Walking in the footsteps of greatness is a difficult task, as the movie makes plain, although Branagh has been trying for decades. With All Is True, he shows why — and demonstrates that passion, intelligence and enthusiasm can go a considerable way. https://www.youtube.com/watch?v=1I5cKmiONDI
If a Finnish railway line can immerse passengers in a Murder on the Orient Express-style escape room, then a British hotel can take inspiration from the iconic novelist behind the famous mystery tale. More than that, it can do so while keeping with the transport theme — with Bertram's Hotel in Devon turning a double decker bus into an Agatha Christie-inspired home away from home. There's no puzzle to solve, other than wondering why someone didn't think of the idea earlier. Instead, visitors can relax in a place that's been decked out to feel like a 50s Christie book. Floral decor, a retro record player, a cocktail station, two sleeping spaces and shelves filled with novels all feature. Of course, the latter includes the author's work, with posters celebrating her efforts and titles found elsewhere throughout the cosy abode. Self-contained with a kitchen and bathroom, and sleeping five guests in total, Bertram's Hotel is located in a scenic field near the village of Harltand. And although its setting means that stumbling upon a real-life mystery is rather unlikely, you will spy plenty of animals, namely five grazing alpacas, plus everything from pygmy goats and donkeys to chickens and ducks. There's also two fishing lakes in close proximity. As for the concept, the unique spot takes its name and design from one of Christie's books: 1965's At Bertram's Hotel. The novel features the author's other well-known sleuth — Miss Marple — taking a holiday at the titular establishment and coming across a case, of course. While the hotel in the book isn't in a two-level red bus, the text features one on its cover. Images: Sykes Holiday Cottages.
Much might be changing at the Museum of Old and New Art in 2024, including giving Dark Mofo a rest for the year and farewelling summer festival Mona Foma for good. But having a party in winter is still on the cards, as the Tasmanian venue confirmed a few months back. The lineup of events keeps growing, in fact, as part of what's now being dubbed a 'Dark Mofo presents' program. On offer from Thursday, June 13–Sunday, June 23: Winter Feast, the Nude Solstice Swim, both Genesis Owusu and Marlon Williams playing live, the Mona Gala, a new exhibition, a multi-storey nightclub and late-night tunes that begin the next morning. [caption id="attachment_950174" align="alignnone" width="1920"] Rosie Hastie, 2022. Courtesy of the artist and Dark Mofo 2022, Hobart, Tasmania, Australia.[/caption] "I know we said Dark Mofo would stay quiet, but winter wouldn't feel the same without the chance to feast and frolic during the long Tasmanian nights," said the fest's Artistic Director Chris Twite. "As the chill of winter creeps in, I know we are already longing to feast, dance and swim together. So we're really excited to be able to present these beloved pillars of the festival this June for Tasmanians and all our dedicated Dark Mofo pilgrims." [caption id="attachment_950181" align="alignnone" width="1920"] Sam Stewart. Courtesy of Dark Mofo / DarkLab, Hobart, Tasmania, Australia[/caption] If you're keen to eat your way around a huge midyear food festival on the Apple Isle, Winter Feast will be serving up plenty to tempt your tastebuds. Vaughan Mabee, the Executive Chef of New Zealand's Amisfield in Queenstown, is the the guest chef, teaming up with Mona's own Vince Trim. They'll hero unorthodox ingredients, such as Tasmanian deer and wallaby, wakame furikake, wattleseed and long-spined urchin, in an outdoor pavilion that'll be custom-built for the event. The meats will be fire-roasted onsite, then sliced to order. For dessert, deer also proves pivotal via deer milk ice cream, a signature dessert from Mabee. You won't forget it — it comes shaped like antlers, served in a real deer skull, then topped with 'deer blood' caramel. [caption id="attachment_950183" align="alignnone" width="1920"] Courtesy of Vaughan Mabee and Dark Mofo / DarkLab, Nipaluna Hobart, Lutruwita Tasmania, Australia.[/caption] Also set to be at Winter Feast: 80 stallholders, spanning not only returning favourites, but also 25 new joints from around the state. Standout dishes to look out for include spit-roast pork buns, crispy-fried southern rock lobster sliders, neo-Nepalese goat curry, arancini filled with beef ragu and mozzarella, and mortadella cruller choux pastries, as well as milk and honey doughnuts, mulled wine and smoked beetroot vodka. Yula (mutton bird) will also be back on the menu, while a Tasmanian sparkling wine bar is new for the year. Another change for 2024: making Winter Feast entry free on Sundays. [caption id="attachment_950175" align="alignnone" width="1920"] Dark Mofo/Rémi Chauvin. Courtesy Dark Mofo, Hobart, Tasmania, Australia[/caption] If you're most excited about taking a swim sans clothes to celebrate the winter solstice, the Nude Solstice Swim at Long Beach will have a larger capacity than in the past. Elsewhere, Owusu and Williams are each playing gigs at Odeon Theatre on successive nights; the Mona Gala will get everyone partying for the opening of exhibition Namedropping, which showcases 200-plus artistic works about status, perception and trying to look good for others; and Dark Mofo 2021's Night Shift is making a comeback so that you can hit the dance floor, get debauched and make the absolute most of the early hours. Slow Burn, a brand-new event for 2024, is also about staying up late, only opening at midnight at Odeon Theatre's Mezz Bar. At the In the Hanging Garden precinct, Winter in the Garden will get DJs spinning tunes earlier, and also host food and drink pop-ups. [caption id="attachment_950177" align="alignnone" width="1920"] Courtesy of the artist.[/caption] Dark Mofo will return in 2025 as the full usual shebang, but better than ever — not that there's anything usual about the event. "Dark Mofo has established itself as a beacon of artistic exploration and challenging ideas for a decade, immersing audiences in the depths of darkness and the heart of winter," said Twite earlier in 2024. "This year, by taking a fallow year, we are taking a crucial step in ensuring that Dark Mofo continues to be a catalyst for artistic innovation, cultural dialogue, and shared experiences for many years to come." [caption id="attachment_950178" align="alignnone" width="1920"] Dark Mofo/Jesse Hunniford. Courtesy Dark Mofo, Hobart, Tasmania, Australia.[/caption] [caption id="attachment_950182" align="alignnone" width="1920"] Courtesy Museum of Old and New Art (Mona), Tasmania, Australia.[/caption] [caption id="attachment_950176" align="alignnone" width="1920"] Dark Mofo/Jesse Hunniford, 2021. Courtesy Dark Mofo, Hobart, Tasmania, Australia.[/caption] [caption id="attachment_950180" align="alignnone" width="1920"] Rémi Chauvin. Courtesy of DarkLab, March 2023.[/caption] [caption id="attachment_950179" align="alignnone" width="1920"] Jesse Hunniford. Courtesy of the artists and Mona, Tasmania, Australia[/caption] Dark Mofo Presents: Winter 2o24: Thursday, June 13–Sunday, June 16 — Winter Feast week one Thursday, June 13–Sunday, June 23 — Winter in the Garden Friday, June 14 — The Mona Gala Saturday, June 15 — Genesis Owusu Saturday, June 15–Sunday, June 16 — Slow Burn Saturday, June 15, 2024–Monday, April 21, 2025 — Namedropping exhibition Sunday, June 16 — Marlon Williams Thursday, June 20–Sunday, June 23 — Winter Feast week two Friday, June 21 — Nude Solstice Swim Friday, June 21–Saturday, June 22 — Night Shift The Dark Mofo Presents lineup takes place at Mona from Thursday, June 13–Sunday, June 23, 2024. Head to the festival's website for further details, and for tickets on Tuesday, April 16 — from 10am for subscribers and 12pm for everyone else. Top image: Rosie Hastie, 2022. Courtesy of Dark Mofo 2022.
The BrisStyle team is a rather busy bunch. A few times a year, it puts on twilight markets in King George Square, but that isn't its only regular event. If you're particularly after a treasure trove of handmade goodies — and who isn't? — it hosts another opportunity to browse and buy that's dedicated to exactly those kinds of objects over at the Queensland Museum. And, because it's that time of year, it's putting on a Christmas version of the latter. Fashion, art, jewellery, homewares — if someone's been using their nimble fingers to make it, then you can probably trade your hard-earned cash for their hard work. In fact, there'll be a long list of artisans — normally around 60 locals, actually — selling their wares. And, while you're shopping, you'll also be able to grab a bite at the onsite cafe — and live tunes from local musos usually provide a soundtrack. The BrisStyle Handmade Christmas Markets take place on Saturday, December 2, so that's when you can take care of your gift-buying needs. Head along from 9am–3pm, with it all taking place in the Queensland Museum's whale mall. Image: BrisStyle.
UPDATE, August 3, 2020: Mary Poppins Returns is available to stream via Disney+, Google Play, YouTube and iTunes. Floating in on the wind with her umbrella in hand, Mary Poppins is back — in a most delightful way. More than half a century since the magical nanny made the leap from page to screen, this lively, loving sequel explores a notion that's already fuelled seven books. Directed by Rob Marshall (Into the Woods) and scripted by David Magee (Life of Pi), Mary Poppins Returns asks: what if the seemingly prim-and-proper governess worked her wonders on the Banks children once more? The answer both does and doesn't play out as expected. Imaginative songs, animated flights of fantasy and a friendly labourer all feature, as does the Banks house on Cherry Tree Lane. Kids learning life lessons and to embrace their creativity are part and parcel of the film as well, and so is the warmest of moods. But, letting time pass in the story as it has in real life, Mary Poppins Returns introduces adult versions of the tykes that Poppins once cared for. They need her help yet again, and so does the next generation snapping at their heels. Struggling to make ends meet during the Great Depression, widower Michael Banks (Ben Whishaw) is about to lose the family home. He's behind in the mortgage and, despite working for the bank as his late father did before him, the financial institution's president (Colin Firth) won't offer an extension. Michael's only option is to find proof that he own shares, with his sister Jane (Emily Mortimer) and his children Anabel (Pixie Davies), John (Nathanael Saleh) and Georgie (Joel Dawson) all doing their part in the search. Enter Poppins (Emily Blunt), as radiant and no-nonsense as ever – except when she's the source of the nonsense. If that idea seems like a conundrum, the nanny explains the predicament herself in one of the movie's catchy musical numbers. Reviving not only a long-beloved character, but one engrained in the youth of multiple generations, is far from an easy task. Thank the heavens that Poppins descends from for Blunt. Fresh from putting in a powerhouse performance in the virtually dialogue-free horror flick A Quiet Place, she charms and captivates stepping into Julie Andrews' shoes. Always entrancing, it's the kind of singing and dancing showcase that audiences mightn't have realised that the English actor could deliver. Whether she's schooling and being silly with the Banks poppets, or leading them into adventures with kindly lamplighter Jack (Lin-Manuel Miranda) by her side, Blunt fits the part perfectly. More than that — she practically perfects the film's infectious air of fun in every way. While a spoonful of sugar isn't needed to make the movie go down a treat, it comes in the form of Marshall's love and care. The filmmaker's output can be hit and miss, with Chicago falling into the first category and Into the Woods the second, but Mary Poppins Returns is a winning effort. There's a juggling act at the picture's core, as the movie endeavours to pay homage to its popular predecessor without becoming a mere rehash. In a playful and well-judged manner, Marshall finds the necessary balance. His film deploys elements of the original — reflecting, reshaping, inverting, referencing — and yet it flies high as a kite on much more than nostalgia. Among the few elements that don't soar, nothing threatens to send the picture tumbling. The slight story feels like it could be whisked away by a breeze, but it's aided by the frequent diversions into song and dance. Rarely at her best in music-heavy scenarios (as the Mamma Mia! movies have shown), Meryl Streep is forgettable as the magical nanny's cousin, however her part is brief. And even when the film falters momentarily, Mary Poppins Returns has quite the distraction up its sleeves. From the eye-catching costuming to the colourful sets to the gorgeous animation, the movie serves up a visual wonderland. First Paddington, then Winnie the Pooh and now Mary Poppins, British treasures just keep coming back to the screen. But when they're this enjoyable, they're more than welcome. We're sure Poppins herself would approve of that sentiment. Among her many life lessons: realising when to relish what's in front of you. https://www.youtube.com/watch?v=hMe7hUb3TpI
The Gold Coast Film Festival isn't the first film fest to marvel at the sight of sun, surf and sand on the big screen. Thanks to a surf film retrospective at the Brisbane International Film Festival over a decade back, it isn't the first to do so in southeast Queensland, either. But it is the perfect spot for big waves to get rolling in a cinema, as the just-announced 2023 GCFF program celebrates with a dedicated strand of flicks that'll serve up that very experience. This isn't the first time that the Gold Coast's annual film fest itself has embraced the ocean, of course — its 2022 lineup included a session of Blue Crush, for instance — but there's no such thing as too much sea-obsessed cinema at this event. So, 2023 attendees can look forward to Big Wave Guardians, which focuses on surfing in Hawaii; The Road to Patagonia, about ecologist Matty Hannon's efforts to surf the west coast of the Americas while travelling by motorbike; Big vs Small, with big-wave champion surfer Joana Andrade and world-champion free diver Johanna Nordblad in the spotlight; and Birth of the Endless Summer, which steps behind iconic surf documentary The Endless Summer. GCFF's latest curated collection of movies spans further, including three world premieres, three Australian premieres and 15 Queensland premieres across Wednesday, April 19–Sunday, April 30 at HOTA, Home of the Arts and other GC venues. Making its Sunshine State debut is opening night's Polite Society, about a martial artist-in-training endeavouring to save her sister from an arranged marriage — and a hit at this year's Sundance Film Festival. Bookending the other end of the fest is doco The Last Daughter, also in a Queensland first, about Indigenous director Brenda Matthews' experience being taken from her family as a toddler, growing up with white foster parents, then being returned to her parents. Also, big-name TV gets a look in via Netflix's Sweet Tooth, which is previewing its first two episodes of season two ahead of its long-awaited streaming debut on Thursday, April 27. Elsewhere on the lineup, Aussie cinema receives a showcase complete with must-sees Sweet As and The Survival of Kindness — both hits on the international film festival circuit, with the former an outback-set coming-of-age story written and directed by Indigenous filmmaker Jub Clerc (The Heights), and the latter hailing from acclaimed director Rolf de Heer. There's also thriller Monolith, about a journalist chasing a conspiracy, plus documentary The Giants about the life of environmental activist Bob Brown. And, the fest also continues its Local Filmmaker Focus, screening a trio of titles from Gold Coast talent. Hits and standouts from far and wide are another big highlight of GCFF's 2023 selection, which is where the Oscar-nominated EO, a portrait of a donkey, comes in — as do Cannes 2022 Best Actress winner Holy Spider, the same fest's Best Screenplay recipient Cairo Conspiracy, and the fittingly cinema-obsessed I Like Movies. If you can only see a handful of flicks at the festival, make sure that the stunning The Inspection is one of them, as based on filmmaker Elegance Bratton's true tale about being a gay Black man who joined the marines. Film lovers can look forward to the return of short film fest SIPFEST within the broader GCFF program as well, which'll screen 14 titles at HOTA's outdoor stage. Plus, among the industry-focused events sits the Screen Industry Gala Awards at Warner Bros Movie World, aptly, plus the GCFF Women in Film Lunch in the QT Gold Coast's Ballroom. The 2023 Gold Coast Film Festival runs from Wednesday, April 19–Sunday, April 30 at HOTA, Home of the Arts and other venues on the Gold Coast. For more information and to buy tickets, visit the festival website. Sweet Tooth image courtesy of Netflix.
In the late 60s, a decade after first slinging slices in America's midwest, Pizza Hut started taking the second part of its name seriously. Thanks to a design by architect Richard D Burke, who agreed to a $100 fee for each location that opened — a hugely lucrative deal, it turned out — everyone knows the fast-food chain's famous silhouette. From 70s, 80s and 90s childhoods in particular, that angular roof instantly brings to mind family feasts, birthday parties and all-you-can-eat pizza specials that gave Sizzler a run for its money in Australia, dessert bar included. Brooklyn-based Aussie filmmakers Matthew Salleh and Rose Tucker, who previously made Barbecue and We Don't Deserve Dogs, are well-are of this history. In fact, they've made a documentary that's partly about it: Slice of Life: The American Dream. In Former Pizza Huts. They're equally cognisant of the nostalgic feeling that old Pizza Huts bring. "I kept thinking back to the soft-serve machine. As a kid, I was just drawn to that machine. I just wanted the soft serve with the sprinkles, the coloured sprinkles on top — my Pizza Hut dream was the soft-serve machine," Tucker tells Concrete Playground, chatting about the film that'll premiere at 2024's SXSW Sydney in October. Audiences will indeed remember their own experiences in Pizza Hut's distinctive buildings while watching Slice of Life. Craving pizza comes with the territory, too. Salleh and Tucker haven't tucked into Pizza Hut while making the movie, purely "because they're not in New York", Salleh advises, but they still understand the urge. "Occasionally we're editing and we'll see shots of pizzas, and I'll be like 'we need pizza'. Luckily, living in Brooklyn, you only have to walk about 150 metres to find some pretty awesome pizza. So if anything, it's just made me eat a lot more pizza in New York," he continues. Recalling times gone by for a global chain is just one of this doco's ingredients, however. Consider it a topping; at its heart, this film's main focus is right there in its title. While they weave in the Pizza Hut origin story, and that of those huts known around the planet, Salleh and Tucker are interested in how such immediately recognisable structures have lived on in new guises in the US once the brand left plenty of those buildings. Be it a Texan karaoke bar, a LGBTQIA+ church in Florida or a cannabis dispensary in Colorado, what made-over former Pizza Huts say about the pursuit of the American dream today is also as pivotal to their documentary as dough is to the world's most-beloved Italian dish. The pair boast a tried-and-tested approach, as their first two feature-length films also capitalised upon. Take one thing — barbecue cooking, canines, ex-Pizza Huts — then dive deep, building a portrait of what humanity's interaction with said subject explains about the world, people in general and/or a specific country. All three titles have also enjoyed a relationship with SXSW. Barbecue premiered at SXSW Austin in 2017, and was picked up by Netflix as a result. Then, We Don't Deserve Dogs was selected for the pandemic-affected US event in 2020. Now, after being one of the first films announced for this year's lineup, Slice of Life will bow at SXSW Sydney's second year. View this post on Instagram A post shared by Urtext Films (@urtext) If there's a spark of familiarity to Salleh and Tucker's latest concept, that's because the Used to Be a Pizza Hut blog has also been operating in this territory. It was a helpful resource for them, with its founder Mike Neilson among their interviewees. Wondering if the duo ever thought of expanding their remit beyond US Pizza Huts, as the site covers? They've dubbed their American focus "geographical discipline". Explains Salleh: "this is our documentary version of the great American road movie, I guess. We were tempted to to make this thing global, but then we knew we'd be probably making it for the next 20 years." Adds Tucker: "we really could, they built these things all over the place." What does having SXSW's support mean to the pair? "It's amazing. As an independent filmmaker, it's really, really tough to even get into a festival, so to do it with SXSW now three times is pretty special," says Tucker. "We're basically independent DIY, and so to be able to go to a festival that also has a little bit of a market and business side to it as well, and tries to bring those elements together is, I guess, what we try to do on a daily basis — bringing together the business of what we do and the creativity of what we do. So it's been a good fit over the years," advises Salleh. When you hone in on a specific topic per documentary, where does inspiration come from? Also, how do you know that you're onto a winner of an idea, and then get your subjects onboard? From the way that they handle to on-the-road projects to finding their former Pizza Huts and what they learned about America while making Slice of Life, we chatted through the details with Salleh and Tucker. On Where Salleh and Tucker Find Inspiration Rose: "I guess you could say we're just chronic people-watchers, and we're just interested in things that people get passionate about. So with Barbecue, that one's a fairly obvious one: people get really fired up about cooking and gathering with their family. There's a little bit of patriotism involved in that as well — everyone thinks they have the best barbecue — so it's a thing that gets people talking and gets people passionate. And similarly with dogs. People love their dogs and that's a global phenomenon." Matthew: "We have a scribble board of hundreds of ideas, and it's a survival of the fittest. It's when we can see that an idea will play out in a in a whole film, rather than be a short or something like that. I often say there's a taxi or Uber driver test, where an Uber driver will ask what you do for a living and you explain the film you're making, and they go 'ohh you have to go interview my best friend' — or if they know someone or if they can tell their passionate story. It was a similar thing with this new film, we would talk about it with people and they go 'ohh back in my town, the old Pizza Hut used to be ...'. There was either nostalgic remembrance of what it used to be or 'ohh now it's a mattress store', 'now it's a Hertz car rental' or any sort of interesting thing. So it seems to have really gotten people interested in talking passionately. And it's interesting as well, because there's a lot going around at the moment with people re-examining pop culture nostalgia and stuff like that. But then it just presented this amazing opportunity for us where we were actually able to go 'well, here's something pop culture and nostalgic, but it still exists in this strange way now'. So it was a way that we could combine the nostalgic memories of old Pizza Huts with this entrepreneurial spirit of people starting up businesses potentially in buildings they never thought they would, but making it work somehow." View this post on Instagram A post shared by Urtext Films (@urtext) Rose: "There's this idea of community that flows through these buildings. So when they're a Pizza Hut, they're a community hub. And it would be a really big deal if your small town got a Pizza Hut. It was a big, big deal. Then when they close down, that hub goes away. But now they're sprouting up again in these second, third, fourth, fifth lives, and those places are now similarly hubs for the community. They're the places that we were really focusing on trying to find — those places that still are that gathering point, or that third place that that people are drawn to and want to spend time with people in." Matthew: "And in a world where those sort of places are dying away, making this film coming out of the pandemic, where we had to eliminate that third place, those gathering places in the community‚ and even the fact that a lot of these businesses survived through some of those tougher times so that they can flourish now — that was very much part of our mind when we were making this. It's places where people can just get together, whether it's a church or whether it's a restaurant …" Rose: "Or a karaoke bar." Matthew: "… and just be part of their community." On Finding Slice of Life's Old Pizza Huts in Small Towns Across America Where Having the Chain in Town Was Originally a Source of Pride Rose: "We were actively seeking small towns. The most-rural town we visited is Walsenburg, Colorado — and that is in the middle of the country, small town, and it was a big deal. From memory, I think that the only other fast food they currently have is a Subway." Matthew: "Much less romantic." Rose: "But it was a huge deal to get this big building, this big Pizza Hut, that was right on the edge of town — it was a massive deal. And it was where all the sports teams would go on the weekend after finishing their game, it's where kids would go after their prom for their after party. Like, this was the place." View this post on Instagram A post shared by Urtext Films (@urtext) Matthew: "And I think it was this idea that the town over didn't get the Pizza Hut — we got the Pizza Hut. We're all very hip and cosmopolitan now, we might almost chuckle a little at a chain store having meaning, something important to a community — but back in the 60s, 70s and 80s, when towns, especially towns across America, were trying to grow and trying to be something, these were the test of having made it, as it were. So that seemed to be a big part of it. And then there's also a practical consideration, because we basically had to become world experts in these old Pizza Hut buildings — and they survive more in small towns, because I think the ones that were in big cities have just gotten levelled with the passage of time." Rose: "Or they were never built in the first place. This is a building that worked in suburbia and out on the highways. I don't think there were any traditional Pizza Hut buildings built within New York City, where we live at the moment. So you're not going to find one here. But you go out a little bit, you go down into Long Island, suddenly they start popping up." On Salleh and Tucker's Two-Person Approach to Filmmaking Matthew: "The main thing is the incredibly small footprint. It's basically just myself and Rose, and we do pretty much the whole movie. So I direct and Rose produces. I do the shoot. I do the cinematography. Rose does the sound. We both edit it. We do a surround-sound mix and picture work on the film in our one bedroom apartment." Rose: "In the room we're sitting at now." Matthew: "We just basically do the whole film from a technical point of view by ourselves. And, one, it makes it cheaper and more versatile — but the most-important thing is that versatility in that we don't need to have bosses that we get approval from when we come up with an idea, and we can just stay in a place until we get the story, and we can move around and be this very intimate film crew. When we film, it's not this giant truck with 20 people turning up. It's me and Rose and a backpack. And that familiarity that people have with us it just gives a gives our film something else, I hope." On How Having Such a Small Filmmaking Footprint Helps Get Subjects Onboard Rose: "We love the intimacy that we can create with it just being the two of us. The fact that we're a couple as well, I think a lot of the people we're working with, a lot of people running these businesses are little husband wife teams as well. So there's definitely a connection that we just have. We run our own business. We understand the challenges of running a small business, and we like to think we're quite entrepreneurial as well. I think we have a lot in common with the people who we are filming with." View this post on Instagram A post shared by Urtext Films (@urtext) Matthew: "When you run your own business, when you want to be sustainable and have your arts career that works as a business, you have to know as much about cinematography as you do about filing tax returns. We met with a lot of people that had a passionate thing they wanted. I think instantly of Ed running Big Ed's BBQ, who had this passion for barbecue and then instantly realised he was in over his head — and that very much resonated with me as a person that got way in over my head when I decided to start a film company however many years ago. That part of the storytelling also reminds me of my dad, who started his own business after working in government for many years. I think everyone that knows someone that's an entrepreneur, a sort of self-starter, it's a sort of crazy type of person. It was a lot of fun to hear those stories." Rose: "But we definitely had to win people over. And we'd always have a few conversations over the phone before we turn up with cameras and really explain what we were trying to do. I think particularly in this day and age, people can be a little hesitant with documentary, like 'ohh, are you making fun of me or is this a hit piece?'. And we would have to assure people that was not the case." Matthew: "Something we weren't sure about: people operate their businesses and lives out of these former Pizza Huts, and it's kind of a humorous concept. I'm like 'do they think it's humorous as well?'. And they certainly did. I remember our first phone call with everybody from the church in Boynton Beach that we filmed, and the first thing they wanted to tell us is that they'd given themselves a nickname of the Church of the Pepperoni. They think it's very funny as well. There's something about that sense of humour, it's a little wry smile when they know that they run out of an old Pizza Hut. But then you go beneath that and you go look through the window, effectively, and there's these amazing lives, and these really powerful and interesting people. View this post on Instagram A post shared by Urtext Films (@urtext) I would say that with a lot of pop culture and nostalgia, people try to remember the old thing. But for us to be able to actually go into those buildings, it was fascinating that you have a really diverse set of people — and America's an incredibly diverse country — and all of these people had one thing in common: the floor plan of their businesses were exactly the same. And it was kind of odd. A few months into filming, we'd be walking into like the fifth Pizza Hut and there'd be this weird déjà vu that would kick in — and I'd be like 'ohh, in Colorado, they put the door over that side, but I see you guys put it over here'. And there's this one bit where some of the old Pizza Huts, they always leak in the same spot — and they all go 'oh yeah, the leak'. Maybe there's something comforting in knowing that people around the world might have a common experience with you, even though you will never meet them. So that was very powerful for us." On the Research Process and Criteria for Picking the Former Pizza Huts Featured Matthew: "There were a couple that we'd heard about. You start Googling, and lots of people have documented a lot of these old buildings. But only the building. It was hard to know anything more about it. So we'd start with that process — it just started with conversations." Rose: "I would dive in and take a look at a business. You can tell a lot from their social media and things like that. You can tell when a place is a community hub, and they were the places we were looking for. And honestly, I would just shoot them a message or an email, and get on the phone and chat. I remember we called the owner of the Bud Hut in Colorado, and we talked to her for I think two hours. She was just so clearly so passionate and cared so much about her community, and we were like, 'well, that's an instant yes'." Matthew: "This is something that we've always believed as a core part of the films we make, that everyone's got an interesting story to tell. So in a way, I wasn't even really worried, because I'm like 'well, everyone's got an interesting story to tell'. Our job is to listen and find those stories. We try not to have too many preconceptions. We had ideas — as soon as we heard that there was a church down in Florida, we're like 'well that sounds amazing'. So there's ones like that. One of the interesting ones was Taco Jesús, a Taco restaurant in in Lynchburg, Virgina — not necessarily a place known for its Mexican cuisine. But funnily, that restaurant didn't even exist when we started shooting the movie. We only shot that a few months ago because we were looking back over some notes, and one of them was something that was closed down." View this post on Instagram A post shared by Urtext Films (@urtext) Rose: "I have a list of addresses and every few months I would sweep through them just to see if a new place had popped up. I was looking at this place in Lynchburg, Virginia, which, after it was a Pizza Hut, it was a another pizza restaurant — and I noticed they were permanently closed. And I was like 'that's interesting, I wonder who's going in there?'. I did a little online research and realised it was going to be this brand-new taco restaurant, and it looked beautiful." Matthew: "I think we saw a story that Jesús and his father-in-law were running it together, and I'm like 'there's a story that'. Then just your journalistic instincts kick in and you go 'oh, there's something interesting there'. I think, to be honest, as we spoke to people, it confirmed more than anything that all these are really fascinating stories that we have to capture." Rose: "There'll always be a few on the wishlist that we didn't get to, mainly just because we felt like we had a complete film. But there's always be the long list of places that maybe we could have visited — like there is a funeral home in Texas which would have been pretty interesting." Matthew: "There's actually two." Rose: "We could've kept filming forever." View this post on Instagram A post shared by Urtext Films (@urtext) Matthew: "It's interesting when we talk about when you're completely independent and you've got to do it yourself, how do you get started — but how do you finish? That's almost as much the challenging question and it's usually, with us, through exhaustion. Usually it's desperately editing into the night. I remember with We Don't Deserve Dogs and a little bit with this film, you just stop eventually and go 'I think the movie is finished'. And you almost don't want to admit it's finished, because then you've got to work out what to do next. You've got to distribute and market the film, and all the rest of it. But this one was definitely one where we had a lot of the film down, and then we took a bit of a break. Then we went and filmed with Taco Jesús, and we just slotted that in." Rose: "It was the missing thing." Matthew: "It was the different side of the story that brought it all together. So it's nice, it's been a lot of fun, because at the moment we're doing all the technical stuff, the sound and the music and all of that, and it's really lovely to be able polish up this thing that we've been putting together for a few years now." On What You Learn About the US Today on a Cross-Country Road Trip That Examines How an Incredibly Nostalgic Symbol Has Been Reborn Rose: "I think we managed to capture a pretty hopeful version of humanity. I'd like to think that. I think you realise that if you watch the news a lot …" Matthew: "Which we all do." Rose: "… which everybody does, there's maybe an impression of America and what middle America is like, and I think we wanted to challenge that expectation a little bit. There definitely are, I think, more good people than bad everywhere we went. We were met with open arms in communities of all shapes and sizes and political persuasions." View this post on Instagram A post shared by Urtext Films (@urtext) Matthew: "And we're just a bunch of hipsters from New York, so they should be very guarded. But no, to be serious, I think it's this thing where we came in to listen and hear their story, and so we didn't come in with this ulterior motive of 'we want to set up the story'. That's been a really important thing about the films we do. We film with multiple subjects, multiple locations and people, and we don't have this scribbled-out script that we want to fit. We go where the story takes us. If the story revealed a much angrier America, then we would have gone 'okay, well, what is that story?'. But for us, everyone was quite hopeful, quite proud — quite proud of being American, quite proud of their entrepreneurial side — which, by focusing just on that, was really interesting. We had this criteria for this movie: we want to meet people from all across America, but they have to be operating out of an old Pizza Hut restaurant. That limits you a little bit, and yet we found such diversity, such different people, different opinions, different lives, different stories. So it was nice, even with such limitations on your sample size, you can still find a very diverse America." View this post on Instagram A post shared by Urtext Films (@urtext) Rose: "I think Mark from the Yupp's Karaoke in Fort Worth, Texas, puts it best: 'our diversity is our strength'. And this is coming from a bartender in Fort Worth, Texas. It's pretty beautiful stuff. " Matthew: "I must admit that Yupp's Karaoke Bar was a lot of fun to film." Rose: "It was raging on a Tuesday night. It was just packed. And from what I understand, they now have lines on Saturdays — you can't get in. They are going absolute gangbusters." Slice of Life: The American Dream. In Former Pizza Huts. premieres at SXSW Sydney 2024, which runs from Monday, October 14–Sunday, October 20 at various Sydney venues. Head to the SXSW Sydney website for further details.
We've passed the winter solstice and the temptation to hibernate is growing ever stronger — so, you probably need a little something extra to tempt you off the couch. Handily, online reservation platform The Fork has a winning idea up its sleeve: it's offering a huge six weeks of dining specials nationwide. Kicking off on Monday, July 1, The Fork Festival will see over 250 top restaurants across the country offering sit-down meals for half the usual price. Yep, 50 percent off your total food bill, folks — think of it as the proverbial carrot luring you out of the house. To snag a half-price meal, you just need to make a reservation through The Fork website or app at one of the participating eateries for any service (breakfast, lunch or dinner) during the six weeks. [caption id="attachment_574140" align="alignnone" width="1280"] Comuna Cantina[/caption] There are some great venues coming to the party, too. In Sydney, you'll find discounted eats at the likes of Pilu at Freshwater, Queen Chow Manly, Potts Point wine bar Monopole, Din Tai Fung (Chatswood, Central Park, Miranda), waterside spot Berowra Waters Inn, Fratelli Fresh (Alexandria and Crows Nest) and Surry Hills' Caffe Bartolo. Melbourne spots include Prahran's Casa NOM, Burma Lane in the CBD, South Yarra's Abacus and Pretty Boy Italian Steakhouse. Brisbane folk can score discounts at the likes of Comuna Cantina, River Quay Fish and The French Bistrot, and Perth diners should put Angove Kitchen & Espresso Bar, Prince Lane and Street Eats Eatery on their radar. You might want to revisit an old favourite or you could get a little adventurous and road-test somewhere new. Either way, there's ample time to squeeze in a fair few discount feasts before the festival wraps up on August 11. The Fork Festival runs from July 1–August 11. The full list of participating restaurants will be released on the website on June 30. Top image: Caffe Bartolo by Kitti Gould; Casa Nom by Griffin Simm.
The National Cabinet was set to meet and decide on how to relax some of Australia's social distancing and public gatherings restrictions on Monday, May 11 — inline with the end of Victoria's second four-week state of emergency — but Prime Minister Scott Morrison decided today, Friday, May 1, to bring this date forward to next week. "Decisions on relaxing restrictions will be made next Friday [May 8]", the Prime Minister said. "Australians have earned an early mark for the work they have done." Some states have started to ease minor restrictions — such as allowing two-person house visits in NSW and more outdoor recreational activities in Queensland — but next Friday's announcement could see some larger decisions made on the federally mandated public-gathering and social-distancing rules. The Northern Territory, which has had a total of 28 cases, has already outlined its own roadmap to the "new normal", with the reopening of restaurants, bars and cafes set to take place on Friday, May 15. The Prime Minister would not comment on exactly what restrictions could be wound back, but that "room density measures" — such as the previous one person per four-square-metre rule for indoor venues — and requirements to remain 1.5 metres apart will not be lifted. This could impact if it's financially viable for restaurants, bars and cafes to reopen, even if they are allowed to. Before any restrictions are lifted, though, the Prime Minister said that more people need to download the government's contact-tracing app COVIDSafe. He said that while 11 of the 15 previously outlined conditions under which restrictions could be eased had been met, the final piece in the jigsaw puzzle of contact tracing was not in place. "There are currently over 3.5 million downloads and registrations of the COVIDSafe app, but there needs to be millions more," the Prime Minister said. He reiterated that if Australians want to go to the pub, they have to download the app. For now, the current COVID-19 restrictions will remain in place for at least the next four weeks. And fines are still in place for disobeying these in NSW, Vic and Queensland. 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: Kimberley Low
Just hours after its series finale aired, Prime Video has confirmed that The Summer I Turned Pretty will conclude with a feature film. Announced on Thursday, September 18, the adaptation of Jenny Han's bestselling trilogy will wrap up with a movie written and directed by Han herself. "The Summer I Turned Pretty has struck a chord with audiences everywhere, creating moments of joy, nostalgia, and connection that have made it a global sensation," Courtenay Valenti, head of film, streaming and theatrical at Amazon MGM Studios, and Vernon Sanders, Global Head of Television at Prime Video and Amazon MGM Studios, said in a joint statement. "We're proud of the series' extraordinary success and couldn't be more excited to partner again with Jenny Han to bring fans an unforgettable next chapter." Han added: "There is another big milestone left in Belly's journey, and I thought only a movie could give it its proper due. I'm so grateful to Prime Video for continuing to support my vision for this story and for making it possible to share this final chapter with the fans." Since premiering in 2022, The Summer I Turned Pretty has become a global phenomenon. Its second season, released in 2023, more than doubled the first season's viewership within its first three days. Season three debuted in July 2025 and was streamed by 25 million viewers worldwide in its first week, becoming Prime Video's fifth most-watched returning season. The series has also helped launch the careers of stars Lola Tung, Jackie Chung, Christopher Briney, Gavin Casalegno, Rachel Blanchard, Sean Kaufman and Rain Spencer. No release date has yet been set for the film. Images: Erika Doss | Amazon
In Stay of the Week, we explore some of the world's best and most unique accommodations — giving you a little inspiration for your next trip. In this instalment, we go to The Lindis in Canterbury, New Zealand, where you'll find small but mighty luxe pod accommodations overlooking the Ahuriri Valley's dramatic landscape. If you're itching to get away and ready to book an Aotearoa holiday now, head to Concrete Playground Trips to find a fabulous line-up of deals on roadtrips around New Zealand — including car rental, accommodation and breakfast. WHAT'S SO SPECIAL? These nature pods are inspired by the tiny homes you've seen popping up all over Australia and New Zealand — but so much more luxurious. The design of the rooms, the epic views and the access to the nearby lodge all make for a spectacular stay. THE ROOMS What the Lindis pods lack in size (they're about 18 square metres), they more than make up for with amenities. Each totally private room boasts a king-size bed with lush linens, ensuite with premium toiletries and private bathtub, an outdoor sitting area and, crucially, heating for when the outside temperature drops. But one of the best features comes in the form of the pod's structure itself. Three of the sides are covered in double-glazed mirrored glass than spans from floor to ceiling — perfect, in other words, for sitting in bed and marvelling at the incredible valley views before you. The Lindis pods are also entirely separate from everything else on the property, but you are within a short walk of the property's main lodge. Head here for the property's main dining room, a bar, lounge areas, a games room and a billiards room. FOOD AND DRINK One thing to note up front: at The Lindis, daily breakfast, lunch, pre-dinner drinks and canapes, multi-course dinner and the minibar is all included in the price of your stay. Because a truly relaxing getaway should involve needing to make as few decisions as possible. On the menu, you'll find produce that's either locally sourced or harvested from the property's on-site garden, from wild venison to porcini mushrooms and even locally caught seafood. The ever-evolving menu can also be paired with a nightly rotating selection of New Zealand and international wines. THE LOCAL AREA The Lindis is located in the Ahuriri Valley on New Zealand's South Island. Up here you'll spend your time among rugged mountain ranges, wetlands bursting with wildlife, tussock grasslands and vast beech forests. If you're looking for peace, quiet and reconnecting with nature, you're in the right place. THE EXTRAS Sure, you could take in the rugged terrain from your bed or outdoor terrace, but The Lindis also offers plenty ways that allow you to experience the land from up close. Take yourself on a hike or e-bike ride through the valley, or saddle up for a horseback tour for a truly unforgettable experience. Want to see it from above? The Lindis also offers helicopter flights so you can truly feel on top of the world. If you're after something more leisurely, book a picnic or barbecue package. And, when the sun goes down, join the team for a spot of spectacular stargazing. Head to The Lindis website to book a stay at one of its luxurious pods. Feeling inspired to book a truly unique getaway? Head to Concrete Playground Trips to explore a range of holidays curated by our editorial team. We've teamed up with all the best providers of flights, stays and experiences to bring you a series of unforgettable trips in destinations all over the world.
UPDATE, October 7, 2020: The Death of Stalin is available to stream via Stan, Google Play and YouTube Movies. "I can't remember who's dead and who isn't," remarks a Soviet minister in The Death of Stalin, in what's actually one of the movie's tamer jokes. Guards tell each other to ignore a noise from the leader's office, because even acknowledging it would likely get them killed. Lackeys remark that all the best doctors are either in the gulag or dead. Generals enter the room asking "what's a war hero got to do to get some lubrication around here?" The list goes on. If you're going to make fun of the titular event and its aftermath, then there's no point being coy about it. And given that Veep, In the Loop and The Thick of It satirist Armando Iannucci is behind this fiercely, blackly funny film, viewers can be assured that it doesn't hold back. It's Moscow, circa 1953. Joseph Stalin (Adrian McLoughlin) falls to the floor, and Russia's Politburo don't quite know what to do. Not that deputy Georgy Malenkov (Jeffrey Tambor), party head Nikita Khrushchev (Steve Buscemi), foreign minister Vyacheslav Molotov (Michael Palin) or secret police chief Lavrentiy Beria (Simon Russell Beale) can admit it, either publicly or privately. After three decades of Stalinist rule by fear, intimidation and executing anyone who expresses even the slightest opposition, the country's top brass are only certain of two things. Firstly, they can't trust anyone at all, not even each other. And secondly, if they show any sign of weakness or disloyalty, they'll end up stabbed in the back and six feet under themselves. Hell, the latter will probably happen anyway. So begins The Death of Stalin, a movie that takes inspiration from history, is filmed with the fitting slickness of propaganda, and really couldn't be more timely. It's a political farce about tyrannical leaders, slippery cronies and a nation in turmoil. It's also a portrait of a government wedded to its own version of the truth at any cost, and acting absolutely mercilessly in dispensing with anyone who disagrees. Finally, it's a flick about blustering men pretending they're stronger and bolder than they are, while whipping up paranoid hysteria to hide their failings. This should all sound familiar, and there's plenty more modern-day parallels where they came from. Yes, Iannucci is at it again in his usual uproarious fashion, slinging gags like weapons and flinging devastating one-liners like Molotov cocktails. (If you're wondering, the bomb did indeed get its name from Palin's character). Tackling Stalin's murderous regime, corrupt wheeling and dealing, and crafty offsiders, the filmmaker keeps one eye on the past and the other on contemporary times. Whether he's sticking with fiction or twisting days of old, the British writer-director has always had a knack for mirroring reality. That mightn't appear particularly hard given that Iannucci routinely turns the halls of power into caustic comedies, but no one manages the feat quite like him. He says "fuckety bye" to good taste and a rousing hello to savage parodies that simply wouldn't be as funny if they didn't seem both outlandish and accurate. Provocative, perceptive writing may be a sizeable part of The Death of Stalin's charm, but the film's cast do just as much heavy lifting. In particular, Buscemi's Khrushchev ranks among Iannucci's best characters — think The Thick of It's Malcolm Tucker in a literal life-or-death scenario, with equally oily schemes and rapid-fire insults. That said, the movie is an ensemble affair, including a hilarious Rupert Friend and a stern Andrea Riseborough as Stalin's children, plus Jason Isaacs as a gloriously puffed-up military head. As characters bicker over Stalin's body and banter about allegiance to the state, the corresponding performances prove a masterclass in devilishly, hysterically bleak comedy. If it all seems as brilliant as it does absurd, then this is your kind of film. https://www.youtube.com/watch?v=7KWg2nTYmk8
On Saturday, July 31, Queensland Deputy Premier Steven Miles announced that 11 Local Government Areas in and around Brisbane were going back under strict stay-at-home conditions in a bid to stop the spread of the region's latest locally acquired COVID-19 cases. And, on Monday, August 2, that lockdown was extended until at least 4pm on Sunday, August 8. The outbreak was first identified in a student at Indooroopilly State High School last week, locally acquired case numbers growing since. On Wednesday, August 4, Queensland has 100 active cases. The current lockdown applies to the Brisbane City Council, Logan, Moreton Bay, Ipswich, Redlands, Sunshine Coast, Gold Coast, Noosa, Somerset, Lockyer Valley and Scenic Rim LGAs — and, this time around, the rules are tighter than in the past. Present restrictions include the reinstatement of the four reasons to leave your home, a ten-kilometre travel limit and a ban on visitors to your home; however, the full list of rules can be a bit overwhelming. So, we've broken down just what you can and can't do during this latest stint of stay-at-home conditions. This information is correct as of Wednesday, August 4. For what reasons am I allowed to leave the house? Remember those four reasons announced back in March 2020? These reasons have been reintroduced. That means that you can only leave your home to get essential goods – for example, groceries and medications – but only within ten kilometres of your house; for essential work if you can't work from home, and for school or childcare; for exercise within ten kilometres of home, and only with one person who isn't in your household; and for healthcare, including to get a COVID-19 vaccination, or to provide help, care or support. You can also leave home in an emergency situation, or if directed to by an emergency officer. For how long can I leave the house? There isn't a time limit when it comes to leaving the house, although folks are obviously encouraged to do so as little as possible. Again, you can only leave for the four permitted reasons. Is there a curfew? No, there is no curfew. You are allowed out of your house at any hour as long as it is for one of the four permitted reasons. Do I have to wear a mask? Yes, masks or face coverings are still compulsory in the 11 LGAs, as they have been since the region's last lockdown. You now need to wear them indoors everywhere but your own home, and outside. And, you always need to carry one with you. You can find out all the nitty-gritty in our latest article about the mask mandate. How far can I travel? You can only travel up to ten kilometres from your home to exercise or to go shopping for essentials. The only reasons to exceed this ten-kilometre radius are for permitted work, and receiving care and caregiving. You can also leave your home in the case of an emergency or family violence. In all other circumstances, even when it isn't a specific rule as is the case with exercise and shopping, you are asked to stay within ten kilometres of your home, Enforcing a strict travel limit is new to this lockdown, so if you're not sure where you can pick up groceries or workout, check out this handy website that works out your ten-kilometre bubble for you. Can I see friends and family? No, you can't have visitors to your home — or gather with friends and family in a public place during the current lockdown. You are allowed to be joined by members of your household or one other person who lives within your ten-kilometre radius while exercising. Can I drive to a park to exercise? As long as it's within ten kilometres of your home, yes. Can I go to the beach? You can go to the beach for exercise only if there is one within ten kilometres of your home. [caption id="attachment_637609" align="aligncenter" width="1620"] Taro's Ramen, Anwyn Howarth[/caption] How about to a restaurant or cafe? You can pick up takeaway from a hospitality venue located within ten kilometres of your home, but dine-in service is off the cards. Or a gym? All gyms (indoor and outdoor), boot camps, sporting facilities and public pools are closed. Are sporting events permitted? Community sporting events are not permitted to proceed during this lockdown. Initially, at the first press conference announcing the lockdown, professional sport wasn't permitted either. "There will be no football matches. So, no community sport, no professional sport, nothing for the next three days," said Queensland Chief Health Officer Dr Jeannette Young during the state's COVID-19 update on Saturday, July 31. However, some NRL matches were allowed to go ahead on Sunday, August 1, without crowds. If any professional sporting matches go ahead before lockdown is slated to end at 4pm on Sunday, August 8, they also will do so without crowds. Can I go shopping? For groceries and other essentials, yes. Supermarkets, food and liquor stores and pet stores are all open. But you must only shop for essentials within your ten-kilometre bubble — and not all shops will remain open, or some will have altered hours, so check before you head off. Can I attend a funeral? Yes, however funerals are limited to ten mourners. Can I attend a wedding? Yes, weddings are permitted to continue, but only with ten people in attendance. Eleven LGAs in the Greater Brisbane area are currently in lockdown until at least 4pm on Sunday, August 8. For more information about the status of COVID-19 in Queensland, head to the QLD COVID-19 hub and the Queensland Health website. More details about the lockdown and associated restrictions can also be found on the Queensland Health website.
In the era of #cleaneating, how can the less sanctimonious among us get our foodie jollies and an unhealthy serving of trans fats? The answer is deep-fried and covered in sauce: American food, of course. Fare from the US of A has enjoyed a steep increase in popularity among Brisbanites lately, and though it's not helping us keep our waistlines in check, the food on offer is just too good to ignore. Here are five of the best American food joints in town, and the dishes you mustn't miss. 1. Yard Bird Ale House Despite its Fortitude Valley location, this is one Ale House that's easy to miss — and regulars wouldn’t mind keeping it that way. Yard Bird is tucked into the Brunswick Central complex behind Bravo bar, and is regularly packed to the gills with ravenous patrons washing down wings, pizzas and burgers with a pint of Little Creatures or Monteiths cider. Everything on the menu is top notch, but the star has to be the chilli cheese fries. Shoestring fries perfectly deep-fried then heaped with beef chilli, cheese, jalapenos and Yard Bird’s special sauce. How could something that tastes so good possibly be wrong? Whether you're hungover or just really hungry, these fries will hit the spot. They're also available with bean chilli for those of the veggie persuasion. 6/24 Martin Place, Fortitude Valley 2. Tippler's Tap Heading back towards Fortitude Valley, you'll find Tippler's Tap in Newstead. Light on the wallet and heavy on the calories, this is definitely an establishment you should enter hungry. With prices so low it's easy to over-order, so bringing a few hungry friends won’t hurt either. There is an impressive range of craft beers on tap, and the lovely bar staff can point you in the direction of your ideal brew. With a menu including hot dogs, jaffles and onion rings, it's tough to pick a favourite, but the chilli and sliders are probably the ones to beat. 1/22 Masters, St Teneriffe 3. Carolina Kitchen The most unassuming of American food havens, Carolina Kitchen can be found on a quiet corner in suburban Coorparoo. This doesn't deter its loyal customers, though, who come in droves for the delicious hoagies (subs), burgers, wings, fries, and most of all, the ribs! Falling off the bone and smothered in rich and smokey BBQ sauce, these could tempt almost anyone away from their quinoa and kale. Pair these meaty beauties with a classic root beer, and finish your Carolina Kitchen meal off with a slice of pie — some of the varieties regularly available are pumpkin, key lime, pecan and cherry. Yum. 2/38 Macaulay Street, Coorparoo 4. Lefty's Old Time Music Hall Lefty's doesn’t just offer an American food menu; it’s a little slice of Americana in the heart of Caxton Street. Described by co-founder Jason Scott as "themed like Deadwood meets Carnivale in a Louisiana brothel," this new bar and music venue has ambience to burn. The food menu is short and sweet, featuring snacks like popcorn shrimp and onion rings, but if you’re peckish, don’t miss the po’ boys. The blackened catfish po’ boy in particular is a tasty treat — full of smoky Cajun flavour on a crusty bun, and of course, a side of fries. You’ll love the mini Tabasco sauce bottles that come with the meals. 15 Caxton Street, Petrie Terrace 5. Shady Palms The latest venture from Mal and Bec of Lady Marmalade Cafe, Shady Palms has already become Stones Corner’s hottest new Sunday session location. More importantly, it also features an excellent American-inspired menu stretching through breakfast (yay!) into the late evening. A Shady Palms brekky might include a bagel, salted cod croquettes or pork tacos, while the sliders, po’ boys and share plates make great afternoon snacks. For a full-on kilojoule walloping, try the fried chicken with a side of macaroni cheese — it’ll beat your bucket of drumsticks any day of the week. This chilled new venue also hosts live music and cult theatre nights. 427 Logan Road, Greenslopes View all Brisbane Restaurants.
Blessed be your streaming queue one last time, or at least until a TV version of The Testaments arrives. The Handmaid's Tale is finishing in 2025, concluding with the page-to-screen hit's sixth season. As both the first teaser trailer and the just-dropped full sneak peek at the award-winning series' last run illustrate, June (Elisabeth Moss, The Veil) is again up for a fight. Since 2017, watching The Handmaid's Tale has meant wishing for one thing: the end of Gilead, the totalitarian, male-dominated society that rules the show's dystopian version of the United States. In the award-winning series adapted from Margaret Atwood's 1985 book, that outcome is finally coming in a way, at least for viewers for now. When June says that "this is the beginning of the end" in the new trailer, ideally she means for the way of life that she's been forced to endure — but whatever happens, this specific Gilead story will wrap up. "Now it's time for them to be afraid of us," June also states. For the show's protagonist and her fellow red-wearing women, revolution is coming. Rallying against the oppressive status quo however possible has sat at the heart of this series since day one — and in its last season, June is back waging war. As the initial teaser trailer for season six had June note, outlining the ways that the regime has tried to push her and her fellow women down, including via their restrictive attire, "the dress became a uniform — and we became an army". If you haven't read The Testaments, and therefore have no idea where Atwood has guided her franchise on the page from here, it's set 15 years after the events of its predecessor and also includes familiar characters. How that'll play into the end of The Handmaid's Tale on-screen obviously hasn't been revealed. Season six's plot will chart June's battle to take down Gilead, though, plus Luke (O-T Fagbenle, No Good Deed) and Moira (Samira Wiley, Breaking News in Yuba County) joining the resistance, Serena's (Yvonne Strahovski, Teacup) efforts to change Gilead, tests for Nick (Max Minghella, Maximum Truth), and reckonings for Commander Lawrence (Bradley Whitford, The Madness) and Aunt Lydia (Ann Dowd, The Friend). The sixth season of The Handmaid's Tale debuts on Tuesday, April 8, 2025. Down Under, it streams via SBS On Demand and Neon. Praise be for what looks like one helluva last hurrah for the show. Madeline Brewer (Space Oddity), Amanda Brugel (Dark Matter), Sam Jaeger (Wolf Man) and Ever Carradine (The Neighbourhood) also all return among the cast, with Josh Charles (Moss' The Veil co-star) a new addition. Check out the full trailer for The Handmaid's Tale season six below: The Handmaid's Tale season six debuts on Tuesday, April 8, streaming Down Under via SBS On Demand and Neon.
Not content with terrifying southeast Queenslanders with their unsettling shipping container installations just once, the folks at Realscape Productions keep bringing back their disquieting Darkfield experiences again and again. The next chance to set your nerves on edge? It arrives at South Bank's Maritime Museum in the lead up to Halloween. The event inducing chills? Well, the fact that it's called Flight says plenty. This immersive favourite involves stepping inside a 40-foot steel box, sitting in pitch darkness and listening to a particularly heightened soundscape while the production plays with your sense of reality. For those who aren't fond of flying or don't cope well with the possibility of things going awry in the air, you might want to stay away. If your stomach can handle all of the above, step onboard. You won't actually be jetting anywhere, of course; however you will be strapping yourself into a section of a real commercial airliner, then pondering the many possible outcomes if the cabin suddenly happened to lose pressure. Created by Glen Neath and David Rosenberg, Flight draws upon the many-worlds interpretation of quantum mechanics while taking attendees on a multi-sensory journey. If you're keen, Flight's latest run spans Thursday, October 3—Sunday, December 8, 2024 at the Brisbane venue. Buckle up, and prepare to have your head completely messed with — unless you're claustrophobic, pregnant, or suffer heart or back conditions, in which case you'll have to firmly stay on the ground. Images: Mihaela Bodlovic / Realscape Productions.
Fancy getting an early start on a big citywide festival? And, while you're at it, celebrating Vietnamese Lunar New Year? Before BrisAsia Festival takes over Brisbane for ten days from Friday, January 31–Sunday, February 9, filling as much of this town of ours with as many events as it can — as it does every year — it's marking the changing of the lunar calendar at the Hội chợ Tết Vietnamese Lunar New Year Festival. Your destination: Richlands. Running from 5.30–10pm on Friday, January 24, this LNY celebration is organised by the Queensland Chapter of the Vietnamese Community in Australia, takes place at CJ Greenfield Complex Park, and includes food stalls, lion dances, music performances and a traditional costume parade. Drop by for Vietnamese cuisine aplenty, arts showcases and possibly even learning a new skill — calligraphy is on the lineup, too. Also on offer: firecrackers, fireworks, a martial-arts performance and an official festival photo booth to snap some memories while you're there.
Usually, for one week each September, Brisbane becomes Australia's live music capital — even if a Melbourne survey generally claims otherwise. When BIGSOUND hits the city, it typically seems like every venue in Fortitude Valley is packed to the rafters with bands, industry folks and music-loving punters, all enjoying the latest and greatest tunes and talent the country has to offer. There's nothing usual about 2020, though. And, yes, that applies to this beloved music-fuelled celebration. In fact, after announcing back in July that it would still forge ahead this year as a physical, BIGSOUND switched to a virtual-only affair. Rather than four days of conferences, live festival showcases, secret shows and official parties, music fans can look forward to keynote addresses, online workshops, panels, discussions and an Australian artist showcase called The BIGSOUND50, all across a condensed two-day online program — on Wednesday, October 21 and Thursday, October 22. Announcing the change in an emailed statement, BIGSOUND management advised that the shift in direction stems from "ongoing COVID-19 restrictions and domestic border closures"; however the festival will adjust. It'll also address the challenges of 2020 and what that means for the industry moving forward by focusing on three specific themes: community, survival and re-futuring. [caption id="attachment_636254" align="aligncenter" width="1920"] Waax, BIGSOUND 2017. Image: Bec Taylor.[/caption] Overseeing the virtual program are Janne Scott, BIGSOUND's creative director (and Splendour In The Grass' senior creative manager); Alethea Beetson, the event's First Nations producer and programmer; and conference programmer Tom Larkin. Beetson, as well as festival co-programmers Dominic Miller and Ruby-Jean McCabe, will select the artists featured in The BIGSOUND50. Past BIGSOUNDs have showcased everyone from Gang of Youths, Flume, Tash Sultana and Courtney Barnett to San Cisco, Violent Soho, Methyl Ethel and The Jungle Giants, so its program is usually a very reliable bellwether of current and up-and-coming talent. Top image: Keynote speaker Mo'Ju at BIGSOUND in 2019
Film fans, your spider-senses should be tingling: there's a new batch of Spider-Man-adjacent characters swinging onto the big screen. Get ready to meet Dakota Johnson (Cha Cha Real Smooth) as Madame Web, aka clairvoyant paramedic Cassandra Webb. Get ready, too, for Sydney Sweeney (Reality) as Julia Carpenter, who has a stint as Spider-Woman in her story in the comic books. Johnson and Sweeney lead Madame Web, the fourth film in Sony's Spider-Man Universe. That's the name for the studio's franchise of flicks that have been spun off from its Spider-Man movies — so from Spider-Man: Homecoming, Spider-Man: Far From Home and Spider-Man: No Way Home — but aren't part of the the Marvel Cinematic Universe. Hitting cinemas on Wednesday, February 14, 2024, it slings in alongside Venom, Venom: Let There Be Carnage and Morbius, plus the delayed Kraven the Hunter when it arrives later the same year, to spread another web of superhero-related pictures. Given its name, there's no chance of thinking that Madame Web would be subtle about its Spidey links. The just-dropped first trailer for the film makes that plain not just in multiple Spider-Woman sightings, but in an explanatory line from Johnson designed to drop some backstory: "he was in the Amazon with my mum when she was researching spiders right before she died". In the first SSU movie with a female lead, the man that Webb is talking about is Ezekiel Sims (Tahar Rahim, Extrapolations), a character who also hails from the page. He factors into a narrative that has Webb almost drowning, then discovering that she can see the future, with not just Sims but Carpenter linked to her fortunes. Also, would this be a Spider-Man-related movie, or a comic book movie in general, if a complicated past didn't also play a part? Also featuring on-screen in Madame Web: Celeste O'Connor (Ghostbusters: Afterlife), Isabela Merced (Rosaline), Mike Epps (I'm a Virgo), Emma Roberts (American Horror Story) and Adam Scott (Party Down). Veteran TV helmer SJ Clarkson (Succession, Vinyl, Jessica Jones) directs, and also co-wrote the script with producer Claire Parker (Life on Mars). Check out the trailer for Madame Web below: Madame Web opens in cinemas Down Under on Wednesday, February 14, 2024.
Digital art is taking over the Australian Centre for the Moving Image in a huge way in 2024. The Melbourne venue might be known for its cinemas, as well as past exhibitions about Martin Scorsese, David Bowie, Disney animation and women in Hollywood, but it doesn't just celebrate movies and television. If it can grace screens, it can feature here — including at the Marshmallow Laser Feast: Works of Nature showcase that's displaying until April, and then at just-announced fellow world-premiere Beings. Interactive pieces using innovative technology firmly fit ACMI's remit, which is exactly what its big winter exhibition will be about. The playful event explores the work of art and design collective Universal Everything, featuring 13 pieces from its 20-year career. And the experience that you have while walking through Beings won't be the same as anyone else's. [caption id="attachment_944195" align="alignnone" width="1920"] Future You' by Universal Everything, installation view, Digital Impact, Barcelona, Spain, photo by Eva Caraso.[/caption] On display from Wednesday, May 22–Sunday, September 29, 2024, this new reason to head to ACMI wants attendees to not merely look at, but also move and dance in front of its large-scale screens and projected artworks. Beings' pieces will respond differently to each visitor, using evolving algorithms and generative technology. That makes you part of the art as well. Founded in 2004, Universal Everything began in a garden studio in Sheffield, England, which is where Creative Director Matt Pyke initially set up shop. Now, the collective — which includes animators, architects, cinematographers, designers, developers, engineers and musicians — works globally. Its creations display around the world, too, with stints in London, Seoul, Paris, Istanbul and New York before its upcoming Melbourne exhibition. [caption id="attachment_944193" align="alignnone" width="1920"] 'Friends' by Universal Everything[/caption] Beings' pieces — four of which will be brand-new world-premiere artworks themselves — frequently use the kind of tech that Hollywood studios and video-game makers deploy. Expect to peer at and play with an assortment of characters, and to feel like you've stepped into a movie or a game as well. The exhibition will unravel Universal Everything's creative process, including via hand-drawn sketches that'll be seen by the public for the first time. [caption id="attachment_944198" align="alignnone" width="1920"] 'Into the Sun' by Universal Everything, installation view, Lifeforms exhibition, 180 Studios, photo by Jack Hems.[/caption] "This is technology with heart and soul. Innovative, interactive and enriching, Universal Everything's joyous creations bring warmth and a sense of humanity. Whether you have an eye for design, an interest in new tech or are simply looking for some fun, this family-friendly experience will leave you with a smile. ACMI is the home of endless play this winter — no two visits to Beings will be the same," said ACMI Director and CEO Seb Chan, announcing the exhibition. "I relish this opportunity to push our studio practice even further, with some never-before-seen artworks created for Melbourne audiences. And as ever, I'm looking forward to being surprised by unexpected visitor responses to the show. We hope they have lots of fun," added Universal Everything's Pyke. [caption id="attachment_944196" align="alignnone" width="1920"] 'Future You' by Universal Everything, installation view, More than Human, Afundación, A Coruña, Spain, image courtesy of the artists.[/caption] As is ACMI's custom, an exhibition at the Federation Square venue spans more than just the showcase itself. While the specifics are still to be revealed, there'll be late-night access, as well as a new contemporary dance series that features Melbourne choreographers. Beings is also family-friendly, so activities for kids — for preschoolers in general, and over the school holidays — are on the agenda. [caption id="attachment_944201" align="alignnone" width="1920"] 'Transfiguration' by Universal Everything.[/caption] [caption id="attachment_944199" align="alignnone" width="1920"] 'Kinfolk' by Universal Everything.[/caption] [caption id="attachment_944200" align="alignnone" width="1920"] ''Maison Autonome' by Universal Everything, installation view, image courtesy of the artists.[/caption] [caption id="attachment_944194" align="alignnone" width="1920"] 'Symbiosis' by Universal Everything.[/caption] Beings will display at ACMI, Federation Square, Melbourne, from Wednesday, May 22–Sunday, September 29, 2024 — head to the ACMI website for further details or to get tickets. Images: courtesy of Universal Everything. Top image: 'Infinity' by Universal Everything.
Remember the animation devices of ancient times, such as the zoetrope, praxinoscope and phenakistoscope? No, of course you don't. Fortunately, we have artist and technician Richard Balzer, who has taken it upon himself to perform the necessary updates. For more than 30 years, he has been dipping into cabinets of curiosity and combing through flea markets in order to find detailed drawings, diagrams and photographs from the old world and breathe new life into them through the popular gif image. From an early fascination with the magic lantern, Balzer has accumulated a comprehensive collection of optic toys and illustrations. These forms of visual entertainment were originally developed as an attempt to better understand the functioning of the eye and the brain. Enthralled by the phenomenon of illusory movement, Balzer has spent the last five years curating a virtual museum, bringing the image-making magic of these devices to the web. Peruse the catalogue and uncover innumerable psychedelic head-spinners, from galloping devils to backflipping knights in armour to monstrous faces swallowing and re-swallowing each other. Balzer's aim is simply to share his passion with as wide an audience as possible, whilst preserving and digitising an art archive on the verge of being forgotten. Via psfk and Colossal.
Whether tearing up football fields across during his 372-game stint for the Sydney Swans, or standing up against prejudice both in the AFL and in Australian in general, Adam Goodes' name has been splashed across the headlines plenty of times over the past two decades. That's not going to change in 2019, but for a different reason — the dual Brownlow medallist and 2014 Australian of the Year is the subject of two documentaries, with each exploring his story on and off the field, including the racism he endured over his 17-season playing career. The first film, The Final Quarter, just launched at the Sydney Film Festival, premiering to a packed house on Friday, June 7 and receiving a standing ovation from the lively audience afterwards. Directed by Ian Darling, and solely compiled from archival material — in a technique reminiscent of another great sports doco in recent years, Senna — it's a powerful and impassioned chronicle of the treatment Goodes received from crowds and commentators alike. Unsurprisingly, it's also both moving in displaying the AFL champ's dignified response to such horrors, and infuriating in its thorough examination of his ordeal. As the name suggests, The Final Quarter focuses on the last stages of Goodes' time in the AFL — when he was verbally attacked by spectators and high-profile media figures, relentlessly booed at games, put under immense scrutiny for celebrating his Indigenous heritage, accused of staging for free kicks and ultimately chose not to play for a period due to the toll he was under. As Darling astutely realised, the footage says it all. The documentary intertwines media clips from Goodes' games, general AFL coverage, news stories, press conferences and interviews from the era to paint a heartbreaking picture of the ex-Swans captain's experiences. As essential for the broader public as it is for football fans, the film is set for both a cinema and television release later this year, Just hours before the premiere — but nearly four years after Goodes retired at the end of the 2015 season, notably — the AFL and its 18 clubs released a long-overdue statement that apologised "unreservedly for our failures" in not standing up for him during his career. The second Goodes-focused doco, The Australian Dream, will surface in August. It's written by acclaimed journalist Stan Grant, and will open the Melbourne International Film Festival before hitting theatres around the country. Check out the trailer for The Final Quarter below: https://www.youtube.com/watch?v=q9C8JaJxoYU The Final Quarter will release in Australian cinemas later this year. We'll update you with a release date when one is announced.
UPDATE, Friday, October 27, 2023: Pain Hustlers screens in select cinemas from Thursday, October 19, and streams via Netflix from Friday, October 27. There's never been any need to be subtle about Emily Blunt's talents as an actor. A resume filled with My Summer of Love, The Devil Wears Prada, Sunshine Cleaning, Looper, Edge of Tomorrow, Sicario, Mary Poppins Returns, A Quiet Place and its sequel, plus The English on the small screen, keeps proving a helluva showcase. With those versatile roles and others — Oppenheimer and Jungle Cruise are her most-recent big screen credits — Blunt gives audiences a very particular and highly welcome present. Every part for every actor sees them play characters that are constantly adjusting to their situation, given that's just what life is all about, but watching Blunt convey that experience is quite the gift. As her filmography repeatedly demonstrates, she knows better than most how to weaponise a stare and a pause, convey uncertainty with a shift and a gesture, and use both tone and pace to dig in — and, in a long line of excellent Blunt performances, that knack is on full display in Pain Hustlers. This pharma drama's best star — Chris Evans (Ghosted), Catherine O'Hara (Elemental), Andy Garcia (Expend4bles), Brian d'Arcy James (Love & Death) and Chloe Coleman (Dungeons & Dragons: Honour Among Thieves) all leave an imprint as well, but Blunt is the movie's knockout — steps into the shoes of Liza Drake. Relentlessly adapting is the Floridian's normality; she's a single mother to teenager Phoebe (Coleman), who has epilepsy that requires surgical treatment that Liza can't afford, and also lives in her sister's garage while stringing together cash from whichever jobs she can find. It's at one such gig as an exotic dancer, where her talent for sizing up a scenario and making the most of it is rather handy, that Pete Brenner (Evans) crosses her path. He wants more than her barside banter, proposing that she comes to work for him. If he didn't want her to genuinely take it up, he shouldn't have made the offer. Also apparent in Pain Hustlers: the latest on-screen takedown of the pharmaceutical industry and corresponding interrogation of the opioid crisis, aka one of pop culture's current topics du jour. Indeed, in only his second non-Harry Potter and Fantastic Beasts film since 2007 (the other: The Legend of Tarzan), director David Yates happily relies upon the fact that this realm is common ire-inducing knowledge no matter whether you've read journalist Evan Hughes' coverage of Insys Therapeutics — including 'The Pain Hustlers', a New York Times Magazine article, then The Hard Sell: Crime and Punishment at an Opioid Startup, the non-fiction book that followed. First-time screenwriter Wells Tower draws upon both, but similarly knows that his fictionalisation rattles around a heavily populated domain. Stunning documentary All the Beauty and the Bloodshed earned an Oscar nomination, miniseries Dopesick picked up an Emmy, and both Painkiller and The Fall of the House of Usher have hit Netflix in 2023 — as will Pain Hustlers — while diving into the same subject. In reality, Insys marketed a fentanyl spray called subsys for pain management, then came under legal scrutiny for adopting a whatever-it-takes approach to encourage doctors to champion the fast-acting, strong and addictive opioid. That's the Pain Hustlers story as well, as intercut early with faux documentary-style chats with the film's characters to make it plain from the outset that there's comeuppance in store for their unscrupulous and infuriating actions. Pete is a hotshot at Zanna, a pharmaceutical startup under the guidance of widower doctor Jack Neel (Garcia) that's spruiking its own mist. In his strip-club employment pitch, Pete doesn't tell Liza that the company's days are numbered if medical professionals keep steering clear of their drug lonafen. During that chat, he also doesn't glean how determined that the ever-enterprising Liza is when she sets her mind on something. From a starting point of zero, Liza boosts lonafen's market penetration to 86 percent quickly in the rise portion of Pain Hustlers' tale. Again, viewers are well-primed that the fall will come, but this is a hustling-fuelled, capitalism-indicting, "what would you do?" type of telling. An amalgamation of a few IRL folks, Liza is the only person who finds an angle into medicine cabinets, getting lonely pain-clinic doc Lydell (James) over the line in no small part thanks to paying him attention. She's also the only character with questions about the corporate-sanctioned move into bribes, false claims, and flouting regulations in the pursuit of more and more success ("grow or die," implores Neel). Hollywood neatness lingers in her arc, as someone with an urgent need for money to help her family and sincerity in her belief that she's slinging a worthy product, while also enamoured with the upgrade from motel living to a palatial apartment, even hiring her mother (O'Hara), and proving exceptional and influential at her task. That's where Blunt, who is also one of Pain Hustlers' producers, couldn't be more crucial — selling every slippery, driven, desperate, calculating, American dream-chasing and well-meaning choice alike. In a version of this film that didn't feature Blunt, everything would suffer, including her co-stars. From Evans in Knives Out- and The Gray Man-esque skeezy terrain (so, worlds away from Captain America) to Garcia getting hopped up on greed, everyone in Pain Hustlers is at their best when they're reacting to her — and, of course, she's equally formidable whether she's in the centre of the glossily shot frame alone or flanked. Making workmanlike contributions, Yates and Tower prescribe only the expected otherwise. Apart from stressing that their movie isn't advocating pushing pills (well, sprays in this instance), their doco-leaning segments are gimmicky, even when they survey patients with horror stories. Pain Hustlers is still engaging enough, though, but it's the picture's terrifically cast lead that's compulsive to watch. When Liza, Pete and company — Jay Duplass (Industry) and Amit Shah (Happy Valley) are among Zanna's other employees — are making bank, the lonafen playbook isn't far removed from their competitors. In a film that recalls The Big Short and Martin Scorsese's work, there's a raging case of like plot, like movie as blatant as a bright-orange pill cylinder. Pain Hustlers doesn't just tread in Dopesick et al's footsteps, but in Goodfellas and The Wolf of Wall Street's as well. Liza could be a sibling to Erin Brockovich's namesake, too, with the performance to match. And, as it trades in horrific details yet never goes full horror like The Fall of the House of Usher, Succession also lingers. In one of Evans' great scenes, in fact, he takes to the stage in costume and raps the drug's praises. He's decked out like a lonafen spray, but he's firmly and gleefully in Kendall Roy territory. It's an entertaining moment, but also underscores the difference between watchable and spectacular.
Tuck into a wagyu croquettes, sip fairy floss-topped cocktails, peer at street art: that's what's on the menu at the latest eatery to join Howard Smith Wharves. The Crystalbrook Vincent has given its ground-floor eatery a makeover, farewelling Polpetta and welcoming in Mews instead — and the revamped space takes inspiration from laneway culture. That means that you'll find art by local creatives gracing the restaurant and bar's walls, including pieces by artists such as Mr.Sor2, JORDACHE and James Ellis. Towering portraits, impressive floral murals, a couple of astronauts, tiny doors: that's all there for you to stare at while you eat and drink, with Mews officially opening on Thursday, August 11. The aim: to add another layer of art to the already art-focused hotel, which started its life as The Fantauzzo, then became Crystalbrook Vincent. With both monikers, the riverside place to stay pays tribute to photographer Vincent Fantauzzo, and features more than 180 of his works across over 500 prints (yes, some pieces pop up more than once). At Mews, while you're checking out the impressive walls, you'll be able to feast on either breakfast or dinner — or drinks. During its morning operating hours, the eatery dishes up eggs benedict made with Yatala ham hock; Montville forest mushrooms; and duck, fig and rosé cassoulet with Stanthorpe green apples and peas. Yes, serving a seasonal- and local-focused menu is a key driver behind Executive Chef Andrew McCrea's culinary lineup. Indeed, 80 percent of the produced used at Mews is sourced from local artisans, farmers and fisherman from within three hours of the restaurant. From the dinner range, that includes ingredients for its flower garden, which pairs Sunshine Coast zucchini flowers with Gatton goat's curd, baked marigold, Sunshine Coast figs and olive soil; the tuna tartare, which features Gold Coast yellowfin tuna and pennywort tartare, Byron Bay mustardale and smoked Gatton egg; and the Moreton Bay bug with spicy cornbread and myrtle, Everton Park honey jus, succulent pickle and citrus paint. Other standout dinner options span those aforementioned wagyu croquettes, a Wivenhoe mushroom garden with sheep's milk on black garlic soil, plus slow-roasted three-day truffle carrot. And, for dessert, highlights include chocolate frozen mousse paired with tangelo curd, sandpaper fig and macadamia fudge, sweet marigold dew, chocolate popping compost and lime glass — as well as a dish called 'The Jackson Pollock', which features passionfruit curd, fizzy maple honeycomb, white chocolate roast and lemonade fruit coconut ice. The drinks lineup features bloody marys and mimosas over breakfast, along with a focus on Aussie wines from both up-and-coming producers and well-known names, with Witches Falls and De Beaurepaire Wines given spotlight spots on the menu. If you're keen on a cocktail, classics such as mint juleps, sazeracs and gimlets sit alongside a small range of signature concoctions. Pick something from the latter and you can try 'The 777', which features vodka, chambord, apple, wonderfoam and fairly floss; 'Big Fat Pig', which is made with bacon-infused Makers Mark bourbon, apricot and mandarin marmalade, chocolate liquor, agave and pancetta; and the 'Salute The King' featuring Brookies Mac, Brookies dry gin, mint, and sweet and sour. Find Mews at the Crystalbrook Vincent, Howard Smith Wharves, 5 Boundary Street, Brisbane — open from 6.30–10.30am weekdays and 7–11am weekends for breakfast, 5–9pm Monday–Saturday for dinner, and from 9pm Friday–Saturday for nightcaps.
UPDATE, April 1, 2021: The Personal History of David Copperfield is available to stream via Amazon Prime Video, Google Play and YouTube Movies. He's skewered British, American and Russian politics in The Thick of It, In the Loop, Veep and The Death of Stalin. This year, in the eerily prescient Avenue 5, he pondered what would happen if a group of people were confined on a cruise of sorts — a luxury space voyage — for an extended stretch of time. But, made in period comedy mode, The Personal History of David Copperfield might just be Armando Iannucci's most delightful affair yet. Indeed, playfully trifling with a Charles Dickens classic suits the writer/director. It should; he's a huge fan of the 19th-century author, and a staunch believer that Dickens' body of work "isn't just quality entertainment for a long-dead audience" (as he told viewers in his 2012 BBC special Armando's Tale of Charles Dickens). And so, taking on the acclaimed scribe's semi-autobiographical coming-of-age story, Iannucci tinkers, massages and re-envisages David Copperfield with ample love for the literary source material. In the process, he also crafts a still Victorian era-set yet unmistakably modern — and fresh, very funny and sharp-witted — big-screen adaptation. The eponymous character's tale begins in the film as it does on the page: with Copperfield determined to discover whether he shall turn out to be the hero of his own life "or whether that station will be held by anybody else". On-screen, the hopeful aspiring writer (Dev Patel) delivers that statement from a stage while speaking to a crowd. Then, in one of the many inventive visual flourishes that mark Iannucci's lively retelling, Copperfield strolls through the background to revisit his experiences from the moment of his birth. Though he enters the world to a doting mother, Clara (Morfydd Clark), his isn't a childhood filled with unfettered happiness. The joy he feels in his earliest days (as played by Ranveer Jaiswal and Jairaj Varsani) — and when his beloved nanny Peggoty (Daisy May Cooper) takes him to visit her family, who live in an upturned boat that doubles as a beach house — subsides quickly when Clara remarries. Not only is his new stepfather (Darren Boyd) stern, cruel, violent and accompanied by an equally unpleasant sister (Game of Thrones' Gwendoline Christie), but he sends the boy off to London to work in his factory. As episodic on the screen as it is in the book, Copperfield's life then navigates a rollercoaster of ups and downs — starting with the drudgery of child labour, as well as time spent lodging with the poverty-stricken, law-skirting but always kindly Mr Micawber (Peter Capaldi) and his family. After tragedy strikes, Copperfield moves in with his donkey-hating great-aunt Betsey Trotwood (Tilda Swinton) and her equally eccentric houseguest Mr Dick (Hugh Laurie); however, though his situation appears to improve, the cycle from wealth to poverty and back again just keeps turning. As Dickens was, Iannucci and his frequent co-scribe Simon Blackwell (Peep Show, Breeders) are well aware of class chasms, the tough plights endured by the masses to benefit the better-off, the dog-eat-dog nature of capitalism in general and humanity's selfish, self-serving nature. The Personal History of David Copperfield may be largely upbeat in tone, visibly bright and dynamic, and take a few shrewd liberties with the story, but the darker elements of the narrative never escape view. Nor, as is to be expected given Iannucci's political satire prowess, do The Personal History of David Copperfield's contemporary parallels and relevance evade attention. Watching the twists and turns of Copperfield's life, it's easy to see how little some things have changed (attitudes towards everyone who isn't rich, white, powerful and male, especially, particularly in Brexit-era Britain) even 170 years after David Copperfield was first published. Heightening this perception is the movie's colour-blind casting, which not only extends to Patel's leading role, but to Doctor Strange's Benedict Wong, Harlots' Rosalind Eleazar and Avenue 5's Nikki Amuka-Bird in key parts (among other on-screen performers). No one mentions race; however, as also seen in the other recent and exceptional example of purposefully inclusive casting — musical sensation Hamilton — reframing this story to include and champion diverse backgrounds leaves a firm imprint. That makes The Personal History of David Copperfield as perceptive as it is jovial, jaunty, hilarious and spirited. In other words, it makes it a classic addition to Iannucci's resume. He's never shown as much visual creativity as he does here — deploying split-screen imagery, rear-projecting memories on giant tarpaulins, brandishing colourful costumes, favouring theatrical wide-angle lensing and even harking back to 1920s silent cinema — but he's astute as he's always been across his career. As always, that extends to his choice of actors in general, with the perfectly cast Patel as charming and thoughtful as he's ever been; Swinton, Capaldi and Laurie all put to stellar comic use; and Ben Whishaw suitably shady as the conniving Uriah Heep. With this gem of a sharp, savvy and supremely entertaining film, Iannucci doesn't just update Dickens for a modern audience or show that the author's work is still pertinent, but creates one of the great page-to-screen adaptations. https://www.youtube.com/watch?v=tqO25i-XNEU
Rebecca Ferguson will never be mistaken for Daveed Diggs, but the Dune, Mission: Impossible franchise and Doctor Sleep star now follows in the Hamilton Tony-winner's footsteps. While he has spent multiple seasons navigating dystopian class clashes on a globe-circling train in the TV version of Snowpiercer, battling his way up and down the titular locomotive, she just started ascending and descending the stairs in the underground chamber that gives Silo its moniker. Ferguson's character is also among humanity's last remnants. Attempting to endure in post-apocalyptic times, she hails from her abode's lowliest depths as well. And, when there's a murder in this instantly engrossing new ten-part Apple TV+ series — which begins streaming from Friday, May 5 — she's soon playing detective. Leaping to the screen from Hugh Howey's novels, Silo might share a few basic parts with other shows and movies — Metropolis, Blade Runner and The Platform also echo, as do the corrupt world orders at the core of The Hunger Games and The Maze Runner flicks — but this series isn't simply scouring its genre for useful parts. In a year that's made a hit out of the TV version of The Last of Us, it too ponders humanity's survivalist instincts, as well as how we shape our societies when the worst occurs. And, as fellow Apple TV+ sci-fi mystery Severance did so grippingly in 2022, it also contemplates what people are willing to accept to get through their days. Ferguson's Juliette is particularly adept at tinkering; however, the show she's in is always a complete piece in and of itself, and never just cobbled together from other sources. Silo captivates from the outset, when its focus is the structure's sheriff Holston (David Oyelowo, See How They Run) and his wife Allison (Rashida Jones, On the Rocks). Both know the cardinal rule of the buried tower, as does deputy Marnes (Will Patton, Outer Range), mayor Ruth (Geraldine James, Benediction), security head Sims (Common, The Hate U Give), IT top brass Bernard (Tim Robbins, Dark Waters) and the other 10,000 souls they live with: if you make the request to go outside, it's irrevocable and you'll be sent there as punishment. No matter who you are, and from which level, anyone posing such a plea becomes a public spectacle. Their ask is framed as "cleaning", referring to wiping down the camera that beams the desolate planet around them onto window-sized screens in their cafeterias. No one has ever come back, or survived for more than minutes. Why? Add that to the questions piling up not just for Silo's viewers, but for the silo's residents. For more than 140 years, the latter have dwelled across their 144 floors in safety from the bleak wasteland that earth has become — but what caused that destruction and who built their cavernous home are among the other queries. So is when it'll be safe to venture out again and whether everything the stratified community has been told, as documented in a book of decrees called The Pact, is 100-percent accurate. Along with giving wanting to leave such finality, other rules span how people can use remnants from the before times (called relics, and covering Pez dispensers, watches hard drives and more) and the lottery that allows couples to procreate (with women otherwise implanted with birth control). Here, breaking the indoors-only mandate, being too curious and challenging the status quo all have serious consequences, as Holston, Allison and Juliette learn. Brought to streaming by Justified creator, Speed writer, and The Americans and Slow Horses executive producer Graham Yost, Silo has twists in store for all three — but Juliette earns the bulk of its attention. In the "down deep", as the lower levels are dubbed, she's an engineer overseeing the generator that keeps things whirring. She's also sparked to do more than mechanics by her lover George (Ferdinand Kingsley, Mank), who has a fascination with relics and an obsession with exposing the truth about silo life. Sims isn't fond of her snooping, or of her rise from the bottom ranks in general, while she isn't impressed when she's paired with The Pact-worshipping Paul (Chinaza Uche, Dickinson). If the premise wasn't absorbing enough, with its setting, questions, arbitrary regulations, and conflict between those who've grasped power and everyone forced to live under their authority — and it is absorbing — Silo is a feat of world-building from its first moments. With kudos to the show's production designer Gavin Bocquet (The Dark Crystal: Age of Resistance), entire art department and special effects team, it's visually entrancing in its location alone. As this confined existence spreads up and down around a striking central spiral staircase — because there's nothing as advanced as an elevator to scale and plunge through the silo's floors — it does so with Soviet-era hues and a steampunk vibe to the show's retro technology. Discovering new spaces, be it the engine room where the intense ticking-clock third episode is set, or the floors devoted to crops and cattle, or the medical bay, is constantly a thrill, albeit never more so than the dramas playing out within each place. Within Apple TV+'s stable, both Severance and Hello Tomorrow! also benefited from blast-from-the-past looks while getting viewers puzzling. They each knew, too, that aesthetics and enigmas can't do all the heavy lifting. As they both proved, Silo is dedicated to its characters first and foremost — so much so that when some slip away earlier than their casting has audiences expecting, it feels like a genuine loss. That's not a criticism of the always-excellent Ferguson, who anchors the show with flinty determination, but praise for how well minor figures are fleshed out. She's magnetic, thoroughly deserving of her lead role and riveting in it, and she has stellar support, with Iain Glen (The Rig) and Harriet Walter (Succession) also welcome inclusions. Rich concept, stacked cast, immersive visuals, dripping intrigue: given how well Silo's first season pans out, it's no surprise that a second is already in the works. This strange new world doesn't come close to resolving every question it poses in this debut go-around, instead continually inspiring more, yet never feeling like it doesn't have an endgame or it's stretching out its story to prolong getting there. Cliffhangers are part of its storytelling process, but skilfully. The big reveal that ends the season is catnip for more to follow. Silo is just as involving when it's exploring its underground city, diving into its main players' histories, solving mysteries and inciting more — and worth digging deep into. Check out the trailer for Silo below: Silo streams via Apple TV+ from Friday, May 5.
You'll find Spicers Hidden Vale in Grandchester, which is a 30-minute drive from the Ipswich town centre. Equally suited to couples and groups of friends, this spot has country luxury down pat. Your accommodation comes equipped with thoughtful details, and may very well have a fireplace or a spa — or both — meaning it may be hard to leave your room. When you do venture outside, be sure to check out the kitchen garden, smokehouse and orchard or complete one of the nearby walking trails. As dusk settles you might play a game of pool in the games shed, take a dip in the spa or toast some marshmallows around the campfire. Yep, there's plenty to do around here. That said, you'll likely be just as happy to just pull up a chair on your verandah and watching the sun dip below the hills.
The silly season is upon us. Time to let go of those inhibitions and indulge in the excess of the season. Whether you're hosting Chrissie lunch, heading to a summer barbie or organising the office drinks, you'll want to make sure you're dining and sipping well. So, to help you sort out the menu, we've teamed up with our friends at Pernod Ricard, purveyors of festive tipples like Mumm, Chivas, St Hugo and Jacob's Creek, to bring you some top-notch food and beverage pairings for the festive season. Whether you're after a traditional roast, barbecued seafood or some tasty little canapés, we've tracked down a tip-top tipple to complement your Christmas fare. OYSTERS AND CHAMPAGNE It's a classic pairing; there's just something about the smooth, tannic saltiness of an oyster paired with a fizzy, dry Champagne that makes for a perfect (and rather lush) starter. Mumm's signature Cordon Rouge is a key drop to pair with your raw bar this Christmas. The nose offers hints of white and yellow peach with some delicate notes of lychee and pineapple, and on the palate, you can expect a complex yet well-balanced mouthfeel with lots of fresh fruity notes and the tiniest hint of caramel to balance. Pop and pour some Mumm as you shuck oysters with the family. And make sure everyone gets a go at opening their own oyster. SALMON AND A SPRITZ Fresh, bubbly and fun, the prosecco spritz is like that friend you invite to everything because you know they'll be the life of the party. And Jacob's Creek's version is no different — plus it makes hosting a breeze with the aromatic, orangey spritz flavours already bottled up. All you've gotta do is pour over ice and garnish with a slice of orange. As for the food, we recommend pairing those bitter orange notes and herbaceous aromas with the salty, oily flavours of smoked salmon blinis with cucumber, creme fraiche and salmon roe. It's elegant, sophisticated and dead easy to prep and serve. GRILLED PRAWNS AND ROSÉ With the heat, sunshine and general summer vibes, Australian Christmas typically favours seafood —what's more Australian than chucking a few shrimp on the barbie? Well, should you live in an apartment sans barbecue or just can't be bothered with the whole 'uh oh the prawn has fallen through the grate', this grilled alternative is quick, easy, flavourful and pairs quite well with a glass of rosé or two. Marinate the prawns in butter, lemon juice, garlic and herbs, and then place under your oven grill for two to three minutes. Plate up the prawns and get some chilled Jacob's Creek Le Petit Rosé on the pour. And with this pairing falling in line with the pinky orange Pantone colour of 2019, you'll not only eat like a king but a stylish, on-trend one at that. CHRISTMAS ROAST AND CAB SAV Even though it's likely to hit 30-plus degrees this Christmas, it's still hard to beat a traditional Christmas roast lunch on the big day. If you're going for a roast turkey, goose or chicken, complete with all the trimmings, you'll need a wine that can hold its own against the mammoth meal. St Hugo cabernet sauvignon pours an inky red-purple and offers a spicy bouquet of cherries, blackberries and a touch of star anise. On the palate expect a full body with roasted chestnut flavour and oaky vanilla, that finishes with an acidity that brings it all home. CHOCOLATE AND WHISKY Chocolate and whisky — it's got decadence written all over it. To achieve maximum opulence, you'll want to find a drop that'll be enriched by a chocolate pairing. The Chivas Regal 18 is a blended scotch whisky aged to bring out a smooth, spicy and slightly sweet flavour profile. The buttery toffee and caramel notes are complemented by dried fruit and a hint of spice and dark chocolate. Pour a nip over a single ice cube to pull out the flavours, and pair it with a square (or block) of rich, dark chocolate — or, even more decadent, a fudgy chocolate cake. Start planning your festive menus — Christmas will be here before you know it. Purchase any two eligible Pernod products from a Cellarbrations, The Bottle O, IGA Liquor or Big Bargain Bottleshop, and go in the draw to win a $500 travel voucher. There's one voucher to win every day till Christmas. And really, what could be better for the holiday spirit than winning an actual holiday?
We were greeted on the morning of day one with blue skies (and barrels) that would see the ultimate start to our Splendour experience. However, it wasn't always going to be that smooth, as a shock hail storm struck as we were walking in, and this would be the last time we saw any grass at Splendour. No doubt this provided a huge spike in gumboot sales for the northern New South Wales retail sector and it remains the best $50 spent for me, essentially providing a $15-$20 per day accommodation for my feet. The blue skies would return no sooner than 30 minutes later, but the mud had taken over the grass. Thanks to Virgin Mobile, we were provided with the best possible experience to witness one of Australia's top three-day festivals. There was no doubt a number of personal highlights, including Miike Snow, Tame Impala, Azelia Banks, The Gossip and Yuksek, but the main aspect that impressed me, and essentially was the reason why we were there, was seeing what a brand can do to to enhance the experience for festival attendees, management and artists alike, while ultimately delivering value back to its coffers. Below is a summary of the highlights from our Virgin experience of Splendour in the Grass. Looking at things from a festival organiser's point of view, Virgin's sponsorship made the ultimate festival wishlists come true, from Live Streaming, Mobile Applications, through to customer benefits such as the Posh Pits and Wristband technology. Live Stream We were taken on a tour of the backstage area where the Live Stream was conducted like a broadcast that you would expect to see at a major sporting event. With a cost that runs into six figures, you can see why sponsors play a pivotal role in a Festival's product mix. Watch the rest of the Live Streaming here, including artist interviews and live performances. The results of this year's live streaming proved to be the second largest in Australia's history. Some key numbers from the livestream include: 457,000 live views20 different cameras used to capture the action 405 minutes of live music being recorded 3500 frames of high definition digital festival footage being captured 4kms of cable being run 4 separate crews recording 2 live stages 8 interviews in the Virgin Mobile interview area back stage 37 crew members working a total of 1940 hours Mobile Application Mobile Applications at Festivals have become somewhat of the norm these days, especially the bigger, multi-day events. However, a good one is hard to come by, and most of them tend to get too confusing to use. However, the SITG app, in cahoots with Virgin Mobile, was the first one I relied heavily on at an event, providing the much needed planner functionality and the basic map (for the first day). The torch application was also handy at times. There were a couple of flaws, namely, the push notification didn't show the name of the acts playing. Channel V Recovery Party After Day One, we, along with Virgin Mobile customers, were invited to the exclusive Channel V Recovery Party at The Beach Hotel. This included (and was a compulsory part of our Virgin experience) beers from 9:30am and/or Not So Virgin Bloody Marys. It also provided us with a sneak peek at Billy Corgan, which caused a buzz amongst the lucky few that were gracing the famous beer garden. This was once again another great activation and provided the necessary motivation for us to kick day two off. Posh Pits What looked more like a Mosh Pit when we first turned up (due to the hail storm), the value of the Posh Pit was realised as the mud slowly took over the festival. Exclusive to Virgin Mobile customers, we continued to find ourselves turning up back at the Posh Pit due to the lack of queues for the toilets. Star Treatment Stop Probably the least valuable activation (but a nice touch all the same) was the Star Treatment Stop in Broadwater, approximately an hour away from Byron. It provided an excellent bump of excitement as we neared the festival. Coffee, some lollies and great chat with Virgin Angels were included too. However, not sure being man-handled was what we were expecting, although it is clear that this didn't matter in the photo above. Sponsored post
Already in 2022, Kevin Docherty and Sebastiaan de Kort have given Brisbane a 90-seat venue for meals and drinks that heroes seasonal Australian produce, revamping Paddington's Nota to add a wine bar and turn the whole setup into a neighbourhood-style go-to. But why just have one such joint to your name when you can have two? That mightn't have been the motivation behind Allonda in Newstead, but it's the result all the same. Now open in a laneway space off Longland Street, Allonda also seats 90. Its menu favours modern European-style, designed-to-share dishes as well. It's firmly a sibling venue to Nota, and the pair of restaurants will celebrate each other (there's even a Nota sour made with Frangelico and hazelnut on Allonda's cocktail menu). But as well as sitting on the other side of the CBD, this newcomer is carving out its own look and feel. Think: modern and casual compared to Nota's rustic heritage decor. Think: neutral colours, stone, polished concrete aplenty and textured finishes, also. That's what patrons will find when tucking into a bite in the main dining room or knocking back beverages at the bar — or, you can go al fresco in the laneway. A big point of difference stems from Allonda's mezzanine level that can be used for private functions, and its raw seafood and burrata bar. For those keen on the ocean's finest, the raw options are sourced locally, while cheese fiends will find different flavour pairings tempting tastebuds. If you only try one dish, make it the signature risotto all'onda, aka the eatery's namesake option. It's a Venetian risotto that chases the perfect combination — not too dry or too brothy — with Docherty and de Kort taking inspiration from that pursuit of balance, which all risottos need in their blend of butter, parmesan, stock and temperature, for the restaurant's overall philosophy. Other standout menu items include Western Australian scampi with roasted tomato butter, freshly made pasta paired with Nonna's secret-recipe ragu, an 800-gram black onyx rib eye on the bone from Ranger Valley, and fried black pudding with brown butter mayo. Or, there's chicken liver parfait with pear gel, tempura fish sandos, and Eton mess and honey parfait among the desserts. The group's sommelier Yanika Sittisuntorn is overseeing an evolving 90-bottle wine list, including focusing on lesser-known and experimental varieties — just as at Nota. There's a special Coravin menu as well, and a cocktail menu designed by bar manager Ben Horswell. On the latter, choices span chilli and basil spritzes, burnt orange and bourbon sours, and white chocolate negronis, as well as three non-boozy concoctions. Find Allonda at 17–21 Longland Street, Newstead — open Tuesday–Wednesday from 4pm and Thursday–Saturday from 12pm.
Whenever cold weather hits, spotting Uniqlo fans isn't hard. The brand's puffy jackets and vests are a winter favourite all around the globe, after all. Indeed, the chain has put a lot of fabric and oh-so-much down out into the world, as seen on rugged-up torsos everywhere. But, as part of a new sustainability drive, the company is looking to cut down its environmental impact. If you have a Uniqlo down-filled coat or vest rolled up in its handy bag and sitting on your shelf, but you know you're not going to wear it again, the company now wants you to bring your unwanted pieces of clothing back to one of its stores. Australians can head in, return their worn down jackets and vests, and receive a $10 voucher for their efforts, with the clothing then being recycled via the chain's new Re.Uniqlo program. The $10 voucher offer is only available until June this year, you can only use them in-store (not online) and you'll have to use it on replacing your old down products with something new. But the down recycling project is here to stay, in an attempt to stop the jackets and vests ending up in landfill. As part of its efforts to make sustainable apparel, Uniqlo will expand the scheme to other clothing items down the line, too. View this post on Instagram A post shared by UNIQLO AUSTRALIA (@uniqloau) If you're wondering how those returned items will be reused, Uniqlo is also launching a range of recycled down jackets in early April. They're made from 620,000 coats that were already collected in Japan since last September, and use the down and feathers previously in that big batch of jackets. For more information about Uniqlo's down recycling project and other recycling plans, head to the brand's website.
When Christmas and New Year are over, the temptation to hibernate grows pretty strong — so, you're probably going to need a little something extra to tempt you off the couch come January. Handily, online reservation platform The Fork has a winning idea up its sleeve: it's offering a huge five weeks of dining specials nationwide. Kicking off on Monday, January 6, the second ever The Fork Festival will see top restaurants across the country offering sit-down meals for half the usual price. Yep, 50 percent off your total food bill, folks — think of it as the proverbial carrot luring you out of the house. So far, 300 restaurants have signed up, but The Fork is expecting this number to grow to over 500 by January. To snag a half-price meal, you just need to make a reservation through The Fork website or app at one of the participating eateries for any service (breakfast, lunch or dinner) during the five weeks. [caption id="attachment_653288" align="alignnone" width="1920"] The Boathouse at Blackwattle Bay by Kitti Gould.[/caption] There are some great venues coming to the party, too. In Sydney, you'll find discounted eats at the likes of Eliza Food and Wine, Uccello, The Boathouse on Blackwattle Bay, Berowra Waters Inn, Butcher and the Farmer and Little Jean. Melbourne spots include Tulum Restaurant, Pascale Bar & Grill and Meat and Wine Co in South Yarra and Hawthorn. Brisbane folk can score discounts at the likes of Corbett & Claude and Malt Dining, and Perth diners should put Hunter and Barrel and Meat and Wine Co. You might want to revisit an old favourite or you could get a little adventurous and road-test somewhere new. Either way, there's ample time to squeeze in a fair few discount feasts before the festival wraps up on February 9. The Fork Festival runs from January 6–February 9. The full list of participating restaurants will be released on the website on January 6. Top image: Eliza Food and Wine, Sydney.
