Everyone loves pop songs — and anyone who says they don't is probably lying. It's okay, they've got a reputation to uphold. For one night at the Brightside, though, they don't have to pretend otherwise. Punk Goes Pop! is exactly what it sounds like: punk bands covering pop songs. It's based on the series of albums of the same name, first released in 2002, offering loud, fast-paced, rock-infused versions of everyone from 'N Sync to Belinda Carlisle, Rihanna to Kanye West, and Taylor Swift to Mumford & Sons. The list goes on. The Brightside's version offers a fun twist, with local bands Double Lined Minority, Set the Record, Seabound and Elegies along for the ride. They're serving up covers of covers of pop songs, like a nesting doll of new takes on catchy chart toppers. Between sets, Thriller DJs will spin the original compilations to ensure the upbeat mood never wavers. And then there's the drink of the evening, the aptly titled bucket cocktail Falling in Reverse's Take On Coolio's 'Gangstas Paradise' Was the Worst Cover in the History Of Music. Best order it when the music is quiet.
It's the yearly exhibition that leaves us with jaws on the floor; the 59th annual World Press Photo exhibition is coming to Australia for another year. Beating 97,912 submissions by 5692 photographers from 131 countries, Denmark's Mads Nissen took out the top spot for 2014 Photo of the Year for his intimate, poignant portrait of Jon and Alex, a gay couple in conservative St Petersburg, Russia. After almost six decades of beautiful and devastating photojournalism, the WPP contest continues to be one of the world's most important platforms for art, journalism and humanising the headlines. The World Press Photo exhibition can be seen at Sydney’s State Library of NSW, May 23 – June 21; WA Museum in Perth, July 4 – 26; and Brisbane Powerhouse, August 8 – 30. Before the exhibition makes its way to Australia, take a look through some of the landmark images that caught the eye of the WPP judges; from an orphaned rhino in Kenya to Lionel Messi at Brazil's World Cup, Istanbul's anti-government protests to a young Kamilaroi girl in Moree, New South Wales. With many of the photographs documenting the more saddening news headlines, they're often not easy images to look at, but it's the work of these photojournalists that wakes up an otherwise ignorant world.
Bangarra's latest work, lore, celebrates the passing-down of knowledge from one generation to the next. For 25 years, Bangarra has created dance works to enlighten audiences about how Aboriginal and Torres Strait Islander cultures survive today. As its title suggests, lore is no different in providing a stage for ancient spirituality to meet the 21st century. lore is a double bill, and making the rounds to Canberra, Wollongong, Brisbane and Melbourne, following a successful premiere at the Opera House on June 11. Seasoned choreographer Frances Rings' Sheoak is followed by I.B.I.S, by Deborah Brown and Waangenga Blanco, in their choreographic debut. Both Sheoak and I.B.I.S. transport the viewer to sacred places, whether at the roots of an all-giving Grandmother tree or surveying the beauty of the Torres Strait. Bangarra never shies away from social commentary; the works address everything from climate change to racial inequality. Yet in the staunch declarations of identity onstage, there is a constant look to the future, with hope.
Like your culture with a side of scares, your tunes on the heavier end of the spectrum, and your performances gloomier than most? Does your festival-going experience feel incomplete if you're not donning a costume while you're taking in a show? Whether you want to indulge your dark side, or you're just looking to attend a different kind of shindig, one event has you covered. That'd be the Dead of Winter, Brisbane's horror music and arts festival. Because there truly is a place for everything, Australia’s only boutique celebration of all things brooding and mysterious, culture-wise, has enjoyed revelling in the type of stuff most other events overlook since 2009. Think motley crews of horror punk lovers and misfit metal heads — and that's only the beginning. Rock, hardcore, blues and psychobilly combines with burlesque, comedy and even fashion in an event that really isn't like any other. A lineup of local and international underground bands and sideshows — including Tumbleweed, The Go Set, Lord, Dreadnaught, The Resignators and A Breach of Silence — will span multiple stages for a whole day of on-theme fun of the macabre and moody variety. It all happens on Saturday July 25 at the Jubilee Hotel, with tickets already on sale. Until then, it is perfectly acceptable to hole up watching horror movies while trying to decide which costumes to wear.
If you’ve been teetering on the brink of comic book and superhero fatigue, meet the movie that just might push you over the edge. In the case of the latest version of Fantastic Four, it’s not just the fact that every month seems to see a new film in the genre reach cinemas (or the knowledge that this particular content was translated to the screen just last decade). It's also the feature's embrace of cliché, grim tone and a complete lack of energy that causes it to grate, and then some. Fantastic Four is yet another gritty reboot of a superhero origin story. In case you can’t remember the 2005 film of the same name and its 2007 sequel Fantastic Four: Rise of the Silver Surfer (or in case you’ve willingly forgotten them), the series mythology concerns a quartet of friends who get genetically altered and gain superpowers — stretchy limbs, rock-like skin, bursting into flames and invisibility. The characters first created in 1961 by Stan Lee and Jack Kirby are now brought back to the big screen by Chronicle writer/director Josh Trank. Reed Richards (Miles Teller), Ben Grimm (Jamie Bell) and Johnny Storm (Michael B Jordan) travel to another dimension and come back changed, with the latter's sister Sue (Kate Mara) also caught up in the fallout. Their one-time friend Victor Von Doom (Toby Kebbell) goes with them...but doesn’t fare quite so well. With X-Men: Days of Future Past writer Simon Kinberg and The Lazarus Effect's Jeremy Slater helping on the script, Trank’s take is as stern and serious as his cast are young and fresh-faced — think Fantastic Four filtered through the template of a teen drama, even if the actors are slightly older than that. Outcasts come together, trouble ensues, and everyone tries to come to terms with their trauma in a manner not unlike many after-school specials. Yes, life lessons are also learned, including the all-important “never drink and teleport” and “don’t touch the green, glowing goo”. It all makes for as low-key, downbeat affair as comic book adaptations have seen, with the cast the saving grace. The presence of the five key players — plus Reg E Cathey as Johnny and Sue's father — is a welcome one, although their performances hardly live up to the great work they've delivered in the past. Bell's version of the Thing is the feature's highlight, though we hear much more of the actor than we see. In his brooding brute of boulders, a glimpse of the emotion Trank is aiming for is apparent, albeit only briefly. That Teller and co. hardly shine could be a reflection of the stilted dialogue they’re spouting, (including a blatant one-line rip-off of Ghostbusters) as well as the unengaging series set-up they're immersed in. When all the lab scenes, messy action and cheap-looking special effects ultimately build up to the bestowing of the group’s name (aka the movie’s title), disappointment isn’t the only emotion you'll be feeling. As a concept, there’s plenty of interest in Fantastic Four — and yet filmmakers keep floundering in bringing it to the screen. A sequel is already slated, of course, and here's hoping that it tells a new tale with a smattering of enthusiasm, rather than blandly rehashing familiar territory.
A high tea at the Sofitel is the height of luxury, but a high tea inspired by the French, the queens of cake and cheese? Step aside. For a reasonable $55 you can indulge in a kir royale on arrival and then chomp (elegantly) through a spread of sweet and savoury treats in the Sofitel’s 30th floor Club Lounge. This year's tea was inspired by the 2015 Pantone Colour of the Year, marsala, and will feature scones, French pastries, ribbon sandwiches, raspberry choux a la creme, cherry cone mousse and pistachio sacher torte. Zut alors. Do make sure you sing 'Non, je ne regrette rien' loudly as you waddle home, full of French treats.
Everyone's favourite annual celebration of France is back for another year. That'd be the Brisbane French Festival, complete with all the fine food, busy market stalls and fun activities Francophiles have come to expect. This year's three-day cultural affair features plenty of all three, although the wine and cheese pavilion is certain to be everyone's first port of call. If you're able to tear yourself away from feasting on deliciousness, you can browse for homewares, gifts, fashion, books and magazines, or enjoy live music, dance classes and even magic and acrobatics. Want to steep yourself a little deeper in French style? That's where the fashion shows and masterclasses come in. Jostle for the front row as designers Jérôme L'Huillier and Mette Pedersen showcase their chic stuff, or learn about everything from French table settings to Bordeaux vineyards. Then, cap off your weekend of Gallic goodness with a glass of champagne — yes, there's a session on that too, of course.
How much do you know about the tutu, the fitted bodice and round skirt combination that ballerinas wear? Well, you know that. You might not know that they were designed to promote maximum movement while exposing fancy footwork. And they debuted back in 1832 in Paris, making them almost 200 years old. Over those two centuries, they've become an icon of the ballet world, with dancers and audiences alike accustomed to seeing them in pale, single shades. If you've ever wondered what a different take on the tutu would look like, now you can find out. That's the task the Australian Ballet charged the nation's top designers with for a one-off Sydney performance in 2003 — but a great item of clothing never goes out of fashion. QUT Art Museum are bringing these timeless garments to Brisbane, including creations by Akira, Collette Dinnigan, Dinosaur Designs, Easton Pearson, Alex Perry, Sass and Bide, Scanlan and Theodore, Harry Seidler and Tigerlily. Here, dance meets design in the most stunning, stylish way, and a romanticised costume gets reinvented.
Nothing says you're sorry like a pom pom. If you haven't heard that saying before, don't worry. We might've just made it up, but we're simply following in Rachel Lynch's footsteps. Since September 2015, Lynch has been the go-to gal for woollen tokens of apology after making her own, letting it loose on Instagram and watching the world take notice. Her fluffy balls of remorse inspired others to follow suit, resulting in an ongoing community art project and The Print Bar's Apomogy exhibition. The former, like the underlying concept itself, is as straightforward as it sounds: all manner of people craft their own pom poms, attach their candid confessions, and then post them off to be included in the artwork. The latter showcases the project as it currently stands, complete with multi-coloured bundles and hand-scrawled notes galore, as well as workshops to help apologetic folks whip up their best creations. Who knew saying sorry could be so much fun?
Thirsty? If you're not now, you will be once you've read this. That's the only appropriate reaction to a festival of beer, after all. Just think of all the amber liquids and foamy goodness. Okay, enough drooling; here are the important details every ale lover needs: more than 130 beers and ciders will be on offer, plus an international food court. To set the mood for two full days of booze and food, there'll also be live music from none other than Daryl Braithwaite and Shannon Noll. You don't turn a beer fest into a long weekend bonanza without calling in the pub rock big guns. Eating and drinking might be the main attractions at Brisbane Beer Fest's 2016 outing, but this is also an event for those serious about their beverages too. Amid the tasting and the sampling of more tipples than you could dream of, you can also meet the folks behind 20-plus breweries and find out their tricks of the trade. If there's a beer heaven, this is it. Image via Green Beacon Brewing.
If you like beer, buns and biological conservation, then get your mates together and lend a hand. Stone & Wood Brewing have set up a pretty incredible initiative that not only sorts out a gross environmental problem at Gardens Point, but lets you party in return. First things first: the clean up. Slip, slop, slap and head to Gardens Point mangroves under the fig tree on the Riverstage side of the Goodwill Bridge at 3pm this Saturday. For two hours you can lend a hand cleaning up the mangroves in the area along with Clean Coast Collective. Then, as a little treat, you get to party. Pesto & Meddles, Eden Mulholland and TH'FIKA will be performing at the Maritime Museum, and the Bun Mobile will be providing all the bites. That will kick off at 5pm, aka immediately after the clean up finishes, and it should wind up around 9pm. Have a bit of heart and sign yourself up for this worthwhile cause — or just do it for the beer.
Having said au revoir to the French Film Festival, it's now time to slip over the border into Spain. Returning to Palace Cinemas around the country, this year's Spanish Film Festival will once again showcase some of the biggest and most critically acclaimed Spanish and Latin American films from the past 12 months. How's that for a cinematic siesta? The festival — which will feature at the CBD's Palace Barracks and Palace Centro in Fortitude Valley — begins with the highest grossing film at last year's Spanish box office: rom-com sequel Spanish Affair 2. Other comic standouts include espionage spoof Spy Time, madcap ensemble My Big Night, and dark domestic comedy Happy 140. Of course, not everything on the program is quite so light and breezy. Critically acclaimed drama Much Ado About Nothing confronts legal and political corruption in modern day Chile, while Ma Ma stars Penelope Cruz in one of her most nuanced roles to date, as a put-upon single mother diagnosed with breast cancer.
Feel like being inspired? In need of a positive evening out? Trust Peppermint Magazine, Australia's own eco fashion and lifestyle quarterly, to come up with an event that fits the bill: their PepTalks series. Launching on March 22 at Wandering Cooks, PepTalks embraces both interpretations of its name. Yes, fab folks featured in the magazine's pages will chat about their work, lives and efforts to make a difference. Yes, their discussion will pep you right up. Justine Flynn, Hailey Bartholomew and Shannon Sheedy are the first inspiring figures in the PepTalks hot seat, sharing their experiences founding social enterprise organisation Thankyou, making short films, and creating sustainable homewares and lifestyle brand Dharma Door respectively. Plus, talk isn't the only thing on the menu, with snacks from Sol Breads, Woombye Cheese Company and Loving Earth chocolate also on offer, as well as a drink on arrival.
If art should make audiences think differently about the world around them, then Geoff Todd has hit the jackpot. Sure, his work has been displayed by the National Gallery of Australia and other prestigious institutions, and featured in exhibitions across the United States, Austria, Hong Kong and Italy as well; however his real aim is to shed light on those often ignored. Focusing on the mythological creatures of several cultures, and following their transformation from their original incarnations, Todd's Beautiful Beasts dissects figures that are frequently persecuted and misunderstood. Of course, while his paintings and drawings depict sirens, minotaurs and more, it's not difficult to see the real-life, modern-day parallels. Indeed, there's something probing and mesmerising about his pieces, which draw upon Todd's labourious research. Thankfully, pondering his art and its meaning isn't limited to his latest show, with the event doubling as the launch of his new book of the same name.
If you had a childhood fear of swimming at the beach, tried to get your bicycle to fly, dreamed of becoming an archeologist or begged your parents to take you to a dinosaur-filled theme park, then we're betting you grew up watching movies made by one man. That's just the impact Steven Spielberg's films had on kids of the '80s and '90s. Now, decades later, your youthful obsession is about to come in handy in the most important way possible. First, gather your similarly fanatical friends. Then, head on over to Shady Palms to strut your stuff at their Spielberg trivia night. Yes, Steven Spielberg (not to be mistaken for Senor Spielbergo) is in the spotlight at the next Man vs Bear-hosted battle of knowledge, which is good news for everyone who wore out their family VCR or DVD player watching Raiders of the Lost Ark, E.T. the Extra-Terrestrial or Jurassic Park over and over again. Questions about everything from Close Encounters of the Third Kind and Schindler's List to Saving Private Ryan and War of the Worlds are bound to pop up — and, if you emerge victorious, you'll probably be crowned the next JJ Abrams. If you've seen Super 8, you already know that the Lost creator and Force Awakens director is the world's number one Spielberg expert.
In the space where someone makes art, two things combine. The product of their efforts takes shape as a tangible object, and the tools of their labor remain scattered around it. The artwork is the main attraction, but it wouldn't have been possible without a range of mundane items and materials. With Catacoustics III, Charles Robb once again connects the two into composite sculptural forms or installations. And he does so while building upon his previous efforts and considering another important artifact of the creative process: the public monument. Accordingly, as he explores the slippages that occur in an artists' studio, as well as the contemporary possibilities of his chosen medium of sculpture, he also constructs a fragmented replica of the Ian Fairweather (1891–1974) memorial rock on Bribie Island. Inside and outside forms of art merge, as do the familiar and strange, and the meticulously crafted and refined but also strangely disorienting, in an exhibition that ponders both form and purpose.
Everyone knows that music is best when it is live and loud, and Brisbane has the event to prove it. That’d be the aptly named Brisbane Live Music Week, a seven-day showcase of the city’s sonic shenanigans presented by community radio station 4ZZZ. Any and all gigs taking place in Brisbane from March 20 to 26 technically fit the bill, but there’s much more to the third celebration of the city’s thriving music scene than that. There’s also one-off shows, the Queensland Music Awards and an Autumn sound smorgasbord, championing a variety of acts, styles and venues. City and Colour, Melissa Etheridge, Bixby Canyon and Steve Earle and the Dukes all feature on a lineup that any event would dream of having, spanning local legends, home-grown up-and-comers and international stars. Keep checking the BLMW website for the latest additions, and for those who can’t make it in person, there’ll be special live-to-air performances across 4ZZZ and their online outlets.
Forget awards ceremonies — acting classes are where the real heroes of the stage and screen can be found. Sure, you mightn't have heard of any of the folks learning their craft yet, but you will. Today's aspiring thespians are tomorrow's stars. That's why productions such as The Government Inspector are must-see affairs if you're serious about theatre and the performing arts. Final-year QUT Bachelor of Fine Arts (Acting) students will tread the boards to showcase their skills, and treat audiences to a retelling of a satirical Russian play in the process. If you're not already acquainted with the underlying story, don't worry — tales of corrupt government officials never feel anything less than familiar. In David Harrower's translation of Nikolai Gogol's classic piece, the arrival of the titular character sends a self-serving mayor into a panic. Chaos results, but only when it comes to the narrative, not the up-and-coming cast of talented performers.
Think beer is the only beverage Brisbanites are interested in this month? Think again. The city might be celebrating ales and other hops- and yeast-infused concoctions; however Felix for Goodness is turning their attention to a different kind of drink. Yes, their tipple of choice will keep you in high spirits — as long as you like gin, that is. Prepare for an evening filled with clear, fruity deliciousness of the locally made variety. It's not called the Australian Gin Night for no good reason. Hosted by Nip of Courage, the event has everything a gin lover could ask for: gin cocktails, matching canapés, and a sample of ten boutique Australian drinks, including a mystery option. For those keen to learn more about their preferred alcoholic liquid, Young Henrys' head distiller Richard Adamson will be on hand to present his latest release. No, this isn't a beer shindig by stealth — don't forget that the Newtown brewery also make their own Noble Cut gin as well.
The team behind the phenomenal stage play Songs for Nobodies are returning for a spiritual sequel. Written by playwright Joanna Murray-Smith specifically for singer and actress Bernadette Robinson, Pennsylvania Avenue showcases Robinson's masterful vocal ventriloquism, as she performs songs by Marilyn Monroe, Aretha Franklin, Bob Dylan and more. The show had its world premiere at the MTC in late 2014, and now makes its way to the Queensland Performing Arts Centre for a two-and-a-half week run. Robinson stars as Harper Clements, a staffer in the White House Social Office in charge of booking musicians for Presidential functions. Its conceit is just an excuse to let Robinson dust off her vocal chords, delivering musical impressions so bang on the money you'd swear the actual stars were right there in the room. To read our review of the original run of Pennsylvania Avenue, go here.
Remember when your mother told you that the friends you make at university will become your pals for life? Well, there might just be some truth in that soothing statement. It certainly proved accurate for the three artists behind The Shape of Words: Nameer Davis, David Parker and Barbara Penrose. 25 years ago, they met as students at Queensland University of Technology's painting and sculpture studios; today, they're sharing a showcase at the Brisbane Institute of Art. Their background isn't the only thing that unites them, though. As the name of the exhibition suggests, they're all more than a little fascinated with text. At this reunion of sorts, see how the three diverse practitioners interpret and interact with their common interest. Given that they've all forged their own paths — Davis tutors in painting and drawing at BIA, Parker is a jeweller and painter, and Penrose is well known for her public art — expect not only a celebration of their similarities, but of their differences. Image: Nameer Davis.
Think you've seen everything when it comes to theatre? Think again. Actually, you might've seen This is Capital City when it wowed audiences at La Boite Indie in 2013; however this all-new version promises something both different and special. For the unacquainted, don't expect your usual stage effort. In an interactive performance that guides you around Brisbane Powerhouse, you'll don headphones and embark upon a solo experience, because you're a part of the film noir and science fiction-influenced action. Your motivation: searching for answers surrounding the death of a co-worker in the world of Capital City. There's a war going on, but things are looking up — until you feel the need to find the truth and seek justice. You'll wander through your surroundings and question everything you've been told. You'll also be immersed not only in your environment and the tale you're unraveling, but in an intimate production where you're instrumental to the show.
On the first Monday in October, Queensland stops to honour ordinary working folks. Their labours earn everyone a day off and a long weekend — aka the best kind of reward for hard work done well. On the evening before this annual day off, the Flying Cock want to turn the occasion into a celebration. And, being the cheeky place that they are, they've come up with the perfect name for it. Meet the Labour Party, and no, it's not the one that first springs to mind. Here, politics won't be anyone's topic of conversation. Instead, the policies include: free entry all night, letting everyone in and preferring that no one wears a white collar. Of course, the event really is just an excuse for everyone to converge on the Brunswick Street bar, not that anyone needs one on the eve of a public holiday. DJs spinning on-theme tunes and the kitchen pumping out late-night food provide extra incentive, but we think the promise of fun and hijinks followed by a sleep-in the next day is the best encouragement.
The reputation of Australia as a holiday destination — particularly Queensland — once went hand-in-hand with a tradition of postcards. Every post shop, tourist attraction and souvenir store was awash in a somewhat cheesy sea of koalas, Harbour Bridges and the ‘Aussie Beach Bum’ (complete with bikini-clad buttocks against a sandy backdrop). Greetings From… is a lighthearted reimagining of the postcard as a pictorial representation of Australia. While koalas and landmarks might still be used as subjects, the contributing artists also depict the people and places that form their personal Australian identities, from favourite local bands to household products. The result is a collection of inside jokes, shared experiences and Australian icons that create a sense of shared cultural identity and connectivity — aks a nostalgic revival of the postcard’s role as a form of communication. Greetings From… exhibits at Work-Shop Brisbane until 24 October, with all artworks available for purchase.
When it comes to fashioning a successful rom-com, finding the right blend of romance and raunchiness is a delicate balancing act. If too much of the former is present, the film can wallow in cliché and sappiness. If too much of the latter rears its head, the physical side of things can overtake the emotional aspects. Sleeping With Other People might boast a title seemingly aligned more with one of these camps than the other; however this amusing, endearing look at the lives and loves of reunited college classmates happily finds the middle ground. Sexually candid dialogue combines with sweetness, yet never of the syrupy variety. The movie's characters want a happy ending, but they want to earn it — and they want it in all its forms. In 2002, Lainey (Alison Brie) and Jake (Jason Sudeikis) meet during a dorm room altercation, start chatting about matters of the heart and body, and then lose their virginity to each other on the same night. Twelve years later, they cross paths at a sex addiction group, with both harbouring intimacy and commitment issues that plague their dating encounters. Sparks fly, though given their respective romantic troubles, they agree they'd be better off remaining as pals. That decision starts to haunt them as they realise that their bond has all the hallmarks of a relationship, other than the slipping between the sheets part. There's never any doubt that both Lainey and Jake are frequently thinking about being more than friends — and while the course the largely brightly-shot Sleeping With Other People bounces along isn't difficult to foresee, the film is primarily concerned with them fighting that urge. For the central duo, they're trying to flee from their past problems and approach romance with maturity for a change. For writer/director Leslye Headland (Bachelorette), she's attempting to explore the non-bump-and-grind aspects of falling in love. That means that a scenario that seems ripped from the familiar actually becomes much more thoughtful, stripping away the schmaltz and adding an ample dose of authenticity. It's also ripe for comedy, whether flinging fast-paced, filthy dialogue between the protagonists (or fellow cast members Natasha Lyonne, Jason Mantzoukas, Amanda Peet and Marc Blucas as various friends and lovers), joyously enjoying Brie getting her groove back by dancing to David Bowie's 'Modern Love', or finding humorous truths in darker, more reflective moments. Of course, banter infused with wit, wisdom and warmth is only part of the rom-com package, however relatable it proves. As the genre has demonstrated time and again, getting audiences to actually believe the connection between the characters is a large part of the hard work. Here, Sleeping With Other People benefits from excellent casting, as fans of Community and Saturday Night Live will already know. Brie and Sudeikis dial up the chemistry that the film so crucially relies upon, yet never at the expense of fleshing out their roles. That mix of the expected and textured is the movie's ultimate balancing act, and serves it as well as it does it stars. Sleeping With Other People knows you know what's going to happen, but filters it through frankness, upbeat realism and an engaging double act, resulting in a rom-com delight that feels as genuine as it does honest.
Over the past century, Japan has given audiences the samurai epics of Akira Kurosawa, the monster mayhem of Godzilla, the manic violence of Takashi Miike and the animated splendour of Studio Ghibli. That's quite the achievement, and it's only scratching the surface of their marvellous movie output. It is little wonder then that the annual cinema showcase of the nation's next batch of film treasures — aka the Japanese Film Festival — is a highlight of every cinephile's calendar. Here, you'll see what it takes to become a manga star and you'll unravel a boxing-centric love affair, and that's just in Bakuman and 100 Yen Love, the program's opening and closing night films. The rest of the lineup is similarly diverse, whether exploring a schoolyard transforming into a training camp for killers in Assassination Classroom, showing a strange fondness for sea creatures in Princess Jellyfish or saving Japan from nuclear disaster in The Big Bee. Of course, it wouldn't be a Japanese Film Festival without the latest Sion Sono movie as well. After wowing viewers with the genre mashup of Why Don't You Play in Hell? and the hiphop musical that was Tokyo Tribe, this time he offers up Tag, a gore fest playing with parallel existences. To view the full Japanese Film Festival program, visit their website.
Australia's Greek Film Festival is rolling back into town with its latest lineup of contemporary and classic cinema from the Mediterranean nation. Presented by Delphi Bank, this year's program features a wide selection of comedies, dramas, documentaries and shorts, as well as a career retrospective of one of Greece's most iconic stars. The festival gets under way with opening night film Alex and Eve, a local production filmed in Sydney's inner west about a Greek Australian man who falls in love with a Lebanese Muslim woman — much to the chagrin of his Greek Orthodox family. Other standouts include Athenian gangster flick Wednesday 04:45, romantic drama Riverbanks and father-son road trip movie Magic Men. For the full Delphi Bank Greek Film Festival program, visit the festival website.
Every rock band spends time away from studios, stages and shows — and every rock photographer does the same. Dane Beesley may be best known for his concert images; however thriving gigs and intimate sets aren't the only things he snaps. Shades showcases his other work, with Beesley taking a casual documentary approach to reframing commonplace scenarios. You won't see pics that have graced the cover of Rolling Stone here. What you will cast your eyes over is a series of everyday sights that — thanks to the shutterbug's use of light, texture and depth — look anything but ordinary. The exhibition isn't just another collection of his pieces, but ties in to his latest book of the same name. Whether you wander by This Must Be The Place's gallery before July 8, or drop by on opening night on June 10, you'll witness the type of shots you won't find on Instagram. You'll also find his latest printed collection available to purchase.
Emily Brontë's much-loved classic Wuthering Heights is the latest story to be celebrated and reimagined through the creative eyes of the Shake & Stir Theatre Co. A love story soured by lust and obsession, Wuthering Heights follows the tale of street rat Heathcliff, who is brought into the care of the Earnshaws and forms an unbreakable bond with daughter Catherine as well as a loathing for her brother, Hindley. As Heathcliff grows more and more passionately obsessed with Cathy, he finds that Cathy is married to another man. Filled with rage and vengeance, Heathcliff desires nothing more than to enact justice upon anyone found to stand in the way of his happiness. Shake & Stir's artistic director Nick Skubij says, "We love the challenge of adapting and presenting much loved classics on the stage, especially one as huge as Wuthering Heights. There is a lot of risk but we are used to that now and don't shy away from it." Previous well-received adaptations of Shake & Stir's include George Orwell's 1984 and Animal Farm, as well as Roald Dahl's Revolting Rhymes and Dirty Beasts.
At the heart of Queen of the Desert sits Gertrude Bell, a real life historic figure who was anything but ordinary. A writer, photographer, traveller and more, Bell bucked traditional gender roles, blazed a trail for women working in international politics, and ultimately played a key part in establishing the modern borders of Iraq and Jordan in the years following WWI. Sadly, while the film that tells her tale doesn't ignore those achievements completely, its primary concern instead seems to be her love life. That's how an account of Bell (Nicole Kidman) and her time in the Middle East becomes an episodic effort tied to the men she fell for and worked with. After begging her aristocratic father to send her anywhere outside of England, she is dispatched to Tehran to stay with her diplomat uncle (Mark Lewis Jones), and swiftly succumbs to the charms of embassy secretary Henry Cadogan (James Franco). When their courtship ends, Bell takes to the desert, forming a platonic bond with T.E. Lawrence (Robert Pattinson). And largely via letters, she also connects with Charles Doughty-Wylie (Damian Lewis), a married British consul stationed in Damascus. Writing and directing his first fiction feature since 2009's My Son, My Son, What Have Ye Done, Werner Herzog wants to have his cake and eat it too. He obviously intends to depict Bell as a fiercely independent woman, and yet he can't resist indulging in overwrought relationship melodrama. While such a contradiction might reflect life (and suit Herzog's fascination with existential contrasts, as seen in his other films such as Rescue Dawn and Grizzly Man), Queen of the Desert just can't seem to strike the right balance between empowered adventure and lovelorn longing. Instead, the film becomes a sweeping but standard epic, hoping to blend the emotion of The English Patient and the spectacle of Lawrence of Arabia, and ultimately proving as formulaic as that sounds. At least the latter inspiration provides striking, sun-drenched imagery, with the film at its best when it's charting a lush visual excursion across the plains. As for its worst — well, that's where the performances come in. In the cast's defence, there's a big difference between bad acting and portrayals that are stifled by bad material. Kidman, Franco and Pattinson are all serviceable, but simply aren't given the room they need to turn thinly drawn characters into something more. Kidman certainly tries in one of her most committed efforts in recent years, yet as she flits between yearning and determined, the true spirit of Bell never shines through. Accordingly, Queen of the Desert feels more like routine historical romantic fodder rather than a genuine biopic. Given the woman at its centre, that's hardly a satisfying outcome.
If a film has the title Frankenstein Meets the Space Monster, you could safely assume an alien is going to yell "It's alive!" at some point. All you need to do is watch to find out. In fact, as this flick unfolds, you can witness the action live in front of you. Making cheesy movie magic without an actual camera is what B-Movies Live! is all about, after all. Cult movie guru Kristian Fletcher gets a cast of actors to do their best with props, costumes, sound effects and music as they recreate a real-life feature. And you thought it sounded too glorious to be true, didn't you?
Only a few decades ago, Queenslanders loved a spot of croquet. In fact, if you were a sports-playing adult living around the state up until the 1970s, the only thing you were more likely to swing than a mallet was a cricket bat. That explains why more than a few croquet clubs still exist around Brisbane, even if the pastime isn't quite as popular at the moment. Of course, old trends come back into favour all the time — and if any occasion could inspire a revival of the game featured in everything from Alice in Wonderland to Heathers, it's the aptly named World Croquet Day. Yeronga's Stephens Croquet Club is celebrating with Cuppa, Cake and Croquet, which is exactly what it sounds like. Try the sport you've always wanted to test out, then enjoy afternoon tea afterwards. Wearing '80s attire and pretending that you're Winona Ryder or Christian Slater is completely optional.
It sounds like the stuff of legend: a beer that's only released twice a year. If you've tasted Feral Brewing Company's Tusk tipple, then you'll agree that its myth-like status is accurate. This aggressively bitter double IPA is much, much drier than its blend of hopped mango, citrus and grapefruit aromatics seems to indicate — and you won't be able to get enough of it. In case you need any more convincing, this is the type of brew that our medieval ancestors would've brawled over centuries ago. These days, you just have to head to the right place at the right time, like the Bloodhound Bar on May 6. As part of the latest Tusk release — aka thirteen kegs shipped from the Perth brewery to East Coast establishments — the Brunswick Street hotspot is serving up their barrel of hops-laden goodness until the tap runs dry. And if the drink of the day doesn't take your fancy, don't worry; other Feral bevvys, including Imperial Red IPA Fantapants and the sour and fruity Watermelon Warhead, will be on offer too.
It's an utterly modern dilemma: spending too much time looking at a computer, phone or television, and not enough time taking in the glorious sights of nature. Perhaps that's what makes Danie Mellor's latest exhibition so entrancing. The Australian artist makes visions of trees and plants his latest focus. The landscape is one of Mellor's recurrent creative concerns, after all, as is the concept of cultural histories. And while A sensual instinct might be designed to depict the visual side of biological life, it also offers an organic counterpoint to society's constant staring at screens. Across a collection of 13 photographic images, each tinted with his signature blue palette, Mellor both contemplates and depicts the allure of life and death unfolding. Images of the decay and growth of ecology speak to the cycles of existence, seduce the mind and the eye. As the latter is drawn into to intricate natural scenes, the former can't help thinking about what it all means.
When Now Look Here launched back in early 2015, the fledgling theatre company had grand plans, namely creating accessible and vibrant productions of exceptional plays. Following up their sold-out debut production of Anton Chekhov's The Seagull with a double bill of early Harold Pinter works, they're making good on that promise. A Slight Ache & The Lover dives into a duo of darkly comic tales of marriage from one of the twentieth century’s most influential theatre minds. In A Slight Ache, a couple's dreams and desires are disrupted by a stranger. In The Lover, a husband and wife work through the various roles in a relationship. After rapturous reviews about her previous efforts, artistic director Kate Wild oversees the latest staging of these two classic pieces. However, she also does more than that, ensuring that the performances place both the playwright and the actors at the centre of the show.
History is littered with tales of bleak deeds, and with art that takes inspiration from real-life acts of horror and darkness. Add Rana Hamadeh's The Sleepwalkers to the latter list — but don’t expect her first solo exhibition in Australia to be a typical true crime effort. The Lebanese-born, Netherlands-based artist has enacted, then filmed, the infamous account of Raya and Sakina for her IMA showcase. Co-commissioned with Nottingham Contemporary and The Showroom in London, The Sleepwalkers rediscovers the Egyptian sister serial killers who were found guilty of the murders of 17 women, most of whom were sex workers. Their grim tale doesn't stop there, with the twosome becoming the first women to be executed by a legal court in the modern history of their country. If that sounds like the kind of tale that must've inspired many a dramatised book, film, television show and theatre production about their lives and crimes, that's because it is. And if it sounds like an utterly enthralling presentation under Hamadeh's guidance, that's because it delivers on that front, too.
If you like beer and you live in Brisbane, then you've been to Newstead Brewing Co. But have you heard owner and brewer Mark Howes share his story, and enjoyed a sip of the brewery's 2016 'I Can't Believe It's Not a Dessert Beer' sour imperial coffee porter at the same time? Well, of course you haven't, because the aforementioned beverage will only be unveiled for the first time ever on May 25. You can be there, however, and ask the man behind one of your favourite local beer brands a whole heap of questions. That's what I Can't Believe It's a Night With Newstead is all about: tasting a fresh tipple, and hearing the many tales behind one of the city's best brewers. All the foamy fun and discussion takes place at Hoo Ha Bar for one night only, complete with a tap takeover too.
Almost thirty years ago, the combined talents of Richard Curtis, Ben Elton, Rowan Atkinson and Hugh Laurie brought audiences one of the best seasons of television ever made. Today, they might be better known for Love Actually, We Will Rock You, Mr Bean and House; however Blackadder the Third will always remain one of their claims to fame. The third series to focus on the titular character found him acting as a butler to Prince George during the Regency era, and served up plenty of period gags, witty dialogue and general silliness in the process. It worked a treat on the small screen across six episodes, so Growl Theatre is hoping it'll do the same in their latest stage show. Watch the community-focused group revisit a show that made big trousers, over-sized wigs and abundant turnip references more than a little amusing, and bring their own spin to a TV comedy classic as well. Plus, they're not only paying tribute to a beloved program — they're also showcasing the inner-north finest aspiring theatre talent.
How would you react if a fish fell from the sky and landed at your feet? Would your response change if your grandfather had predicted the strange event, as well as an apocalyptic flood to follow? And if the year was 2039, and you were living in Alice Springs? As well writing the screenplay for Strictly Ballroom, and adapting his play Speaking in Tongues into the film Lantana, Australian playwright Andrew Bovell has pondered this scenario. In fact, it forms the basis for When the Rain Stops Falling, which won the writer the Queensland and Victorian Premier's Literary Awards back in 2008, and proved a hit everywhere from Sydney to New York. Now, THAT Production Company is bringing Bovell's mysterious stage story to the Judith Wright Centre of Contemporary Arts for a two-day run. Blending music, movement and digital artistry on a revolving stage, their production gets to the heart of an achingly beautiful tale that contemplates mortality, family, nature and humanity.
You won't find the phrase "featuring a strong female lead" in the Gallery of Modern Art's latest film program, but it wouldn't be out of place. Offering the kind of female-centric cinema showcase Netflix could only dream of (even with its fondness for those five words), GOMA's curators have turned their attention to iconic actresses and their enduring characters. That means Audrey Hepburn's charming turn in Breakfast at Tiffany's and Uma Thurman's sword-wielding mayhem in Kill Bill are both on the bill; however that's not all the In Character film season has to offer. Inspired by the gallery's Cindy Sherman exhibition, the lineup not only celebrates powerful, complicated representations of women. It also shines a spotlight on portrayals that challenge expectations about the behaviour, desire and physicality of ladies onscreen. Think of the program as the ultimate primer on girls on film, complete with classics, cult hits and auteur-driven efforts. With everything from Faster, Pussycat! Kill! Kill!, Celine and Julie Go Boating and Grey Gardens to Candyman, Under the Skin and Beyond the Valley of the Dolls included, there's your next three months of viewing sorted.
Asylum seekers, at-risk students and the environment are just a few of the issues under the microscope at this year's Human Rights Arts and Film Festival. With its touring arm returning to Brisbane Powerhouse, the latest edition of this socially conscious festival is sure to get audiences all fired up. Kicking off on May 24, the Brisbane leg of the fest begins with They Will Have to Kill Us First: Malian Music in Exile, a frank exploration of the power of music. After opening the main Melbourne event, Chasing Asylum is also on the bill, offering a confronting and extremely timely look at mandatory detention from Oscar-winning filmmaker Eva Orner. Other highlights include Sundance prize winner The Bad Kids, about at-risk high school kids in the Mojave desert, and Land Grabbing, a behind-the-scenes look at both sides of the contentious issue of land acquisitions. Read our interview with Chasing Asylum director Eva Orner here.
When is a music festival more than just a music festival? When it's a two-day, three-event sonic explosion. That's what happens when two record labels join forces to celebrate their favourite talent, of course. Eternal Paradise Festival is the end result, as well as the trio of gigs you should scoot along to this weekend. Sydney's Paradise Daily have brought their best southern bands up north, while Brissie's own Eternal Soundcheck are shining a light on their local gems, with 4ZZZ-supported music mayhem the guaranteed end result. To start off, head to The Haunt at 7pm on Friday night to see Aloha Units, The Rangoons, Bent, Martyr Privates and Piss Pain — and be sure to think of it as the first course. Saturday brings a 2pm shindig in the 4ZZZ carpark featuring Sex Tourists, The Rangoons, Aloha Units, Kitchen's Floor, Thigh Master and The 180Bs, but there's still more to come. Finish off the trifecta at The Bearded Lady at 8pm, with Sex Tourists, Ela Stiles, 100% and Deck In The Pit taking to the stage.
You know the feeling: you're looking at a piece of abstract art, and all you can really spot is shapes and colours. At Between Blue, a showcase of works by Rachael Wellisch, that's exactly what you'll see. That's the point, though. First, you'll spy blue circles, which seem like they look rather simple. Then, if you peer a little closer — paying particular attention to the texture of the fabric, the grain of the wood and the nuances of the indigo-dyed pieces — you'll see a wealth of detail. Yes, a range of shapes and colours can be all that and more in Wellisch's hands — and her choice of shade is designed to make a statement, too. Her preferred deep tones derive from the Indigofera Tinctoria and related plant species, and have been used to symbolise everything from royalty to mass production. Prepare to think about them as you stare into a sea of blue. Image: Rachael Wellisch, Indigo unpicked #2, 2016 (installation view).
Jeez Frozen was a terrific film. Catchy tunes, loveable sidekicks, a woodsman hero and – at its heart – two sisterly princesses thrown into turmoil after one of them discovers her power to manipulate ice and flees to establish an unforgiving frozen kingdom in the north. Jeez The Huntsman: Winter War isn't a terrific film. No tunes, stilted sidekicks, a woodsman hero with a comically bad Scottish(?) accent and – at its heart – two sisterly princesses thrown into turmoil after one of them discovers her power to manipulate ice and flees to establish an unforgiving frozen kingdom in the north. Perhaps you could forgive the makers of The Huntsman for trying to leverage some of the success of the former. After all, it is the ninth highest grossing film of all time. But 'beautiful girl doing cool shit with chilly water' isn't enough to constitute an entire story. You still need, well, 'a story', and it's on that front where The Huntsman: Winter War really falls apart. It begins with Liam Neeson's voice telling us we're about to see a prequel to 2012's Snow White & The Huntsman. And Neeson – like the proverbial mirror on the wall – does not lie. But then, about half an hour in, The Huntsman: Winter War suddenly turns into a sequel, making this about as close as a film will ever come to possessing a literal 'plot twist'. Eventually deciding it's set after Snow White has vanquished the evil Ravenna (Charlize Theron), we find our Huntsman (Chris Hemsworth) moping about the South and mourning the loss of his wife (Jessica Chastain), before committing to foil the evil ice queen Freya (Emily Blunt) in her attempt to secure the famous mirror. The rest of the movie is little more than a collection of special effects, shaky fight scenes and a few funny lines from dwarf sidekicks Nick Frost and Rob Brydon. Theron, it must be said, lights up every scene she's in, reminding us that she is still absolutely the fairest and most interesting in the land. Alas, her screen time is also the most restricted, reducing her menacing smile and genuinely engaging relationship with her sister to mere bookends around an otherwise entirely dull affair. https://www.youtube.com/watch?v=_W65ndip7MM
When it comes to making movie magic for the masses, no one does it quite like Studio Ghibli. Yes, they're not the only animation house that makes affecting, amusing and all-round delightful fare for all ages — but there's something distinctive about their finely crafted pieces of cinema. That's reason enough for Redland Performing Arts Centre to put together another instalment in their yearly tribute, aka the Studio Ghibli Film Festival. On July 29 and 30, three of the studio's classic hits will brighten up RPAC's big screen. Yes, it is worth driving to Cleveland to see them. At 1pm, discover just what happens when a girl grows from a bamboo stalk in The Tale of the Princess Kaguya. Then, dive into the world of fighter plane design in The Wind Rises at 4pm, followed by the ecological adventure Tales from Earthsea at 7pm. Everything screens twice — not just because each film is excellent, but because Friday's sessions will be captioned for the hearing-impaired.
For close to four decades, Sydney artist and filmmaker George Gittoes has chronicled the darker side of human existence. Travelling everywhere from Somalia, Rwanda and Bosnia to Nicaragua, South Africa and Afghanistan, his pieces and films have documented unimaginable atrocities. And, more than merely observing such incidents, his efforts have inspired confronting bouts of contemplation — and earned him the 2015 Sydney Peace Prize in the process. Accordingly, Gittoes has amassed a large collection of work on both canvas and celluloid — and yet, surprisingly, he has never been the subject of a commercial exhibition in Brisbane. Coinciding with the release of his latest book of the same name, Night Vision presents art created over the last 30 years that typifies his commitment to social, political and humanitarian considerations. Plus, not only will the showcase grace the walls of Mitchell Fine Art from July 27 to August 20, but Gittoes himself will be in town to chat about his career. Head along to the gallery for the official opening night celebrations on July 29, drop back in at 11am on July 30 for an artist talk, and then mosey over to GOMA at 1.30pm for a screening of Gittoes' latest documentary Snow Monkey, followed by the launch of the Night Vision book and a signing session.
It's the yearly exhibition that leaves us with jaws on the floor; the 59th annual World Press Photo exhibition is coming to Australia for another year. Back for its 59th edition, the yearly photographic collection regularly leaves us gaping at the mouth — and this year is no exception. Right at the top with 2015 Photo of the Year is Australia's own Warren Richardson, with his poignant picture of a man passing his baby through a fence at the Hungarian-Serbian border. He beat 82,951 submissions by 5775 photographers from 128 countries for the top prize, while also taking out first prize in the Spot News category. The World Press Photo exhibition can be seen at Brisbane Powerhouse from July 29 to August 21. Before the exhibition makes its way to Queensland, take a look through some of the landmark images that caught the eye of the WPP judges; from a Tibetan Buddhist ceremony in rural China to a 16-year-old Islamic State fighter being treated for burns in Syria, to one of those epics #sydneystorms rolling over Bondi. With many of the photographs documenting the more saddening news headlines, they're often not easy images to look at, but it's the work of these photojournalists that wakes up an otherwise ignorant world. Image: Bliss Dharma Assembly, Kevin Frayer (Sichuan, China).
"If you're going to tell a story, come with some attitude, man," says Miles Davis (Don Cheadle) during a recorded interview with journalist Dave Brill (Ewan McGregor). It's a statement that provides a clear picture of the way Davis looks at the world, as well as the distinctive perspective that floats through his music. Uttered at the beginning of biopic Miles Ahead, it's also a statement of Cheadle's intentions for the film. The actor doesn't just star as the jazz legend, but also directs, co-writes, produces and provides additional compositions too. In doing so, he attempts to make a feature that captures the spirit, rather than the exact details, of Davis' remarkable story. His is a movie of mood and essence, made-up of events that spring from Davis' energy, rather than a traditional fact-driven biography. It's a character study of a real-life figure that tries to convey just what made him tick by intertwining glimpses of two career-defining periods. In fact, another line of dialogue sums up the tale the movie doesn't tell. "I was born. Moved to New York. Met some cats, made some music, did some dope, made some more music. And then you came to my door," Davis quips to Brill when they first meet at the end of the 1970s. Brill shows up claiming to be chasing a big comeback story for Rolling Stone magazine, with Davis' five-year hiatus not just disappointing his fans, but angering his record label. Stubborn and boasting plenty of swagger, Davis has his reasons: drug addiction, a desire to keep a tape of his latest playing session away from a particular producer (Michael Stuhlbarg), and the heartbreak of a failed marriage to his first wife, dancer Frances Taylor (Emayatzy Corinealdi). Cue a portrait of Davis' tumultuous escapades with Brill, in an odd-couple pairing laced with chases, arguments, parties and shootouts, plus flashbacks to both happier and darker times. In combining the two, Cheadle fashions his film in the same manner as Davis' tunes, complete with poetic interludes and tangents, instances of symmetry and mirroring, and a freewheeling pace and style. And yet, as determined as he is to ensure Miles Ahead looks and feels just right, the feature almost comes to resemble a caricature of a jazz movie. Sometimes it's effortlessly engaging as it flits from one incident to another. At other times, it's a little too erratic and indulgent. Instead, it's actually the actor-turned-director's performance that achieves his true aim. From the changes in his stance to the rasping emotion in his voice, Cheadle's interpretation of Davis is as compelling a presence as the artist's music. He's at his best when he's bouncing off of one of his co-stars, including Short Term 12's Keith Stanfield as an up-and-coming trumpeter clearly meant to represent Davis' youth. And though McGregor seems to be blending his performances in Velvet Goldmine and The Ghost Writer, the duo's shared dynamic still ranks among the film's biggest strengths.
Think blow-up pools are just for kids? Think again. They're also perfect for cooling down in on a warm early Autumn day, or chilling your beers in. If ever an event offered the chance to do both, it's at Brewsvegas. Because drinking beverages doesn't only happen in the inner city, Nundah's Fitz + Potts is the place to be for a session of Sunday fun that's certain to become an annual occurrence. Ekim Brewing Co. head brewer and founder Mike Jorgensen will be mixing up four beer-based cocktails for the occasion. You can be certain they'll be the kind of drinks that go down well while you're sat in a puddle of tepid water, on AstroTurf, surrounded by fake flamingoes.
So, you think you know all there is to know about craft beer. Are you willing to put your money where your mouth is? And perhaps a few drinks in your gob, too? If so, Mr Edwards has just the thing for you. That'd be Mr Edwards Craft Beer Game Show, an interactive event based on the beverage that you know, love and probably consume quite a bit of. Rounds include a 20-question quiz, blind tastings to determine beer styles and brands, and voting for your favourite brews. Plus, for your $100 entry fee — which covers a five-person team — you'll get nine beers to sample, as well as a food platter to feast on. This event is part of Brewsvegas 2016.
