Seafood by the sea? Brews next to the beach? There's nothing stopping you from enjoying both at this year's Moreton Bay Food and Wine Festival. Coming to Apex Park in Woody Point between Friday, August 4–Sunday, August 6, this returning food fest is serving up plenty to tempt your tastebuds, from oysters and prawns to farm-fresh fare — and beers and cocktails, too. Indeed, if you like the indulgent things in life, you'll find more than a few things that'll suit your cravings on the menu. Running from 10am–8pm on the Friday and Saturday, plus 10am–6pm on the Sunday, the event will also feature a focus on local produce, the Moreton Bay BrewsFest (complete with beer pong and giant Jenga), a cocktail haven with a particular interest in gin distilleries, and a vino-serving cellar door — plus a stage dedicated to health, wellness, and things for your house and garden. Live tunes and DJ-spun tracks are also on the agenda, and so are cooking demonstrations by chefs such as Miguel Maestre, Poh Ling Yeow and Alastair McLeod. And, if you want to counteract all of the eating and drinking, you'll be in the right place for it — just go for a walk along the shoreline. Top image: Tourism and Events Queensland.
Australia's cities are lighting up this winter thanks to a slew of dazzling arts festivals — and if you're planning to spend the middle of the year hopping between them, you've now got another destination. While Melbourne's Rising festival, Sydney's Vivid, and Hobart 's Dark Mofo will all unleash their delights in June (with Vivid even starting in late May), Illuminate Adelaide is set to brighten up the South Australian capital throughout July. And, based on its just-dropped lineup, there's plenty to tempt both locals and interstate visitors alike. Returning for its second year, Illuminate Adelaide is all about creativity, art, music and light, and will unfurl all of the above from Friday, July 1–Sunday, July 31. Topping the bill: Gorillaz, with Damon Albarn and Jamie Hewlett's chart-topping act adding an Adelaide show to their Australian tour, which already includes headlining this year's Splendour in the Grass, plus sideshows elsewhere. Also set to be huge: Ouchhh Studio's Wisdom of AI Light, a major exhibition that's all about art and artificial intelligence. A multisensory experience, it'll take up a specially designed pop-up exhibition space in the East End of the Adelaide CBD, with quite a wonder inspired by renaissance painters as its centrepiece. Here, AI has been trained to analyse billions of brushstrokes by some of the best artists who've ever lived — with a particular focus on Leonardo da Vinci — and create its own new moving image work. [caption id="attachment_850982" align="alignnone" width="1920"] Ouchhh Studio[/caption] The exhibition also includes a number of other pieces by the Istanbul-based Ouchhh Studio, such as art made in conjunction with the Machine Learning Scientists at CERN in Switzerland and with NASA. In the former, called Dark Machine, you'll peer at AI-processed data from subatomic particle collisions — while the latter, Data Gate, sees AI play with data from the Kepler Space Telescope, drawing upon its nearly ten years in space observing 2500-plus planets, more than 530,000 stars and over 61 supernovae. Still on all things radiant, 2022's festival will welcome back some of last year's big light installations (because peering at shiny sights never gets old). Making a comeback is Light Cycles, which'll once again transform the Adelaide Botanic Gardens with light projections, lasers, sound and special effects, all thanks to Montreal's Moment Factory. And, the Adelaide Zoo will host the return of Light Creatures, so there'll be another round of enchanting interactive animal installations — think: giant tiger lantern puppets, huge rainbow skinks, giant pandas and giraffe lanterns — giving the place an enormous glow. The City Lights program is returning as well, once again featuring a range of acclaimed artists — and turning the CBD into an after-dark art trail in the process. 2022's version will notch up more 40 free site-specific works over 17 days, spanning creative photobooths, illuminated laundry, 15 giant glowing seesaws and a chandelier harp in various spots around town. There'll also be a 50-metre-long walkway of moving light and mirrors, an interactive geometric LED cube, bouncing glowing orbs, and Vincent Namatjira's Going Out Bush turned into animation and projected onto the Art Gallery of South Australia's facade. [caption id="attachment_850978" align="alignnone" width="1920"] Chandelier Harp, Jen Lewin. Photo by Aaron Rogosin.[/caption] Other standouts from the hefty full Illuminate Adelaide program include the Australian premiere of seven-channel video piece We Will Slam You With Our Wings by Joanna Dudley, which takes notoriously sexist speeches from throughout history and reframes them as feminist war cries; the Aussie debut of concert series KLASSIK underground, which pairs classical music with live visuals; and experimental and electronic music celebration Unsound Adelaide. And if you're already starting to make plans to head along, expect to have a heap of company — last year's fest was impacted by COVID-19 lockdowns and wild weather, but still attracted more than 500,000 attendees. Illuminate Adelaide 2022 runs from Friday, July 1–Sunday, July 31. Check out the festival's website for the full program and to grab tickets. Top images: Light Creatures, Adelaide-Zoo. Credit: Frankie the Creative. // Futures, part of City Lights // Submergence, part of City Lights. Credit: Rikard Osterlund.
Fancy hitting the road for a camping adventure, but don't have quite the right wheels for it? Before you fork out the big bucks to hire from a rental company, meet Camplify — a new Aussie sharing platform for campervans and RVs that works a bit like Airbnb. Using the peer-to-peer rental platform, owners can rent out their vehicles when they're not in use (read: gathering dust in the garage). As for hirers, they can get a taste of caravanning life whenever they like, without actually having to own one themselves. Each party has a Camplify profile, owners approve each hire and reviews are exchanged via the platform. The prices are reasonable too, starting at around $30 per night for a standard camper trailer. A caravan will cost you about $80, while that top-of-the-line luxury motorhome you hire for a romantic weekend getaway might see you stretching to $500. For minimal effort, you can even have the vehicle and gear set up for you at a campsite or holiday park, so it's holiday-ready as soon as you rock up. Insurance is covered in the cost, as well as Australia-wide roadside assistance from Camplify's mates at NRMA. Share your own caravan, or start planning that camping trip, over at Camplify.
When Chloé Zhao adds her contribution to the Marvel Cinematic Universe later this year, the history-making Oscar-winner won't merely be leaping into a blockbuster franchise. With Eternals, the Nomadland filmmaker will unveil Marvel's next crew of superheroes — ancient and immortal alien beings who've been working in the shadows for thousands of years after arriving on earth via an eye-catching spaceship. Led by Ajak (Salma Hayek, Like a Boss), these heroes are now forced to band together again to save the world from an evil threat. The catalyst: the events of a little film called Avengers: Endgame. So, it's standard MCU stuff, at least on paper. But with Zhao the helm, the film doesn't look or feel like your average Marvel movie — at least based on the very brief sneak peek at the flick a few weeks back, as well as the movie's just-dropped first trailer. Also battling it against an enemy called The Deviants: Ikaris (Richard Madden, Game of Thrones), Sersi (Gemma Chan, Captain Marvel), Kingo (Kumail Nanjiani, Stuber), Makkari (Lauren Ridloff, Sound of Metal), Phastos (Brian Tyree Henry, Godzilla vs Kong), Sprite (Lia McHugh, Songbird), Gilgamesh (Don Lee, Ashfall), Druig (Barry Keoghan, Calm with Horses) and Thena (Angelina Jolie, Those Who Wish Me Dead). One GoT star is never enough for any movie, so Kit Harington also features, presumably knowing little. Ajak and her pals might've spent much of their past trying to blend in — "throughout the years, we have never interfered," she notes in the trailer's voiceover — but when they're not disguising themselves as humans, they certainly don superhero outfits and unleash quite the array of superpowers. Eternals is one of four MCU movies set to drop in 2021, alongside Black Widow, Shang-Chi and the Legend of the Ten Rings and the latest Spider-Man flick. It's also Zhao's first feature after the vastly different film that's been winning her so much praise this year, as well as her first leap into the blockbuster realm. And, the filmmaker's visual sensibilities definitely shine through so far — even though she's working on a far bigger scale than seen in her first three movies. Check out the trailer below: Eternals opens in cinemas Down Under on November 4.
It's frequently referred to as the Olympics of the art world — and at 2024's edition, Australia has won gold. The event: La Biennale de Venezia, aka the Venice Biennale. The award: the coveted Golden Lion for Best National Participation. And the winning artist: Indigenous talent Archie Moore. The First Nations artist's exhibition kith and kin received the top gong, both chronicling history and making it. The work is a hand-drawn genealogical chart that spans back 65,000 years. The win gives Australia its first ever at the Venice Biennale. Both a personal and a political piece, kith and kin works through Moore's Kamilaroi, Bigambul, British and Scottish heritage across the installation's five-metre-high, 60-metre-long black walls. More than 2400 generations are covered. On display at the Australia Pavilion, the exhibition uses chalk on blackboard, with a reflective pool sitting in the middle of the room and 500-plus document stacks suspended above it. Every aspect of kith and kin makes a statement. With its size and scale, it speaks to Australia's Indigenous peoples being among the world's longest-continuous living cultures. The use of black is also designed to look like a celestial map, and therefore nod to the resting place of First Nations ancestors. Highlighting the decrease in Indigenous Australian languages and dialects since colonisation, the fragility that stems from not being able to pass down knowledge and injustices such as deaths in custody are all also part of the work — with the aforementioned piles of paper primarily from coronial inquests. "The phrase 'kith and kin' now simply means 'friends and family'. However, an earlier Old English definition that dates from the 1300s shows kith originally had the added meanings of 'countrymen' and also 'one's native land', with kin meaning 'family members'," notes Moore's explanation of the work. "Many Indigenous Australians, especially those who grew up on Country, know the land and other living things as part of their kinship systems — the land itself can be a mentor, teacher, parent to a child. The sense of belonging involves everyone and everything, and for First Nations peoples of Australia, like most Indigenous cultures, is deeply rooted in our sacred landscapes from birth until death." "I was interested in the phrase as it aptly describes the artwork in the pavilion, but I was also interested in the Old English meaning of the words, as it feels more like a First Nations understanding of attachment to place, people and time." kith and kin was curated by Queensland Art Gallery and Gallery of Modern Art's Ellie Buttrose, and also has a date with the Brisbane gallery as part of its 2025–26 program after its Venice run. In Italy, the work is on display until Sunday, November 24, 2024. "In this quiet, impactful pavilion, Archie Moore worked for months to hand-draw in chalk a monumental First Nation family tree. Thus 65,000 years of history (both recorded and lost) are inscribed on the dark walls and ceiling, inviting viewers to fill in the blanks and grasp the inherent fragility of this mournful archive," said the jury of the 60th International Art Exhibition of La Biennale di Venezia about Moore's exhibition. "The official documents drawn up by the State float in a moat of water. The result of Moore's intensive research, these documents reflect the high rates of incarceration of First Nations people." "This installation stands out for its strong aesthetic, its lyricism and its invocation of a shared loss of an occluded past. With his inventory of thousands of names, Moore also offers a glimmer of the possibility of recovery." "As the water flows through the canals of Venice to the lagoon, then to the Adriatic Sea, it then travels to the oceans and to the rest of the world — enveloping the continent of Australia — connecting us all here on earth. Aboriginal kinship systems include all living things from the environment in a larger network of relatedness, the land itself can be a mentor or a parent to a child. We are all one and share a responsibility of care to all living things now and into the future," said Moore about his win. "I am very grateful for this accolade; it makes me feel honoured to be rewarded for the hard work one does. I am grateful to everyone who has always been part of my journey ‚ from my kith to my kin — to my Creative Australia team and everyone else back home and those of the Venice lagoon." kith and kin is on display at the Australia Pavilion, Giardini di Castello, 60th International Art Exhibition of La Biennale di Venezia, until Sunday, November 24, 2024 — head to the exhibition website for further details. Images: Archie Moore / kith and kin 2024 / Australia Pavilion at Venice Biennale 2024 / Photographer Andrea Rossetti / © the artist / Images courtesy of the artist and The Commercial.
It hasn't been the greatest couple of years for dining out at fancy restaurants. But, when it comes to the World's 50 Best restaurant awards, the show must go on. After a COVID-driven break last year, the prestigious awards have named their 2021 picks for the greatest restaurants in the world. Taking out this year's top spot was the newest incarnation of Denmark's Noma, led by renowned chef René Redzepi. While no Aussie venues claimed a position among 2021's 50 Best list, two Victorian restaurants secured spots in the 51–100 lineup. Dan Hunter's Brae placed 57th — up from its 2019 ranking of 101 — and Ben Shewry's Ripponlea fine diner Attica came in at number 97, shuffling slightly from its previous position at 84. Both have been regular contenders in the awards for the past few years. [caption id="attachment_616539" align="alignnone" width="1920"] Dan Hunter and Ben Shewry[/caption] The 2021 World's 50 Best awards were unveiled at a glitzy ceremony held overnight in Antwerp, with the 51–100 lineup announced a couple of weeks earlier, on September 23. Coming in second place was another famed Danish diner, Geranium, while Spain's Asador Etxebarri retained its 2019 title of third best restaurant in the world. If you're planning any future overseas adventures based entirely around food, you'll be interested to know that both the USA and Spain cleaned up in this year's rankings, each with six restaurants earning spots among the top 50. Running annually since 2002, the World's 50 Best awards are chosen by a panel of over 1000 culinary experts, guided by a strict voting procedure. They're now hosted by a different country each year, with Melbourne playing host city back in 2017. Check out the full list of The World's 50 Best award-winners for 2021 over here. Top Images: Colin Page, from the cookbook 'Brae: Recipes and stories from the restaurant'.
If you've ever cranked a Monday night Game of Thrones episode and found Cersei's drinking habits rather infectious, an Australian company is about to fill your goblet. Surry Hills-based strategic and creative agency Common Ventures have released The Wines of Westeros, a series of 12 wines named for and based around the 12 significant houses in George R. R. Martin's map. From whites like The Greyjoy and The Stark to reds The The Dothraki and The Night's Watch, bottles will retail for around $20 each. Common Ventures are set to launch the series in time for the premiere of season five, so you'll have to drown your withdrawals with a regular bin end until then. At the risk of sounding like a Dolly magazine quiz, which type of wine variety matches your favourite character? Both House Targaryen and the Night’s Watch are Shiraz wines, while the Arryn, Greyjoy, White Walker, Wilding and Stark clan bottles are Sauvignon Blancs. The Baratheon and Lannister houses are Pinot Noirs, the oaky Tyrells are a Chardonnay, the Dothraki is a Merlot and the Martells rep a Cabernet Sauvignon. "A mind needs wine as a sword needs a whetstone," according to Common Ventures. "Whether it’s a bottle from beyond the wall or a case from the cellars of the Iron Bank, keep your mind fit for the death of summer with the lion’s share of vino. Have a wench fetch a goblet, reject all wedding invitations and settle down for a long, harsh winter. "12 houses. 12 temptations. Where does your loyalty lie?" Here's the lineup: Via PSFK.
It's been a crazy year all round, but there's one thing that's tracking along as nicely as ever and that's Apple's plans for its latest iPhone creations. The tech giant has just dropped all the hot little details for its next highly-anticipated iPhone 12 releases; the standard, Mini, Pro and Pro Max. True to form, Apple's new phones come fitted out with its finest suite of features yet, rendering all those before them instantly uncool. We're talking about an all-new design, complete with super speedy A14 Bionic chip, next-level pro camera, 5G and the largest edge-to-edge Super Retina XDR display to ever feature on any iPhone. Here are seven details about the new iPhone 12, served up in handy dot point form for your next debrief with mates. YOU CAN DOWNSIZE YOUR UPGRADE, WITH THE MINI VERSION The standard iPhone 12 clocks in at 6.1 inches from corner to corner, pretty much dwarfing the 5.8 inches of the old iPhone X. But if you'd prefer something that actually fits in your hand, the same features also come neatly packed into the iPhone 12 Mini, which measures at a more manageable 5.4 inches. That now lays claim to being the smallest, lightest and thinnest 5G phone on the market. THERE ARE NEW COLOURS TO CHOOSE FROM Once again, Apple is tempting buyers with a range of fun phone colours, with the iPhone 12 and mini edition available in red, blue, green, black and white aluminium finishes. The Pro and Pro Max keep things a little more subdued, with a choice of gold, graphite, silver or pacific blue. IT CHARGES WIRELESSLY...BUT DOESN'T ACTUALLY COME WITH A CHARGER Yep, Apple's caused a big stir with this one. The new iPhone 12 has been optimised for use with a MagSafe wireless charging system, featuring a special magnet in the back that's designed to work seamlessly with a newly released line of wireless charging devices and other phone accessories. But you'll find exactly none of them included with your new phone purchase. In what's apparently an environmentally friendly move, Apple's not supplying any new chargers or AirPods in its iPhone 12 boxes — instead, it wants buyers to keep using their old gear, or buy new ones separately. IT'S MUCH HARDER TO DESTROY If you're the kind of person that leaves a trail of ruined smartphones in their wake, these new models might have you breathing a little easier. Clumsy hands don't stand much of a chance against the ceramic shield cover, which is infused with nano-ceramic crystals and apparently makes the phones four times more likely to survive a drop than their predecessors. Spills aren't an issue either, with all four models boasting an industry-leading IP68 water resistance rating, protected up to six metres for up to 30 minutes. IT'S A GAMER'S DREAM The main thing you need to know about the new A14 Bionic chip is that it's 50 percent faster than any other smartphone chip out there. Which in short, means the iPhone 12 promises a console-quality gaming experience, without burning through that battery all in one hit. THE PRO CAMERA IS BETTER THAN EVER Phone snaps and Tik Tok videos are about to kick up a few gears, if the new iPhone 12 cameras have anything to do with it. Apple's incorporated night mode for both the wide and ultra-wide cameras, and a host of improvements mean low-light shots will be better than ever. The camera is also the first device in the world to enable an end-to-end Dolby Vision experience, which is a game-changer for smartphone video. IT'S NOT AS PRICEY AS YOU MIGHT HAVE EXPECTED The good news is, you can snap up one of Apple's latest for even less than you forked out for the iPhone X. The Mini starts from $1199, while the standard iPhone 12 will set you back $1349 for a 64GB, moving up to $1599 for the 250GB edition. Up the other end, the cheapest Pro clocks in at $1699 and the Pro Max starts from $1849. You'll be parting with a cool $2369 if you want the 512GB version, though. The iPhone 12 varieties will be available to pre-order from October 16. Head here for the standard and Mini, or here for the Pro editions.
If you're lucky enough to now be working from home, it probably means you have a little more time to make yourself breakfast in the morning. Instead of throwing a banana in your bag (never a good idea, really) or chugging a glass of Nippy's breakfast juice before running out the door, you can cook yourself some blueberry pancakes or scramble some eggs. Or, you can really take your brekkie to the next level with this new breakfast box. A collaboration between Australia's famous cultured butter maker Pepe Saya and arguably the country's best crumpets (don't @ us) Crumpets by Merna, the boxes are available for delivery to next-day delivery zones across NSW, Victoria and Queensland. Setting you back $35 a pop (plus a $20 flat rate for shipping), they come filled with a six-pack of golden crumpets, six 15-gram packets of Pepe Saya's lush butter, a pot of crème fraîche and a limited-edited, extremely lush topping. At the moment, you'll find boxes with lemon curd, strawberry jam, stewed rhubarb or Four Pillars marmalade, as well as chocolate crumpets, which the team describes describe as a cross between a crumpet and a chocolate brownie. But expect other flavours to drop regularly, too. If you're wondering just what exactly you'll be making with those ingredients, take a look at this: Yes, the mother of all breakfast crumpets. Hopefully this provides you with the motivation you need to roll out of bed and flip open your laptop on the couch. The new brekkie boxes are available to order on both the Pepe Saya and Crumpets by Merna websites, so, while you're there you can also tack on a six-pack of blueberry or vegan coconut crumpets ($15), perhaps, or a fancy butter knife. Plus, if you spend over $50 on either site, you'll get free shipping. Pepe Saya and Crumpets by Merna Breakfast Box is available for delivery in NSW, Victoria and Queensland. Order online via Pepe Saya or Crumpets by Merna.
When it's February in Berlin, the temperature is barely approaching positive figures and the ground is slick with last night's snow, there's only one place to be: the Berlin International Film Festival. Also known as the Berlinale, it's not just Germany's premier annual celebration of cinema, but one of the world's as well. Even from afar, it's easy to see why. Huge world premieres, like this year's opening night film Isle of Dogs? Tick. A host of famous attendees, spanning everyone from actors Bill Murray, Isabelle Huppert and Robert Pattinson to filmmakers Wes Anderson, Steven Soderbergh and Idris Elba (yes, he's a director too)? Tick again. Plenty of movies that everyone will be talking about for the next 12 months and longer? After featuring Call Me By Your Name and A Fantastic Woman on their 2017 program, the festival well and truly has that sorted in 2018 as well. There's nothing like being there, however. The rushing between cinemas, the pretzels devoured between sessions, the delicious mulled wine at the end of (and during) the day — from February 15 to 25, that was our life. We went, we watched, we saw scores of people walk out of unimpressive eventual Berlinale Golden Bear winner Touch Me Not, and we witnessed an entire theatre going crazy for Australia's own Hugo Weaving. And now that it's all over, we're excited about all of the movies that'll hopefully make their way to our own shores at festivals or in general release. Take our word for it, and look out for these ten at a cinema near you — we can't wait to catch them again. https://www.youtube.com/watch?v=dt__kig8PVU& ISLE OF DOGS A stop-motion animated movie about a futuristic Japanese wasteland filled with dogs, one plucky orphan boy trying to find his beloved pet and the island's helpful canine inhabitants, Isle of Dogs couldn't sound more like a Wes Anderson movie if it tried. Actually, thanks to a voice cast that includes Bill Murray, Jeff Goldblum, Bob Balaban, Greta Gerwig, Tilda Swinton, Bryan Cranston, Scarlett Johansson, Edward Norton and Frances McDormand, it literally sounds like a Wes Anderson movie during every moment — and, it proves a smart, sharp, glorious and gorgeous feast for both the ears and the eyes. It's no wonder that the filmmaker won Berlinale's best director award, with his ninth feature a feat of all-round artistry in each elaborate, detailed, textured frame. Similarly unsurprisingly, it's also filled with heart, humour and wit, all while making a very timely social statement. Yep, it's enough to make you go barking mad with delight. https://www.youtube.com/watch?v=jLVw6wlYJPo DAUGHTER OF MINE In 2015, Italian filmmaker Laura Bispuri and actress Alba Rohrwacher teamed up for Sworn Virgin, a compelling, moving film about an Albanian woman who vows to live life in the mountains, without sex and as a man rather than adhere to traditional views about female subservience. Their second collaboration, Daughter of Mine, also explores ideas of femininity, but in a vastly different way. It's also excellent, and exceptionally acted. As the title suggests, motherhood is in the spotlight as Rohrwacher's strong-willed Angelica and Valeria Golino's more traditionally maternal Tina grapple not only with each other, but over what's best for ten-year-old Vittoria (Sara Casu). As a Sardinian summer rolls by, the secret that connects the trio is thrust out into the open, as is a tussle between nature and nurture that shapes a young girl's journey of discovery. https://www.youtube.com/watch?v=J4LTz4OC3pA THE GREEN FOG No one loves movies the way that Guy Maddin loves movies. No one turns snippets of films into such loving, intelligent and amusing collages and homages like the experimental Canadian filmmaker either. In The Green Fog, he once again joins forces with his The Forbidden Room collaborators Evan and Galen Johnson, takes cues from Alfred Hitchcock's Vertigo and makes an amusing, immersive reimagining using clips from other San Francisco-set fare. The Game, The Love Bug, an NSYNC video — they're all featured in this retelling, as is everything from Sister Act to Basic Instinct to The Rock. The fact that The Green Fog mostly eschews dialogue adds another layer, too, to a finished product that sweeps over viewers like its titular mist. And, also brilliant is the trio's accompanying ten-minute Accidence, which peers into the balconies behind an apartment block in a clever and involving riff on Hitchcock's Rear Window. [caption id="attachment_660555" align="aligncenter" width="1920"] © Agnete Brun[/caption] U — JULY 22 There's nothing new about recreating a harrowing real-life event from the perspective of those who were there, and giving audiences an on-the-ground view of their horrifying experiences. There's nothing new about adopting that approach when it comes to mass shootings either, or just generally unravelling a tense and terrifying situation in a single shot. Still, Norwegian effort U — July 22 finds the best way to plunge viewers into the thick of one of the most traumatic incidents in the country's history. On the eponymous date in 2011, a right-wing extremist gunned down 69 of the 500 attendees at a youth summer camp on the island of Utøya, with filmmaker Erik Poppe following one 19-year-old's efforts to survive. Lead actress Andrea Berntzen is fantastic as the desperate young woman searching for her sister, and for a way to make it out alive, in a feature that's never easy to watch but remains heartbreakingly engrossing — and important — from start to finish. https://www.youtube.com/watch?v=182pyCffVLk PROFILE One of the best films at Berlinale unspools solely on a computer screen. It's the latest to use what might seem like a gimmick — and the third linked Night Watch, Wanted and Abraham Lincoln: Vampire Hunter director Timur Bekmambetov — and it's absolutely captivating. Unlike Unfriended and this year's Sundance flick Search, which he produced, Bekmambetov helms this based-on-a-true-story account of a journalist (Valene Kane) investigating ISIS enlistment campaigns by befriending a charming recruiter (Shazad Latif) online. Tabs, programs and windows pop up thick and fast, and the stress and tension soars with it, as a bond forms between the two. Profile won the audience award in the festival's Panorama section for good reason: slick, thrilling and utterly involving, and with pitch-perfect performances to go with it, it's a film that not only entertains and engages, but lingers. AN ELEPHANT SITTING STILL In his nearly four-hour debut feature, Chinese writer/director Hu Bo achieves what every filmmaker dreams of: a movie that assembles its parts in such an assured and astute way that changing even one element seems unthinkable. And it's not just the length of his first and only film that makes that such an impressive feat, but the command of tone, the naturalistic yet patient style, and the subject matter. Working with a story from one of his own novels, Hu weaves together intertwined slices of unhappy lives, following four figures miserable in their modern-day Chinese industrial town. Each is going through a particularly bleak day, and all are drawn to a story about an elephant that sits still and ignores the world around it. As a heartbreaking postscript that casts a shadow over every moment of his movie, the author-turned-filmmaker took his own life in October last year. https://www.youtube.com/watch?v=U7Z13OH9EyY TRANSIT As Barbara and Phoenix both cemented in recent years, Christian Petzold is one of Germany's best contemporary filmmakers, crafting accounts of the country's fractured past with an artistic eye and an empathetic gaze. With Transit, he bases his latest in the French port city of Marseilles, though his usual approach — and thematic fascinations — remain. Escaping war and fascism, the film's protagonist, Georg (Franz Rogowski), is desperate to flee to Mexico, but is forced to bide his time until the requisite papers come through. Assumed identities, heartbroken children, complex love triangles and the realisation that inertia is hell in itself all feature in this thoughtful, soulful film, as does a stellar turn by Victoria and Happy End's Rogowski, who proved a standout of the festival thanks to his similarly excellent work in contemplative warehouse romance In the Aisles. https://www.youtube.com/watch?v=u7KZrt_cHH0 UNSANE At the Berlinale press conference for Unsane, Steven Soderbergh was filed with enthusiasm about his latest filmmaking technique: shooting an entire feature on an iPhone. Watching the results of his efforts, it's easy to understand why — when you're making a psychological thriller about a woman (The Crown's Claire Foy) pursued by a stalker (Joshua Leonard), trapped in a mental health facility and pondering her sanity, you want the intimacy and immediacy that comes with his choice of camera. The film doesn't go exactly where that plot description suggests, either, in a tense, twist-filled, nightmarish flick that shows just why the cinema-loving world should be thankful that Soderbergh's supposed retirement didn't stick. If his 2013 flick Side Effects met his fantastic TV series The Knick, threw in a committed performance by Foy, adopted a pulpy tone and mirrored society's current probing of the treatment of women, it might look something like this. [caption id="attachment_660554" align="aligncenter" width="1920"] © Alejandra Carvajal[/caption] MUSEUM Heists have long proven one of cinema's favourite scenarios. Thankfully, there's no shortage of different approaches to what's become a very, very familiar on-screen premise. Museum throws up one of them — and won Berlinale's best screenplay prize for writer/director Alonso Ruizpalacios and co-scribe Manuel Alcala for its addition to the fold. The Gael Garcia Bernal-starring effort is actually loosely inspired by reality, taking on the Christmas eve 1985 theft of 140 indigenous objects from Mexico's National Museum of Anthropology, but doing so with fictional characters. That's just one of its playful touches, in a film that knows how to stage the main event in an attention-grabbing manner, yet also knows how to ponder everything from the control of historical artefacts to the bonds of friendship to father-son relationships, and to do so with a cheeky smile and stylistic confidence. https://www.youtube.com/watch?v=-sNP9laRXts ÁGA When a film takes viewers to a world vastly dissimilar to their own, one of the best pieces of praise it can garner is also one of the simplest. Calling a fictional movie "documentary-like" isn't just quick shorthand — it recognises the skill required to dive so convincingly, thoughtfully and delicately into another way of life, opening it up to audiences far removed from its reality while showing the requisite respect as well. And, it's a term that Ága earns as it follows ageing Inuit couple Nanook (Mikhail Aprosimov) and Sedna (Feodosia Ivanova), their daily existence in their snow-surrounded yurt, and the subtle — and not-so — changes encroaching upon their happiness. Finessed performances, astonishing images, a concise script, and a well-handled sense of pace and mood all combine for a movie that initially seems like it'll trek down a recognisable path, but is filled with its own considerable charms. Top image: © 2017 Twentieth Century Fox
UPDATE, September 24, 2021: Minari is available to stream via Stan, Google Play, YouTube Movies, iTunes and Amazon Video. Films about the American dream aren't simply about chasing success. The circumstances and details change, but they're often movies about finding a place to call home as well. Such a quest isn't always as literal as it sounds, of course. While houses can signify achievement, feeling like you truly belong somewhere — and that you're comfortable enough to set your sights on lofty goals and ambitions that require considerable risks and sacrifices — transcends even the flashiest or cosiest combination of bricks and mortar. Partly drawn from writer/director Lee Isaac Chung's own childhood, Minari understands this. It knows that seeking a space to make one's own is crucial, and that it motivates many big moves to and within the US. So, following a Korean American couple who relocate to rural Arkansas in the 80s with hopes of securing a brighter future for their children, this delicately observed and deeply felt feature doesn't separate the Yi family's attempts to set up a farm from their efforts to feel like they're exactly where they should be. When Jacob Yi (Steven Yeun, Burning) introduces his wife Monica (Yeri Han, My Unfamiliar Family), pre-teen daughter Anne (first-timer Noel Cho) and seven-year-old son David (fellow newcomer Alan S Kim) to their new 50-acre plot, he's beaming with pride. He's bought them "the best dirt in America," he says. It might only span a trailer, a field and a creek, but he's certain that it will revolutionise their lives. Although both Jacob and Monica still spend their days in a chicken sexing factory to pay the bills, Jacob is confident his agrarian dream will reap rewards. The path he's chosen isn't a glossy fantasy, though. From trying to work out where best to build a well to provide water for his crops, to endeavouring to convince stores to buy his wares, Jacob weathers more than his fare share of struggles. Monica's worries about their isolation, and about money, also weigh heavily, as do Anne and David's attempts to fit in, the latter's heart murmur and the change that sweeps through the family when Monica's mother Soonja (Youn Yuh-jung, Sense8) joins them. "Grandma smells like Korea," the curious and precocious David complains about his newly arrived grandparent — and it's a telling line of dialogue. When Jacob and Monica talk about their promises when they first got married, remembering how they said they'd "move to America and save each other", their words are just as revealing. Minari doesn't spin a broad culture-clash narrative, but it does intricately and intimately explore what it means to be pulled in two directions. It's well aware that leaving one's homeland isn't the same as surrendering one's heritage, and that anyone who hasn't been through the same experience can't always spot the difference. Born in US, David and his sister don't have the same connection to Korea as their parents; however, they're reminded of how they stand out in American's heartland on a daily basis. Jacob and Monica have different visions of what their life should entail, and how to maintain ties to the past — he wants to grow Asian vegetables to sell to markets who cater to other immigrants, while she wants to live in a larger city as part of the Korean diaspora — but they're constantly navigating the same push and pull. Fellow recent American-made releases Crazy Rich Asians and The Farewell also traversed comparable thematic territory, but through US-based Chinese American women who made eye-opening trips abroad — to meet their partner's relatives or visit their ailing grandmother. By contrast, Minari devotes every second to the Yi family's American lives. Rather than being driven by a homecoming, the film focuses on turning that soil that Jacob gushes over into the Yis' home. The power that radiates from Chung's choice here can't be underestimated. Nor can his decision to frame much of the movie from David's perspective, and to eschew overt conflicts for everyday dramas. Through a pitch-perfect blend of all three, Minari sees Arkansas as both a challenge and a playground. Starting anew here isn't easy, even with everything from overgrown grass to dutiful church visits taking on a larger-than-life feel from David's wide-eyed viewpoint, but Minari, Jacob and his loved ones are all committed to taking the bad with the good. In the Yis' case, setbacks come their way, adjustments are necessary and tense moments abound, but their dedication to calling their farm home manages to survive tough reality checks. The film's overall story can be summarised neatly — a Korean American family moves to middle America — but Minari's charms and triumphs aren't ever simplistic. As movies influenced by personal real-life tales can be at their best, this is a gorgeously and thoughtfully detailed picture, with Chung realising that trading in specific minutiae is far more resonant, compelling and relatable than opting for sweeping generalisations. Lensed by cinematographer Lachlan Milne (Hunt for the Wilderpeople), the feature's visuals operate in the same fashion, offering exacting slices of life that also shimmer with a shared, nostalgic mood. Indeed, this precise and vivid film is told with such honest and tender emotion that it was always bound to feel equally unique and universal. Minari isn't Chung's first feature, thanks to 2007's Munyurangabo, 2010's Lucky Life and 2012's Abigail Harm, but it's the kind of heartfelt yet meticulous movie that instantly cements him as a filmmaker to watch. Young Kim does take his debut leap into cinemas, and makes just as strong an impact, stealing every scene he's in. Considering that the child actor stars opposite the always-magnetic Yeun, who turns in his latest excellent performance and may well receive an Oscar nomination for his efforts, that's no minor feat. Han, Youn and Cho are just as stellar, though, as is Will Patton (Halloween) as a devout but kindly Korean War veteran who virtually becomes another member of the family. The way that Minari's cast comes together so exceptionally couldn't be more apt, actually. They each find the space to explore hard-earned dreams, and feel like they're taking viewers home with the Yis in the process. https://www.youtube.com/watch?v=NbE96sCJEjo
Google are very cunning. They have a plan for you and I. They know that we have been ruining our eyesight for years by reading Buzzfeed lists in tiny font on our phones. They know that non-prescription glasses are the trademark of the much-maligned hipster. So they've done the inevitable and finally released a range of new Google Glass styles which, though no Ray Bans or Warby Parkers, are at least vaguely wearable, and can actually help you see. What are the new options? There are four titanium frame styles with slick names (Bold, Curve, Split and Thin), five colours, clear lenses and shades in two tints. We also have a lookbook full of languidly beautiful girls and boys wearing these things like it's completely natural. Wear prescription Google Glass down to the cafe, wear them on your bike, wear them to the opera — no one's going to laugh at you. Hopefully. Another insidious advantage of prescription Google Glass? We will be less jarred by the sight of smart-glasses on the face of someone who we know wears glasses anyway — at least, this is the fervent hope of Glass product director Steve Lee. So what's the price tag? The $225 prescription is small fry on top of the $1500 entry fee for accessing the Explorer program. It takes a specially trained optometrist to fit the prescription, and currently qualified optometries can only be found in LA, San Francisco and New York. Limitations exist for prescriptions beyond a certain range (+4 and -4). Once you add the complexity of bifocals and trifocals to the mix, prescription Google Glass has some way to go. Public availability is slated for late 2014, when Glass will finally become a customisable lifestyle tool. What's annoying is knowing that by 2020 or sooner, Google Glass won't look nearly so clunky; you probably won't even know someone's got a computer hidden in their lenses. Meanwhile, we who favour Dame Edna cat-eye vintage frames purloined from street stalls and optometrists' back rooms will have to wait a bit longer for our perfect Glass moment. Via Dezeen.
The best way to really explore a place? Taste it. We're all about food tourism and farmgate experiences in 2023, so it's delightful (and delicious) that our glorious Sunshine State is serving up a jam-packed season of delectable festivals. If you nab tickets to any of these stand-out events, you'll be well placed to eat and drink more fresh and local fare than you've done in your life. Next year's lineup will have you encounter celebrity chefs, salt-of-the-earth farmers and artisan crafters of all things gourmet and gorgeous. It will have you spend sunny days (yes, even in winter — it's Queensland) at markets and masterclasses, tours and guided tastings, feasting on farmland and sampling frothy bevs by the salty sea. You'll see the source of every bite, discover the land, sea and people behind the flavours and, of course, just consume everything the Sunshine State has to offer. Together with Queensland, we've found the intel on five fantastic foodie experiences that you'll want to get yourself to. So, pack your stretchy pants and loosen your belt, and head to Queensland for a gourmet adventure. EAT LOCAL MONTH, SCENIC RIM BRISBANE This festival is a guaranteed locavore's delight, placed in the aptly-named Scenic Rim, just a short drive from Brisbane or the Gold Coast. Running annually, Eat Local Month offers a slew of foodie and farming activities — including free and family-friendly events and the Winter Harvest Festival. The lush area is home to renowned cooks, distillers, growers, brewers, makers of all things delicious — such as award-winning camel milk gelato — and some pretty famous carrots (the region is actually known as Australia's Carrot Capital). Eat Local Month is a month of tastings, food trucks, tours, meet-the-maker events and the best chefs from Queensland and beyond coming to work their magic with the local abundance. Kids can learn about cheesemaking and gardening, all while you sip locally made liqueurs and spirits, wines from just over the hill and beers brewed just around the corner. If you're a foodie who cares about fresh produce, provenance and artisan makers, come feast on the Scenic Rim. Eat Local Month, Saturday, June 2023 THE CURATED PLATE, SUNSHINE COAST This delicious festival debuted in 2019 before being rudely interrupted by a certain pandemic. In 2022, it was offered in a smaller 'side-plate' format, but it's returning with a bang in 2023 with the full The Curated Plate festival from Friday, July 28 till Sunday, August 6. Over 10 days, you will have the chance to encounter the varied flavours of Queensland and immerse yourself in the region — this is as farm-to-table (and still-to-bottle) as it gets. You'll get the chance to meet the growers and artisans on their home turf — the Sunshine Coast — as they show off the best of the local food scene alongside guest chefs. Previous events have included fermentation and bush tucker classes, long lunches and degustations as well as boat trips and farm-gate experiences. Whatever the 2023 line-up holds, it's a food tourism extravaganza no gourmand can afford to miss. The Curated Plate, Friday, July 28 till Sunday, August 6, 2023 TASTE BUNDABERG FESTIVAL, BUNDABERG Go troppo for 10 days of pure Bundy flavour. This region is about way more than just its iconic brands (although you'll find those here, too). From Friday, August 4 until Sunday, August 13, discover the best of the locale at Taste Bundaberg with everything from farm tours and feasts to markets, masterclasses, music and maker-led events. In previous years, there's been in-orchard dining, sun-soaked long-table lunches, celebrity chef demonstrations, guided cheese-tasting, cocktail making and gourmet picnics where you can sample the produce from the land beneath your very feet. With glorious weather, there's a full program of indoor and outdoor activities for foodies and families to take advantage of. Taste Bundaberg, Friday, August 4 till Sunday, August 13, 2023 CRAFTED BEER & CIDER FESTIVAL, BROADBEACH Sprawling across Broadbeach's Kurrawa Park, the Crafted Beer & Cider Festival welcomes the best local breweries and bigger names from around the country. You're in for two expertly curated days of ice-cold frothies and foodie delights beside the beach. Last time, there was nearly 60 breweries and over 400 beers. Sound overwhelming? Don't worry, the full list and tap map are released ahead of time so you can plot your golden haze of a journey along the rows of beers, ciders, seltzers, ginger beers and more (there's vinos, spirits and cocktails too). You can expect a few festival exclusives, specialty beers and non-alc options as well — plus live music to feed your ears and food trucks for your bellies. Vendors are still TBC, but you can expect all you need for a day of beer and sunshine. For tunes, a full spectrum of musicians will take to the stage, from established acts (2022 saw British India headlining) to emerging artists. Crafted Beer & Cider Festival, Saturday, September 9 till Sunday, September 10, 2023 MORETON BAY FOOD AND WINE FESTIVAL, MORETON BAY BRISBANE Showcasing the culinary delights and fine fresh foods of southeast Queensland, the Moreton Bay Food and Wine Festival is taking over Woody Point's Apex Park for the first weekend in August, 2023. The celebration is part of the epic six-week Tastes of Moreton Bay Festival. In 2022, more than 20,000 people rocked up for the weekend, and you can be sure that eager, hungry crowds will once again converge beside the glittering waters of Moreton Bay to savour fine foods. A smorgasbord of foodie experiences will roll out over one long weekend — everything from maker's markets, performances and masterclasses to classic games of beer pong and spectacular fireworks. Sip cocktails by the water or watch as celeb chefs take to the stage to demonstrate their recipes demonstrations that make the most of the fine foods from the land, sea and artisans in this prodigious pocket of the Sunshine State. Moreton Bay Food and Wine Festival, Friday, August 4 till Sunday, August 6, 2023 To explore more of the food and wine events taking over Queensland in 2023, head to the website.
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 take you to Samabe Bali Suites & Villas in Nusa Dua. We've also teamed up with this luxe spot to offer readers a 40% discount on their stay when they book through Concrete Playground Trips. We've even included a bunch of extra travel experiences, helping you really elevate your Bali holiday game. WHAT'S SO SPECIAL? Even though Bali's Nusa Dua can get busy — people flock here for the famous long white sandy beaches — this clifftop accommodation feels far away from the crowds and gives visitors access to quieter shores. The uninterrupted sea views, all-inclusive elements and ultra-luxurious villas also make this a standout place to stay. THE ROOMS As it says in the name, there are two kinds of accommodations here: suites and villas. Each of the large suites can sleep 4–5 people and most come with their own private plunge pool looking out over the beach. Expect to also find large dining and living rooms, bathrooms with free-standing tubs and queen- or king-sized beds. Then, there are the villas. These bad boys are huge and incredibly opulent. They come with much larger living and dining spaces, pools (either overlooking the courtyard or ocean) and lush gardens. All rooms are traditionally Balinese in design but have all the most modern amenities and plush furnishings. FOOD AND DRINK Samabe Bali Suites & Villas has four restaurants and bars on the premises and also offers a series of bespoke romantic dining experiences. First off, the Rempah-Rempah Restaurant is where you head for an extravagant buffet breakfast every morning (included in the price of your stay). You'll be offered classic brekkie options alongside lavish inclusions like seared wagyu beef, foie gras and all kinds of seafood. Japanese and Korean breakfast set menus are also available for those wanting to change things up. The Te.Ja.Co Lounge and Bar is where most people grab their complimentary afternoon tea and pre-dinner drinks. The Ring of Fire Pool Bar is what you'd expect from most lavish poolside drinking dens. Tuck into a bunch of light bites as you make your way down the long list of fun cocktails, beers and wines. The team isn't reinventing the wheel here — just doing the classics well. Lastly, there's the Crystal Blue Ocean Grill. This openair thatched-roof style dining spot overlooks the Indian Ocean and the main pool area. It's pretty big on the surf and turf life — tuck into all manners of freshly caught seafood or get your steak on with a bunch of different cuts available. [caption id="attachment_896022" align="alignnone" width="1920"] Sven Piek (Unsplash)[/caption] THE LOCAL AREA If you're seeking sun and sandy shores, then Bali's Nusa Dua is the place to be. The main strip in town is filled with sun-soaked bars and restaurants as well as a bunch of boutique stores and market stalls. But the biggest drawcard of this area is the beaches. They are next-level gorgeous. And plentiful. Either rent out a sun lounger at the beach (located at the foot of the resort's cliff) and spend your days dipping in and out of the clear blue waters and chilling with a good book or go on an adventure with heaps of water sports available to travellers. And if you're looking to take your Bali holiday to the next level, check out these nine local trips and tours that you can book through Concrete Playground Trips. THE EXTRAS Samabe Bali Suites & Villas has extras galore. You can engage full luxury holiday mode by getting your own personal butler for your entire stay. Or, try booking one of its special romantic experiences (honeymooners are clearly the target audience for these). There are also a bunch of signature activities — think Balinese cooking classes, catamaran picnics, camel rides, outdoor theatre nights and private yoga classes. And if you book our four-night stay at Samabe Bali Suites & Villas, you'll get access to a heap of extras. This includes a unique Indonesian Rijstafel dinner, two in-room massages, complimentary fruit and face masks by the pool, daily beach yoga and a heap of all-inclusive offerings. Plus, the whole trip is 40% off. That means you save over $2500. If you're seeking to extend your summer by going on a luxury island getaway, be sure to check out this exclusive deal. 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.
When you're spending a night or several away from home, it's often the small things that matter. On a beach getaway, being able to wander directly from your hotel to the sand — without crossing roads and walking down the block — is one such tiny luxury. And, it's exactly what'll be on offer at The Langham Gold Coast, with the new five-star spot opening its doors to holidaymakers in mid-June. Joining the brand's existing Australian hotels in Sydney and Melbourne, as well as a worldwide portfolio that dates back to 1865 in London, The Langham Gold Coast will boast direct beachfront access — a rarity for new towering places to stay in the tourist spot. It's also the chain's first beachfront property, and it's pairing that oh-so-close proximity to sun, surf and sand with everything from a pool bar and cocktails upon arrival to 17 different types of rooms and suites to slumber in. Obviously, gorgeous ocean views are a big feature — although, if you find yourself in a room on the other side of the building, you'll be peering out over the Gold Coast hinterland instead. There'll be 339 rooms and suites in total, all decked out in coastal hues, and with a huge emphasis on luxury. When it launches on Thursday, June 23 — with bookings open from Monday, May 16 — The Langham Gold Coast will also include a range of food and beverage venues in addition to the aforementioned pool bar. So, when you're not enjoying afternoon tea at Palm Court, which goes big on pastries and pool views, you'll be hitting up all-day dining spot Akoya, a casual eatery serving meat, fish and poultry over cocktails (and seaside vistas). Or, there's the lobby bar, for more tipples; Coral Moon, another openair bar; and 26 & Sunny, which'll sit on the beach and offer sandwiches, coffee and deli options. Come spring, T'ang Court will also start serving up Cantonese dishes, giving the hotel a sister venue to the brand's Michelin-starred restaurants overseas. Between zipping into the waves and knocking back beverages, guests can also hit up Chuan Spa, The Langham's wellness centre. There, traditional Chinese medicine will guide the treatment selection — and leaving you feeling blissed out is the number-one aim. A health club with a gym, plus yoga, pilates and meditation sessions will be onsite as well, and — as the pool bar makes plain — places to swim besides the ocean. There'll be two pools, in fact, one indoors and the other outdoors. You'll need to be outside for those lagoon-style swim-up drinks, though. Artwork by Australian sculptor and artist Camie Lyons will feature around the hotel, and the chain's Ginger Flower fragrance will help set the mood. And if you're wondering where to head, The Langham Gold Coast will make its home inside the Jewel towers between Surfers Paradise and Broadbeach. Find The Langham Gold Coast at 38 Old Burleigh Road, Surfers Paradise, from Thursday, June 23. For more information or to make a booking, head to the hotel's website.
For more than four decades, Storm Boy has been an essential part of the Australian primary school experience. If you didn't read Colin Thiele's novella, losing yourself in its pages, then you watched the wonderful 1976 film adaptation. Perhaps you did both — or maybe you saw the stage version from the 90s onwards. Both then and now, Storm Boy has always told a timeless tale, but its 2019 remake might've benefited from arriving a few years earlier. The central narrative remains just as affecting, focusing on a young boy and the lively pelican he comes to call his best friend. The movie's new additions and its big-name star, however, don't fare as well. In much of the film, the story of a pre-teen Mike Kingley (Finn Little) scampers across the screen, just as the boy himself scampers along South Australia's sandy Coorong coastline. Other than his fisherman dad "Hideaway" Tom (Jai Courtney), Mike's days are largely free from human contact. When he meets another of the region's reclusive figures in local Indigenous man Fingerbone Bill (Trevor Jamieson), he makes a rare pal. The two bond over a trio of other lonely creatures: three baby pelicans whose mother is shot and killed by hunters. Naming them Mr Percival, Mr Proud and Mr Ponder, Mike takes the helpless chicks under his wing, cares for them and watches the birds grow. From Lassie's yearning to return home, to Kes' combination of a kid and a kestrel, to the recent version of Pete's Dragon, accounts of humanity's connection with animals have long inspired movie magic. In pictures such as E.T. the Extra Terrestrial and the recent Transformers prequel Bumblebee as well, the same themes and emotions apply. Sometimes the genre tugs a little too hard on the heartstrings, and sometimes it's happy being a tad too cheesy, but when it works, it brings tears and tender feelings in equal measure. And in Storm Boy, it works. Watching Mike escort his grown pelicans back into the wild, then watching Mr Percival make his return, proves moving in all of the right ways. The path their tale charts from there also evokes a genuine reaction. There's a sunny but never blindly optimistic glow to these 1950s-set scenes, as paired with warm performances from the effortlessly naturalistic Little, Courtney putting in his best work in years, and the engaging Jamieson stepping into David Gulpilil's shoes. Making his first movie since 2008's Two Fists, One Heart, director Shawn Seet finds the right mood and tone even when he dials up the sentiment to obvious heights, while also filling the main section of the film with sweeping images. Alas, unlike its predecessor, the young Mike's exploits with Mr Percival only comprise part of the picture. Wrapped around Storm Boy's compassionate core is a contemporary story, following Mike as a weary, wealthy grandfather played by Geoffrey Rush. Summoned to a board meeting for the family company that's now run by his son-in-law (Erik Thomson), the ageing character relays his childhood memories to his teenage granddaughter (Morgana Davies), who's firmly against her father's latest plans. These additions by screenwriter Justin Monjo (Jungle) come saddled with a well-meaning environmental statement that brings modern-day relevance, but the end product is as forceful and clumsy as it sounds. They also push Rush to centre stage for a significant portion of the movie, a move that feels unnecessary given how engaging the flashback scenes are — and also feels uncomfortable after the recent allegations of sexual harassment levelled against the actor, which he denies. As a result, Storm Boy is both a gorgeous film and a wayward one. Its soaring heights are a delight, and its awkward depths are an unwanted distraction. One will melt even the hardest of hearts, the other will test even the most patient of viewers. Our advice: focus on the titular tyke and the pelican, although you'll wish the filmmakers had heeded the same words. https://www.youtube.com/watch?v=6cBOvn18yeQ
The director of Seven, Fight Club and The Girl with the Dragon Tattoo, David Fincher has made a career out of stylish, devilishly entertaining pulp. His latest film, Gone Girl, is absolutely no exception. Adapted from Gillian Flynn's bestselling novel of the same name, it's a dark and twisting tale that presents itself as both a biting commentary on relationships and media frenzy, and a subversion of procedural film conventions. And at the same time, it fully embraces the sleaze and exploitation of that which it critiques. Despite his superhero physique, Ben Affleck looks decidedly schlubby as Nick Dunne, an out-of-work writer from a small town in Missouri whose wife, Amy (Rosamund Pike), goes missing on their five-year anniversary. Signs of a struggle indicate she might have been abducted, and before long the entire country is following the case. But as more and more evidence comes to light, including a six-figure life insurance policy and a string of expensive credit card purchases, suspicion is soon cast upon her husband. And as a series of flashbacks told from Amy's perspective expose a marriage that had begun to turn sour, we're forced to confront to possibility that Nick may be a killer. Of course, it's nowhere near as simple as all of that. Gone Girl is the sort of movie that is very difficult to review, because so much of what makes it interesting lies in its second and third act revelations — each more deliciously silly than the last. Viewers unwilling to suspend their disbelief may struggle with the film, which really pushes the boundaries of plausibility. Then again, lurid, outlandish plot twists go part in parcel with the genre, as Fincher fans would well know. Although the movie plays fairly straight, there is definitely an element of subversion here, along with a jet-black sense of humour that manifests itself in unexpected ways. For example, it's hard not to snort when Nick complains, with a completely straight-face, that he's tired of "being picked on by women." The film's representation of gender and marriage could be the subject of an essay in and of itself. Suffice it to say, any movie that can be read as both a bloody tale of female empowerment and a twisted fantasy that implicitly exonerates domestic abusers is worthy of critical attention. Affleck, to his credit, gives what is probably the best performance of his career. One suspects that the casting choice was a self-aware one, given how much of the actor's life has been scrutinised in the tabloids. In a film full of unlikeable characters, the most repugnant are the likes of talk-show host Ellen Abbott (Missi Pyle), quick to condemn Nick's awkward, emotionless television appearances as evidence of his guilt. The film is very much a double-edged sword though. It condemns us for our obsession with violence while funnelling it down our throats. Once again, Fincher is dressing up trash as serious art, wanting to have his cake and eat it too. And frankly, we wouldn't take it any other way. https://youtube.com/watch?v=2-_-1nJf8Vg
For residents of Australia and New Zealand, taking an overseas holiday hasn't really been on the agenda for much of the pandemic due to strict international border controls in both countries. Since April, however, the trans-Tasman bubble has let Aussies take a getaway in NZ and vice versa, all without having to go through quarantine upon arrival. But, with COVID-19 cases growing across Australia again, and the Greater Sydney area and all of both Victoria and South Australia currently in lockdown, NZ has just suspended the arrangement. Announced today, Friday, July 23, by NZ Prime Minister Jacinda Ardern, the pause applies to quarantine-free travel to and from all Aussie states and territories. This isn't the first time that the bubble has been put on hold with all of Australia, with the same thing happening at the end of June. It has been paused with individual Aussie states before, too, as is currently the case with New South Wales, Victoria and South Australia. This time, though, the nationwide suspension will stay in place for at least the next eight weeks. The pause will come into effect from 11.59pm NZT / 9.59pm AEST today for Australians entering NZ. For New Zealanders heading home, managed return flights will run for the next seven days; however, to get on one, you'll need proof of a negative pre-departure test. And, if you've been in NSW, you will still have to go into managed quarantine for 14 days. Folks who've been in Victoria must self-isolate upon return, and also have a negative Day 3 test. "There are now multiple outbreaks, and in differing stages of containment, that have forced three states into lockdown. The health risk to New Zealanders from these cases is increasing," Prime Minister Ardern said. "We've always said that our response would evolve as the virus evolved. This is not a decision we have taken lightly, but it is the right decision to keep New Zealanders safe." https://twitter.com/covid19nz/status/1418393858795196419 When NZ Prime Minister Jacinda Ardern first announced the two-way bubble between Australia and New Zealand back in April, she noted that it could and would be paused if and when outbreaks occur — so none of the suspensions so far, including this one, are surprising. The NZ Government advised that this current pause "will give Australia time to manage its current outbreaks, while giving New Zealand health officials the time to monitor the situation, assess travel developments in other countries and consider different quarantine-free travel settings while ensuring New Zealanders are safe." To find out more about the status of COVID-19 in Australia, head to the Australian Government Department of Health's website. To find out more about the virus and travel restrictions in New Zealand, head over to the NZ Government's COVID-19 hub.
If you're starting to think hard about next year's travel plans, we've got a stay that warrants an extra stop on the list — and it's not a beachfront villa or five-star skyrise. South Island sheep and cattle farm Lake Hāwea Station is the only New Zealand property to have made Condé Nast's prestigious Gold List of accommodation options for 2023. Now in its third decade, the international publication's hand-selected Gold List consists of the international team of writers' favourite places to stay around the world. And, recognised for its eco-practices and luxe transformation of the farm's historic cottages, Lake Hāwea Station made the cut in the publishing house's Best Sustainable Hotels category. [caption id="attachment_882820" align="alignnone" width="1920"] Thomas Greenway[/caption] We can see why — just 15 minutes from Wanaka, Lake Hāwea Station is the first certified carbon-zero farm in Australasia, offering travellers an authentic farm experience while they stay on-site in one of its four luxe accommodation options. In their notes, Condé Nast editors wrote that it was "simply, one of the most impressive, can't-believe-this-place-could-possibly-exist retreats you'll ever be lucky enough to stay in." "[The] property's true point of difference is its pioneering ethos in New Zealand's approach to cultivation and sustainability." [caption id="attachment_882821" align="alignnone" width="1920"] Thomas Greenway[/caption] The farm has four accommodation options available: the three-bedroom glass-walled Lake House, the studio-like Little L tiny house (which comes complete with a miniature library), the simple two-bedroom Homespur cottage and the historic Packhouse cottage, which sleeps six. All houses boast stellar lake views, outdoor firepits, hot tubs and outdoor dining. [caption id="attachment_882819" align="alignnone" width="1920"] Thomas Greenway[/caption] Owners Jussie and Geoff Ross received recognition for their renovation and transformation of the 16,000-acre property which they purchased in 2018. They were also recognised for the farm's focus on animal welfare practices, enhanced farm biodiversity and their work to slow climate change — including the planting of more than 100,000 native trees. [caption id="attachment_882818" align="alignnone" width="1920"] Thomas Greenway[/caption] Jussie says that it's a sign of a changing travel industry to see a working farm on a list usually reserved for luxury hotels. "It shows that high-end travellers want to be part of a climate-positive experience," she said in a statement. "In an age of increasing demand for both climate action and transparency, Lake Hāwea Station immerses its guests in every aspect of their fight for the climate." [caption id="attachment_882817" align="alignnone" width="1920"] Thomas Greenway[/caption] Lake Hawea Station is the only New Zealand property to be crowned in Conde Nast's Gold List for 2023. You can find more info about the station's sustainability practices — and perhaps book your stay — on the official website. Top image: Thomas Greenway
When it was published in 2005, Dead Europe, the novel by Christos Tsiolkas, was pronounced both brilliant and completely unfilmable. Tony Krawitz, whose previous films include Jewboy and The Tall Man, took on the challenge and has produced what is at once a deeply beautiful and also one of the most viscerally disturbing films to have emerged from Australia in recent years. The film follows Isaac, played by Ewen Leslie, who returns to Greece after the death of his father to scatter his ashes. Isaac is gradually drawn deeper into the horror of the diseased underbelly of Europe, all the while pursued by the ghosts of family history. Very kindly, Tony Krawitz sat down one lovely afternoon to have a chat about what is a truly remarkable film with a girl who'd spent the past month writing on the novel. What was it that made you want to make Dead Europe into a film? Because some said it was unfilmable. Well, obviously I never felt that. The book, as it is, is unfilmable because it's so dense and beautiful and goes in so many directions. But it felt like the contemporary story had a road movie type of structure. I always knew it would be challenging but I didn't think it would be unfilmable. Did Tsiolkas have a lot of input or did he let you just run free with it? He was really free with us. He said, "I saw Jewboy, and I really like it, and I trust you. Go for it," which is freeing and also terrifying. I think he read the last two drafts, and was really encouraging, and then helped us through pre-production and acted almost as a consultant. And he's seen the finished film and he's really happy with it. I think it's because he loves film so much and he understands how different the adaptation needed to be. They're like companion pieces. The way he described it to me is that he kind of got lost in the film and forgot about the book, which is really nice to hear from the author. The film takes the curse of the book and gives it to the father's side of the family instead of the mother's, which reminded me of the connection between the absent father and the son in Jewboy. Why was it that you decided to place the family story at the centre of the film? The family curse is central to the book, and that's the main narrative. Folding them together helped to make it more streamlined. What it also did, which I really liked, is it made it more biblical — the sins of the father. The father was someone who said he was a rationalist, who didn't believe in religion, but felt that he was cursed, and Isaac is a rationalist who goes "I don't believe in any of that shit" but finds out that he does. Would I be right in saying that the protest scenes in the film were the real ones happening in Athens? Was that part of you wanting to try and engage with the reality of Europe, as a sort of documentary? Yes, that's what I loved about the book. It was such a prescient title. The stuff Christos was seeing seven years ago in the book have come to fruition now in difficult and unexpected ways. With the protests we were looking to update the book and ask, what are the issues now? The response some readers had to the book was almost one of possession, and I think the film has a similar effect. You feel possessed by it. It makes you feel before you can intellectualise anything. Was that your intention? Exactly. What we were trying to do as filmmakers was to get the audience past their intellect, to make it visceral. Some people will love that, some people will really hate that and come out going "but that isn't how I think about that, how dare you put that on screen." The reason we were doing that is because that's what happens to Isaac. He's saying, "I am in my intellect, I understand the world, I know what Europe is, I know what suffering is, I know what war is," but he's a sheltered boy from Melbourne. Did having to deal with such intense themes have an effect on the cast? Yeah it did. We filmed mostly in sequence, so especially for Ewen, as we got more tired and more run down we were getting to the more intense scenes. I think it was great for him as an actor to be able to go on that journey. What were your motivations in changing the ending? It's hard to talk about for people who haven't seen the film yet; I don't want to spoil it. But it changed. It took a lot of conversations to get to that hotel room scene. It does end with more hope than the book, and I like that because the story, for me, is about the forgotten people of Europe. It's about the victims of the past, whether they're Holocaust victims or victims in Yugoslavia or victims today in Syria. Christos is so passionate about human rights and it's like the book was a primal scream about those issues. The way it seemed to me was that there's this official version of history, which we're constantly curating, but the film is interested in exposing these other histories that we don't acknowledge, but which still exist and still haunt us. And what's so powerful about the film is it's putting up a mirror and saying, "you're implicated in this." Yes, because we're actually taught that it's other people who do that, and we have no agency or responsibility. And I think that's what's uncomfortable for people, because they want to go watch a film which says "everything's fine", while this is much more unsettling, which people will either really love, or hate. https://youtube.com/watch?v=XrNnofw8CQw Read our review of Dead Europe here. Image 1: Ewen Leslie as Isaac in Dead Europe. Image 2: Tony Krawitz with producer Liz Watts.
Since making his feature debut in a glow of sci-fi and action with 2010's TRON: Legacy, Joseph Kosinski can't stop feeling the need for speed. Just over a decade after his first film, the director was behind the helm of Tom Cruise-starring 2022 megahit and 36-years-later sequel Top Gun: Maverick, aka the movie that helped bring audiences back to cinemas in a big way after COVID-19 closures and lockdowns. Now comes another huge flick with ample adrenaline, dashing modes of transport aplenty and a zooming pulse, as well as another silver-screen must-see: F1, which isn't just set in the world of Formula 1, but was shot within it, including on real race weekends. Kosinski came to his sixth feature — 2013's Oblivion, 2017's Only the Brave and 2022's Spiderhead are also on his resume — during the pandemic's early days, sparked by an obsession that's shared by many. Chalk up another win for Formula 1: Drive to Survive, then. Being interested in a sport, immersed in a TV show about it and driven turn that love into a movie isn't the same as having experience in it, though. Enter Formula 1's record-holder for the most amount of wins (and pole positions and podium finishes, too), seven-time world champion Lewis Hamilton. He's not just one of F1's producers, but also a crucial player in ensuring that authenticity is at the forefront of the movie. Introducing Kosinski at a press Q&A, the IRL star driver himself called the end result "the most-authentic racing film you will ever experience in a cinema". The just-dropped full trailer for the film and its past teasers give viewers a sneak peek of how F1 strives to make good on Hamilton's promise. "Joe, Jerry [producer Bruckheimer], Brad, the cast and the whole filmmaking team put an incredible amount of effort to deliver a genuine Formula 1 racing experience unlike anything you've ever experienced before on screen," Hamilton continued. "As you may have heard, the film was shot during the F1 races over the course of a season — and with Joe at the helm, audiences around the globe are going to feel like they're on the track and in the driver's seat. Watching Brad drive around at speeds over 180 miles an hour was really impressive to see, because it's not something you can just learn overnight. And the dedication and the focus that Brad put into this process has been amazing to witness." Chatting ahead of hitting the track for his Ferrari debut at 2025's Melbourne Formula 1 season opener, Hamilton also called being involved with F1 "such a thrill for me — and I genuinely promise this film delivers on every level". [caption id="attachment_994934" align="alignnone" width="1920"] Photo by Scott Garfield, courtesy Warner Bros. Pictures / Apple Original Films.[/caption] The excitement on Hamilton's part is real. The same can be said for Kosinski, who also co-penned the story for the film with screenwriter and fellow Top Gun: Maverick alum Ehren Kruger. The filmmaker couldn't praise Brad Pitt's (Wolfs) driving prowess enough, too: "he just had that natural feel for grip in the car, and what we're doing on this film is dangerous. You have to be fearless, and when you see Brad driving, that's not acting. He's really concentrating on keeping that car on the track and out of the wall during all those scenes. So that's something that you just can't fake, I think. I hope the audience feels that when they watch the movie," Kosinski advised. F1 tasks Pitt with playing Sonny Hayes, a former racer ("the best that never was", the new trailer notes) who returns to the sport as part of fictional team APXGP. Damson Idris (Snowfall) co-stars as his hotshot colleague Joshua Pearce — someone who Hayes clashes with, as the film's trailers illustrate — while Kerry Condon (Skeleton Crew), Javier Bardem (Dune: Part Two), Tobias Menzies (Manhunt), Sarah Niles (Fallen), Kim Bodnia (Nefarious) and Samson Kayo (House of the Dragon) also feature. "This is a movie about friendship, teamwork, sacrifice, redemption," Kosinski noted, stressing that it's not just for Formula 1 diehards. "The story, I think, is universal. It just happens to be set in this incredibly exciting world of Formula 1." What were the filmmaker's biggest highlights in bringing the picture to fruition? "There's so many. It's hard to pick one, but I'll say working alongside Lewis and all the other drivers on the grid, and having them embrace us — because certainly asking to be part of that family and that world, and to say you're making a movie, there's going to be some reticence there. But when they saw how determined we were to make it authentic and represent their sport in the absolute best way we could, to have them embrace us and to be able to have them play themselves in the film, to be able to shoot on the track alongside them, showed a level of trust that was really remarkable," he continued. "There's just no way this film would exist without that." The filmmaker also discussed his Drive to Survive inspiration, capturing Formula 1's genuine intensity, working with Hamilton and other names in the sport, challenges along the way, the sound of the film — Hans Zimmer's (Mufasa: The Lion King) score included — and more. On Why Kosinski Wanted to Make a Movie About Formula 1 "Well, I think like a lot of people during COVID, I found myself starting to watch the races and found this great television show called Drive to Survive — and I found that it's an incredibly unique sport in that your teammate is also, in many ways, your greatest competition. And for me, that makes for a great drama. I also loved how the first season of the show focused on the last-place teams, the underdogs, rather than the Ferrari, the Mercedes, the Red Bull, the teams that you see at the front of the pack. And I thought that there was an interesting story to be told about an underdog team in trying to not win the championship, but just trying to win one race against these titans of the sport. So that's where it started. And lucky for me, I had a contact who was in Formula 1 that I could reach out to, so I did." On Bringing the IRL Intensity of Formula 1 to the Screen "The first thing I did was I reached out to Lewis Hamilton, and obviously he lives that sport every day. He's one of the greatest of all time, and I asked him to be my partner on making this film. So having Lewis gave me this incredible in into this world, and one of the people he introduced me to was Toto Wolff, the team principal of Mercedes. And I started talking with them about wanting to capture the speed of this sport — and it was actually Toto who came up with the idea of, rather than making a movie car fast enough to achieve these speeds, he said 'why don't you start with a race car and take a real race car and then work the cameras that you need into that'. So we did that. We actually bought six F2 cars, real F2 race cars, and worked with Mercedes-AMG, the Formula 1 team and their engineers, to build real race cars that could carry our camera equipment, recorders and transmitters for making this film. So every time you see Brad or Damson driving in this movie, they're driving on their own in one of these real race cars on a real F1 track. So that's how we approached the making of this film." On Getting Brad Pitt and Damson Idris Up to Speed to Do Their Own Driving in the Film "Brad and Damson are both driving in this film, and in order to get them into these race cars, it required months, literally months of training. But the first day was really fun. It was me, Brad and Lewis Hamilton at the track together, all of us jumping in cars and driving each other around in sports cars — which was one of those things, I'll never forget having Lewis Hamilton as your driving instructor. But what we learned, and what Lewis was really interested in, was seeing did Brad know how to drive, right? Because if Brad can't drive, this whole film wasn't going to work. And what Lewis was very happy to discover was that Brad had a lot of just natural ability right from the start. And I don't know where he got that or if he was born with it — and he rides motorcycles, which I think has something to do with it — but he's just a very talented, naturally gifted driver, which for Lewis, after that first meeting, gave him a lot of confidence that we might have a shot at pulling this off." On Collaborating with Lewis Hamilton and Other Formula 1 Professionals "Lewis was instrumental in not only the technical aspects, obviously, but in the real formulative stage of the movie, formulating this narrative. We tell the story of Sonny Hayes, who's a veteran racer, and then Joshua Pearce, who's a rookie. Lewis has been both. He's been the rookie, almost winning his first season in Formula 1 — and now with seven world championships, he's kind of seen it all. So his perspective on shaping the narrative of these two characters and giving me real insight into what it is that drives him, what makes these guys want to do this day in day out, it was really, really helpful. We couldn't have made this film without him." On Ensuring That the Film Isn't Just About the Racetrack Action, But Is Filled with Compelling and Authentic Characters Within the Formula 1 World "It always starts with a great script and a great story. I knew that no matter how accurate or exciting the racing is, it doesn't mean anything if you're not telling a story supported with great characters. So it all starts with the script, and I worked with Ehren Kruger, who also worked on Top Gun: Maverick. He wrote an incredible script for us to start with. And then the most important thing a director does beyond developing the script is casting. Casting is everything. And the group of actors that we pulled together for this film is pretty incredible. Javier Bardem and Brad together, their friendship, which is an old one — three decades old — really is the core of this story and of this film, and just seeing them together on-screen is really special. Kerry Condon — yeah, she's incredible. She plays the team technical director, so she's the person in charge of designing the car and the engineers and the drivers. There's some healthy tension there on every team, and it makes for a great relationship between the two of them. And then Damson Idris, who people might know from his television career, but maybe not from the movies — I'm really excited for people to see him here going toe to toe with Brad on a big screen and a big story. So yeah, we have an incredible cast of supporting actors as well. And yeah, it's a great ensemble." On How Filming on Location — and During Race Weekends — Impacted F1's Narrative "I mean, the tracks, the location is one thing, but on race weekend it just becomes this whole different world. It's like a traveling circus. So we couldn't just shoot at the track without the race going on. It would've been the wrong dynamic. So we were actually there on race weekend with hundreds of thousands of people watching us finding these timeslots between practice and qualifying, that Formula 1 graciously afforded us. So we'd get these ten- or 15-minute slots where we'd have to have Brad and Damson ready in the cars, warmed up with hot tyres ready to go — and as soon as practice ended, they would pull out onto the track. We'd have 24, 30 cameras ready, rolling, and I'd have to shoot these scenes in these very short, intense, high-speed windows. But the crowd you're seeing was really there in the stands. I don't think the crowd realised that Brad Pitt was in the car that was in front of them. And so there was definitely this heightened quality to every race. We were also shooting dramatic scenes on the grid before races, so it was a very unique way of working, rather than having a whole day to shoot a scene like you normally would on a movie. We had these nine- or ten-minute slots, so it was like a live stage play, but in front of hundreds of thousands of people shooting at 180 miles an hour, literally. So it was an adrenaline rush every weekend, but what we captured is something you can't fake, you can't stage. It's really happening, and I think the audience will see that." On the Challenges of Shooting in Such a High-Octane Environment "The big challenge was just the camera system itself. I mean, we had to develop a brand-new camera system, taking everything we learned on Top Gun: Maverick and pushing it much further. You can't put 60 pounds of gear onto a race car and expect it's going to perform the same way. So we took those Top Gun cameras and we worked closely with Sony, sizing them down to something about a quarter of the size. And then on top of that, something I really wanted to do on this film was actually be able to operate and move the cameras while we were shooting, which was something we weren't able to do on Top Gun. So we have motorised mounts on the car as well. So you have transmitters that are transmitting the picture back. We've got transmitters controlling the movement of the camera. I'm sitting at the base station with Claudio [Miranda, also from Top Gun: Maverick], our cinematographer, looking at 16 screens. I've got camera operators on the controls for the cameras and it's calling out camera moves like a live television show while they're shooting. So much research and technology and development went into just being able to roll a frame of footage, in addition to the training for the actors and the logistics of shooting at a real race. So it was a lot of prep to be able to pull this off." On the Sound of F1, Complete with a Hans Zimmer Score "Sound is a huge part of racing. So we have a sound designer, Al Nelson, also from Top Gun: Maverick. You're seeing a theme here, I guess, in terms of collaborators. He was there at the track recording all the real sounds of the real cars. We got microphones on the real F1 cars, which was, as you can imagine, very difficult to do because they count every gram that they put on those cars. So getting our recorders on the real cars was a huge aspect of getting it right. And then the other type of sound, the score, we've got Hans Zimmer creating another epic theme and score, and he's got a lot to compete with sound-wise in this movie. So he really brought it. The score for this film is something I'm really excited for people to hear. It's Hans. What Hans does, what few composers can do, is he can write a real theme, a real melody that you just can't get out of your head. And he's written another one here that I can't wait for people to hear." F1 releases in cinemas Down Under on Thursday, June 26, 2025.
UPDATE, June 3, 2022: Kajillionaire is available to stream via Netflix, Binge, Foxtel Now, Google Play, YouTube Movies, iTunes and Prime Video. When Evan Rachel Wood played a troubled teen in 2003's Thirteen, the then 16-year-old received a Golden Globe nomination. For her work in Westworld since 2016, she has nabbed multiple Emmy nods. So when we say that the actor puts in her best performance yet in Kajillionaire — the type of portrayal that deserves several shiny trophies — that observation isn't made lightly. Playing a 26-year-old con artist called Old Dolio Dyne, Wood is anxious but yearning, closed-off yet vulnerable, and forceful as well as unsure all at once. Her character has spent her entire life being schooled in pulling off quick scams by her eccentric parents Robert (Richard Jenkins, The Shape of Water) and Theresa (Debra Winger, The Lovers), who she still lives with, and she's stuck navigating her own street-wise brand of arrested development. Old Dolio knows how to blend in, with her baggy clothes, curtain of long hair and low-toned voice. She also knows how to avoid security cameras in physical feats that wouldn't look out of place in a slapstick comedy, and how to charm kindly folks out of reward money. But she has never been allowed to truly be her own person — and, from the moment that Wood is seen on-screen, that mournful truth is immediately evident. Kajillionaire introduces Old Dolio, Robert and Theresa as they're falling back on one of their most reliable swindles: stealing packages from post office boxes. Old Dolio bobs and weaves like a ninja to avoid prying eyes, while her parents watch on from a safe distance, a formula that most of their other small-time rackets also rely upon. They're not trying to strike it rich and live ultra glamorous lives, although they do like entering competitions. As Robert lectures on one of his many musings about their chosen lifestyle, they don't want to be kajillionaires like everyone else in America seems to. Rather, they're merely endeavouring to maintain their offbeat existence — including keeping a low profile, staying off the grid and away from the government's prying eyes, and holing up in the basement level of an abandoned office building. In the aforementioned vacant structure the Dynes call home — which is still filled with cubicles, office furniture and stationery — big waves of pink suds seep down from above multiple times a day. That's an absurdist detail, even just to look at; however, it says more about the film's characters, the feature itself and the approach favoured by writer/director Miranda July than a simple description can convey. As the latter demonstrated with Me and You and Everyone We Know and The Future, she's fond of both surveying the routines of everyday life and using surreal and whimsical flourishes to lay bare the emotions lingering underneath. Vivid to watch but considered a chore in the movie, those soapy bubbles are a classic July touch. They also reflect the blend of eccentricity and repetition that marks this unconventional family's days, and share much in common with Old Dolio specifically. Never treated like a child or allowed to celebrate her birthday, and trained to split every score she makes with her parents since she was a kid, she has long been taken for granted — but, for those willing to actually take notice, she's far more than just the third part of a trio. Narrative-wise, Kajillionaire tracks this realisation within Old Dolio herself, as sparked by two developments. Firstly, to make a quick $20 to help cover overdue rent, she agrees to attend a parenting class for someone she meets on the street, and is struck by how far removed its teachings are from her own experiences. Secondly, on a return flight back to Los Angeles from New York as part of a travel insurance grift, her parents meet and befriend lively optometrist's assistant Melanie (Gina Rodriguez, Annihilation). So accustomed to playing the role dictated to her by Robert and Theresa, and never deviating from it, Old Dolio isn't prepared for the emotions stirred up by both changes to her status quo. But July's poignant and perceptive movie — a film that's a quirky heist flick, a playful but shrewd exploration of family bonds, and a sweet love story — is perfectly, mesmerisingly equipped to navigate her protagonist's efforts to reach beyond the only loved ones and the only type of life she has ever known. That Wood and July make a delightful actor-filmmaker combo really can't be stressed enough. Old Dolio finds herself searching for the kindness she didn't know she'd been missing, Kajillionaire's director regards everything about the character with affection and understanding, and the result is one of the most distinctive, empathetic and engaging movies of the year. The film doesn't gloss over any of its key figures' flaws or struggles, of which there are many, or the fact that little about these scammers can be wholly trusted even by each other. And yet, July knows that the best way to tell Old Dolio's tale — and Robert, Theresa and Melanie's too — is to jump on their wavelength. Ultimately, this is a movie shaped as much by its mood, tone and rhythms as its plot and themes, although it does an intuitive and insightful job of demonstrating how consumption-driven lives, 21st-century living in general, and the supposed be all and end all that is the American Dream can prove empty and limiting. To answer the question that's on everyone's minds from the moment that Old Dolio's name is uttered, yes, Kajillionaire offers an explanation. Yes, it's as idiosyncratic and revealing as the rest of the movie. It's rare for a film to feel so rich, so unique and so completely the sum of its parts, but July's third feature manages that feat in everything from its bright but never postcard-perfect lensing of LA and its off-kilter episodic antics to its tender appreciation of an individualistic young woman whose initials literally spell out ODD. https://www.youtube.com/watch?v=W-fxRXzfi0U
Cycling to work is fun. But turning up to the office in lyrca and fluoros? Not so much. Fortunately (for everyone involved) San Francisco-based designer Parker Dusseau has come up with a solution. It's a suit that's cool enough to ride and work in. That's cool, temperature- and style-wise. Similar to the Wear-More, Wash-Less T-shirt that caught our eye last week, the 'Commuter Suit' is made of merino. Australian 135 Performance Superwool, to be precise, with spandex throw in for flexibility, poly tricot mesh lining and a water-resistant finish. Not only is it breathable, it actually wicks away moisture, minimising temperatures while maximising comfort levels. The cut is form-fitting yet allows plenty of room for movement. According to Dusseau's site, the Commuter Suit embodies "the perfect intersection of cycle gear and men's fashion". Pretty much every conceivable detail seems to have been taken into consideration. A pleat in the back section of the jacket creates an 'Action Back', enabling extension and stretching without resistance. A three-button enclosure prevents the wind cutting through. Super-deep internal pockets provide safe storage. Elastic bands hidden in the pant cuffs mean they can be secured to avoid entanglement in the chain. Available in navy and charcoal grey, the Commuter Suit can be purchased online. Jackets are selling for US$485 and pants for US$245. There's also a dress shirt, which comes in ivory white or periwinkle blue, for US$145 and 'Commuter Cinos' for US$145. Via PSFK.
First, in its initial fourth-season sneak peek back in May, Westworld called upon Lou Reed's 'Perfect Day'. Now, dropping the full trailer for the dystopian drama's next batch of episodes, it enlists Nine Inch Nails' 'The Day the World Went Away'. Big things are coming in the hit HBO series, clearly — and if those music cues mean anything, so is quite the eventful day, or several. Also leaving an impression in the new Westworld trailer is a chilling statement: "we're not here to transcend, we're here to destroy." Actually, the entire glimpse at the upcoming season — which finally starts arriving from Monday, June 27 via Foxtel, Binge and Neon Down Under — is filled with eerie and creepy pieces of dialogue and images. Here's another: "maybe it's time you questioned the nature of your own reality." That's classic Westworld for you. Since it first hit HBO back in 2016 — and made its way to Australia and New Zealand as well — the series has been unnerving from the get-go. It's all there in the concept, which first unfurled on-screen back in 1973 thanks to the Michael Crichton-directed movie of the same name. Here, in the eponymous android amusement park, humans pay to live out their fantasies while surrounded by supremely realistic-looking androids. What could go wrong? Everything, obviously. Across its second season in 2018 and third batch of episodes in 2020, the TV version of Westworld has built upon this premise, twisting in wild, strange, violent and surreal directions. Naturally, when season four hits, that's only going to continue. Neither trailer so far is particularly big on plot, but they do set a huge mood — or reinforce the tone that Westworld fans already know and love, to be more precise. While narrative details are scarce, the show is bound to keep wading through the fallout that's been shaping its story from day one, after some of the robot theme park's electronic hosts started to break their programming, make their own decisions and question their creators. What the show's season four trailers lack in plot specifics, they make up for in atmosphere and recognisable faces, including Evan Rachel Wood (Kajillionaire), Thandiwe Newton (All the Old Knives), Ed Harris (The Lost Daughter), Jeffrey Wright (The Batman), Tessa Thompson (Passing), Luke Hemsworth (Young Rock), Aaron Paul (Truth Be Told) and Angela Sarafyan (Reminiscence). Joining them as a newcomer this season: newly minted West Side Story Oscar-winner Ariana DeBose. If you feel like you've been hanging out for new Westworld for years, that's because the show always seems to bring its android dramas back in two-year intervals. Still, it's worth remembering that the first season of the show arrived 43 years after the Michael Crichton-directed movie that it's based on, and 40 years after the film's sequel Futureworld. If you haven't done so already, both are worth viewing while you're waiting for the TV series to return. Check out the full trailer for Westworld's fourth season below: Westworld's fourth season will start streaming via Binge in Australia from Monday, June 27 — and via Neon in New Zealand. Images: Photograph by John Johnson/HBO.
UPDATE, September 7, 2020: Emma is available to stream via Google Play, YouTube Movies and iTunes. Happiest when she's playing matchmaker, experienced at meddling in the affairs of others and accustomed to a comfortable level of standing in her village, Emma Woodhouse withholds judgement on no one. Since first popping up on the page 205 years ago, Jane Austen's heroine has always been a picture of youthful hubris. Case in point: the 20-year-old member of the upper class wouldn't dream of letting a friend marry a mere farmer. She eventually learns the error of her well-meaning arrogance, of course. That's the journey that Austen's Emma charts, following the titular character's evolution from unthinking snobbishness to genuine compassion. But if the fictional Miss Woodhouse was somehow asked to survey the latest film to tell her story, we're certain that her opinionated tendencies would still shine through. Renowned for eschewing the average and ordinary in the hope of a more romantic option, she'd at least arch an eyebrow at this dutifully faithful, perfectly palatable yet hardly spectacular adaptation. Emma may be stylised on its marketing materials as 'Emma.', as though it's putting a full stop on all big-screen iterations of Austen's novel; however it's unlikely to become the definitive book-to-film version of this tale. That title continues to belong to Clueless, a movie that modernised the details, played fast and loose with certain specifics, and turned Austen's comedy of manners into an even savvier delight than it already was. Devotees of the original text might consider that statement blasphemous, but Emma's musings on love, life, social status and human nature thrived under a bolder spotlight. Indeed, Clueless outshone the more traditional Gwyneth Paltrow-starring adaptation of Austen's novel that came out just a year afterwards, and did so easily. The difference a quarter-century ago, and now as well: Clueless engages with and re-interrogates the narrative and its insights, rather than just reverently recreating it. They all tell the same general story, though. For those who haven't committed the broad strokes to memory alongside Alicia Silverstone's 90s outfits, Austen's tale revolves around Emma (played in this 2020 iteration by Anya Taylor-Joy) and her current matchmaking mission. Her friend Harriet Smith (Mia Goth) receives a marriage proposal from local tenant farmer Robert Martin (Connor Swindells), with whom she's clearly besotted, but Emma is convinced that her pal can, should and must do better. So, she nudges Harriet towards seemingly kindly vicar Philip Elton (Josh O'Connor). As well as earning the disapproval of her neighbour George Knightley (Johnny Flynn), who she treats like a brother, Emma's interference causes significant ripples throughout the village. It doesn't help that the rich, handsome and vain Frank Churchhill (Callum Turner) has just returned to town, and the quietly accomplished Jane Fairfax (Amber Anderson), too — with the former considered a potential match for Emma herself, and the latter the target of her palpable jealousy. Well-heeled chaos ensues — as much chaos that can ensue within stately and sprawling country manors, while compliant, silent servants are always on hand, and amidst polite conversation constantly tinted with gossip (although as Downton Abbey keeps demonstrating, that's plenty). Emma circa 2020 does everything it's supposed to, including using its sumptuous production and costume design to paint a vivid picture of Regency-era England, but it adds little of its own personality. Austen's prose, here shaped into a screenplay by The Luminaries' author Eleanor Catton, still sparkles with wit. Making her feature filmmaking debut, photographer and music video director Autumn de Wilde retains the novel's playful mood, and pairs it with a sweeping sense of visual symmetry that'd do Wes Anderson proud. And yet, this adaptation feels mostly indistinguishable from the many other unchallenging film and TV versions of literary classics that've reached screens over the years. In fact, the end result is fine, but in the passable rather than excellent sense of the word. It can be a strange sensation, watching a movie that hits plenty of marks and still feels just standard, but that's this iteration of Emma. The film's various parts boast a variety of charms, and yet they never manage to leave much of an imprint. The main outlier: The Witch, Split and Glass' Taylor-Joy. There's little in the way of purposeful contemporary parallels in this take on Austen's tale but, in Taylor-Joy's hands, Emma herself seems like she could easily be passing judgement on her peers and their love lives via Instagram. As the overly chatty, far less wealthy Miss Bates, Miranda Hart (Call the Midwife) also stands out, especially when her character becomes the target of Emma's withering comments. But it might be Bill Nighy, playing Mr Woodhouse, that encapsulates the movie best. He's as reliable as ever, trots out all his usual moves, and inspires more than a few laughs and smiles — but you always know exactly what you're in for. https://www.youtube.com/watch?v=llt7-EQP6dg
Nothin' says NOPE like the idea of a wine milkshake. Flipping the bird to the haters, US burger chain Red Robin has made the bold, unstoppable move toward the unchartered territories of wineshakes. Yup. We'll give you a minute while you see that lunch of yours again. Abominably but probably fittingly titled 'Divalicious Red Wine Shake' has been created by Red Robin in a furiously horrible attempt to bring all the boys to the yard. Ingredients? Little Black Dress "red wine", Pinnacle whipped vodka, raspberry puree and vanilla soft serve ice cream — the stuff underage backyard party and Poor Life Decision dreams are made of. The best bit? Your red wine shake comes with a free dangly wine charm thingy because you're fancy like that. According to Red Robin's website, the shakes are designed "for 21-and-over guests in need of some 'me' time." If you're kicking it around the States, the wine shakes are available as part of Red Robin's holiday collection — along with a more logical and less vom-inducing menu item, the gingerbread milkshake. But this isn't the first time Red Robin have released the ungodly blend of wine and dairy products — the crew revealed a 'Mango Moscato Shake' earlier this year. Yeah alright, that one doesn't sound or look so bad. "The sky's the limit at Red Robin," says the campaign. Just... fly over there and away from my glass. Via Grub Street. Images: Red Robin and CamEvans via photopin cc.
It was a glorious day when, fresh from spending a decade working on Saturday Night Live, Tina Fey created her own sitcom about a late-night sketch comedy show. For seven stellar seasons and 138 hilarious episodes, 30 Rock charted the behind-the-scenes exploits on the fictional TGS with Tracy Jordan, with Fey starring as the show's head writer. The result: one of the standout TV comedies of the past 15 years, the source of the best holiday song there is and a great reason to love night cheese. It's the show that not only satirised the inner workings of live, televised sketch comedy, but made plenty of fun of its American network, NBC, and its parent company, General Electric — with Alec Baldwin note-perfect as the GE microwave division head suddenly also placed in charge of TV program. Fey and Baldwin had plenty of great company, with 30 Rock's main cast also boasting Jane Krakowski, Tracy Morgan, Jack McBrayer, Scott Adsit and Judah Friedlander. And, guest-wise, the list goes on. Everyone from Matt Damon, Jon Hamm, Julianne Moore and Tom Hanks popped up, as did Amy Poehler, Will Arnett, Jennifer Aniston, Peter Dinklage, the Beastie Boys and Elizabeth Banks. If you watched the series during its original 2006–13 run, then you'll already know all of the above — and now you can rediscover its delights. From Sunday, December 22, Stan is streaming 30 Rock's entire run, so you can live every week like it's 30 Rock week. And if you're new to the show, it's never too late to dive in. It's the Australian streaming platform's newest addition to its growing range of beloved series, following Buffy the Vampire Slayer, How I Met Your Mother, Sons of Anarchy, Grey's Anatomy and Family Guy. And, it's timed perfectly if you've been wondering what you'll be watching over the holidays or summer. A handy hint: 30 Rock has some fantastic Christmas episodes, should you be looking for some festive viewing. Merry Ludachrismas everyone. Check out a clip from the 30 Rock pilot below: https://www.youtube.com/watch?v=aYGbfKuBBBk All seven seasons of 30 Rock are now available to stream on Stan.
Australians love of big, ridiculous eyesores is well documented. We don't know whether it's something to do with our sense of humour or our love of the absurd, but somehow an oversized fibreglass banana made its way into our national iconography. People genuinely go there to stand in awe. (Disclaimer: I've been three times, but couldn't tell you why). Now, this trend is in danger of reaching tipping point. Is the humble, oily dim sim really worthy of a pedestal? Will it even be from South Melbourne Market? The suggestion to build a giant dim sim statue has been brought to Lord Mayor Robert Doyle this week by a group of RMIT students calling themselves The Dim Sim Salute. In their campaign material, they claim the dim sim is the "ultimate symbol of acceptance [because it's] developed by the Chinese, embraced by Australian's [sic] and manufactured by the Greeks." Here's the full confusing spiel (watch out for about halfway through when they infer people are unknowingly eating cats): Mr Doyle's response to the campaign has been underwhelming to say the least. "I respect the passion of these people but I really can't see this one going anywhere," he said before posting this kind of, weirdly, nearly discriminatory pro-meat pie sentiment on Twitter. I am a traditionalist: the meat pie trumps the dim sim in this town. And rightly has a monument. @RossAndJohn pic.twitter.com/qdFtfv2Q0l — Robert Doyle (@LordMayorMelb) September 2, 2014 The group are circulating a Change.org petition that currently has 99 of the necessary 2,000 supporters, but the outlook doesn't look great. Organisers are not even sure whether the commemorative dim sim should be steamed or fried. These are the tough questions, people. Do your civic duty and get involved. Via The Age. Photo credit: avlxyz via photopin cc.
2022 was a huge year for Milly Alcock, with House of the Dragon bringing her into the Game of Thrones realm and Australian series Upright returning for its second season. Just a month into 2024, this year is already proving massive for the Aussie actor as well. After stepping into Rhaenyra Targaryen's shoes, Alcock is now becoming the Woman of Steel in upcoming DC Universe film Supergirl: Woman of Tomorrow. Filmmaker James Gunn, who is DC Studios' co-CEO and co-chairman — and, before getting those roles, directed The Suicide Squad — has confirmed that the Aussie talent is taking on the lead part in the upcoming flick. "Milly is a fantastically talented young actor, and I'm incredibly excited about her being a part of the DCU. Yes, I first became aware of her in House of the Dragon, but I was blown away by her varied auditions and screen tests for Supergirl," Gunn posted on social media after reports of Alcock's casting started circulating. View this post on Instagram A post shared by James Gunn (@jamesgunn) If you're looking for more details about Supergirl: Woman of Tomorrow, however, little else has been revealed as yet — including who else is starring, the filmmaker behind the lens and when the movie will arrive. Under Gunn and fellow co-head honcho Peter Safran (who was a producer on The Suicide Squad), all things DC on-screen are currently undergoing a shakeup. The DC Extended Universe is over, wrapping up with Aquaman and the Lost Kingdom, with the new DCU taking the company's movies in a fresh direction instead. In 2025, the Gunn-helmed Superman: Legacy will kick off the reborn franchise, starring Pearl's David Corenswet as the eponymous figure and The Marvelous Mrs Maisel's Rachel Brosnahan as Lois Lane. After that will come The Authority, focusing on a team of WildStorm characters; The Brave and the Bold, the DCU's first Batman and Robin flick; Supergirl: Woman of Tomorrow, as now starring Alcock; and Swamp Thing. Alongside House of the Dragon and her AACTA-nominated performance in Upright, Alcock's resume includes Australian shows such as Wonderland, Janet King, A Place to Call Home, Pine Gap, Fighting Season and Les Norton. As Kara Zor-El in Supergirl: Woman of Tomorrow, she'll take on a figure also played by Helen Slater (Chantilly Bridge) in 1984's Supergirl film, Sasha Calle (The Young and the Restless) in 2023's The Flash, Laura Vandervoort (Sullivan's Crossing) in TV's Smallville and Melissa Benoist (Clerks III) in the Supergirl television series. There's no sneak peek at Supergirl: Woman of Tomorrow yet, obviously, but you can check out the trailers for House of the Dragon season one and Upright season two below: Supergirl: Woman of Tomorrow doesn't yet have a release date — we'll update you when one is announced. Read our interview with Milly Alcock about House of the Dragon and Upright. House of the Dragon images: HBO.
In A Real Pain, as two cousins make a pilgrimage to walk in their dearly departed grandmother's shoes, the concept of alternative possible lives arises. Jesse Eisenberg's second film as a writer/director after 2022's When You Finish Saving the World doesn't hop between timelines science fiction-style; rather, when different pasts or futures come up, it follows a relatable Sliding Doors-esque train of thought about the events and decisions that've shaped David (played by Eisenberg) and Benji Kaplan's (Kieran Culkin, Succession) existences. They're in Poland, where their Grandma Dory grew up, and where they might've too if the Holocaust hadn't occurred. On their guided tour, Benji muses with David about their parallel-universe selves, where they're Polish with beards and everything that they've ever known is completely different. A Real Pain itself is the product of a comparable journey; it could've been a different movie and, originally, it was meant to be. Eisenberg was endeavouring to bring another project to the screen, adapting a short story that he'd penned for Tablet magazine. It was about two friends, not cousins, and instead of Poland they were travelling to Mongolia together. But the Oscar-nominated The Social Network actor, not to mention star of everything from the Zombieland and Now You See Me movies through to TV's Fleishman Is in Trouble, had himself been to Poland. He'd paid tribute to his own family history, visiting the house that his aunt Doris had lived in. He'd also been inspired by that trip to write 2013's off-Broadway play The Revisionist, about a young American man with an older Polish cousin who had survived the Second World War. An ad for "Auschwitz tours, with lunch", which Eisenberg randomly spotted online, helped him pull together influences from all of the above — the screenwriting task that he'd actually set himself, his prior play, his personal experiences and history — into A Real Pain. Audiences should be grateful that it did. Awards bodies have been so far, including via four Golden Globe nominations (for Best Film — Musical or Comedy, Best Best Performance by a Male Actor in a Motion Picture — Musical or Comedy for Eisenberg, Best Performance by a Male Actor in a Supporting Role in Any Motion Picture for Culkin, and Best Screenplay — Motion Picture, again for Eisenberg), plus love from the Gotham Awards and Independent Spirit Awards. At Sundance, where A Real Pain premiered, the dramedy took home a screenwriting accolade. Eisenberg isn't just filtering elements of his family's past into the movie, or recreating a trip that he took with his now-wife two decades back. As he did with the Julianne Moore (May December)- and Finn Wolfhard (Saturday Night)-starring When You Finish Saving the World, he's also tapping into his own IRL anxieties. What he's digging into is right there in A Real Pain's name. As he tells Concrete Playground, "I'm trying to examine and ask the question that I ask myself every day: is my pain valid?". When there's such bigger struggles, troubles and atrocities haunting the world beyond the everyday woes of a person with a largely comfortable life, how can someone feel angst and hurt while also confronted with the bigger picture? In A Real Pain, David and Benji were born mere weeks apart and were almost inseparable as kids, and now make a chalk-and-cheese pair — as is immediately evident while the former leaves a series of messages about meeting up at the airport, where the latter has already been contentedly for hours — but both have their own tussles. In their interactions one on one and with others, one is a ball of tension and apprehension, while the other is laidback and charming. (Based on casting, it's easy to pick which is which before even watching, although Eisenberg initially planned to play Benji.) Where David has also settled into adulthood while grappling with his stresses, however, Benji is in a state of arrested development. Their grandmother's passing hasn't helped. At a pivotal moment, chatting over dinner with the pair's tour group — which includes Will Sharpe (The White Lotus) as their guide, plus Jennifer Grey (Dollface), Kurt Egyiawan (The Agency), Liza Sadovy (A Small Light) and Daniel Oreskes (Only Murders in the Building) as fellow travellers — while Benji is in the bathroom, David unburdens his feelings in a powerful torrent. "I love him and I hate him and I want to kill him and I want to be him," he notes, getting to the heart of the cousins' complicated relationship. Earlier, they'd been at Lublin's Old Jewish Cemetery. The next day, they'll visit the Majdanek concentration camp. A Real Pain sees its titular emotion in micro and macro, then, and knows how awkwardly that the two clash. Just as with questioning the legitimacy of routine trials versus all of the worse things in the world, Eisenberg drew that crucial monologue from his own emotions and experiences. "It's also the most-personal part of the movie — and this is a movie that is very personal," he told us. We also chatted with the Rodger Dodger, The Squid and the Whale, Adventureland, The Double, Batman v Superman: Dawn of Justice, Vivarium and Sasquatch Sunset star about how A Real Pain came together, working with Culkin — including Emma Stone's advice as one of the film's producers that he shouldn't play Benji himself — and what he makes of his career 25 years after his screen debut in TV series Get Real. On What Keeps Drawing Eisenberg to the Question of 'What Pain Is Valid?' as a Writer/Director, First in When You Finish Saving the World and Now in A Real Pain "I've been in the arts since I'm a kid, and I married somebody who works in social justice. And so anytime time I feel I'm doing well or something, I'm reminded that my wife is maybe working with people in more immediate need than I am. And my mother-in-law ran a domestic violence shelter for 35 years, and was unimpressed that her daughter had been married to somebody in movies. So in that first movie, Julianne Moore plays a woman who runs a domestic violence shelter, and she's kind of unimpressed with her kid, who's her family, not doing anything of social value according to her. And then in A Real Pain, the characters are experiencing this very personal pain. My character has OCD, but medicates it away. And my cousin's character has very dark, dark demons inside of him, but it's on an individual level. And so I thought it would be interesting to put these guys against the backdrop of real historical global objective trauma, like the Holocaust. Because in both movies I'm trying to examine and ask the question that I ask myself every day: is my pain valid? I live in a comfortable apartment with a nice wife and kid, and work, I have a nice job. But yet I still feel miserable all day. And why do I have those feelings? So both movies are exploring that exact question. Questions of privilege versus pain — questions about how is it possible that we could feel bad for ourselves when there are so many worse things in the world? In the case of the first movie, it's about domestic violence, and in the case of this movie, it's the Holocaust. And that's just my preoccupation, which just comes from a very self-centred question of 'why do I deserve to feel self-pity?'. On A Real Pain Coming Together From First Trying to Write a Different Film, Then Seeing an Online Ad for Auschwitz Tours "with Lunch", and Also a Past Off-Broadway Play, Plus Eisenberg's Own Personal History and Trip to Poland "It's funny, my friend and I, he's a writer too, we write next to each other at the library every day, and he always says 'once you're on the downslope of the script, you know it's going well'. 'The downslope' in our lingo is basically just once you get past the point of setting everything up and the things are in motion and everything feels right, kind of resolving everything or maybe it's not resolving anything, but that downslope to the end is really smooth. So the last ten pages of this movie, I wrote, I think, in like five minutes, because my wife was texting me I'm going to be late to pick up my kid, and I was like 'I know, but I know the ending, I just have to..'. [caption id="attachment_985500" align="alignnone" width="1920"] Photo by Agata Grzybowska. Courtesy of Searchlight Pictures © 2024 Searchlight Pictures All Rights Reserved.[/caption] So I just wrote it really quickly and all this great stuff came out about me hitting him in the airport, and then this just sad ending of me going home to my family and him stuck at the airport, and it just happened because everything had been set up. And it was in my mind, as you mentioned, throughout several other plays and short stories and stuff, and a real trip with my wife. So once I was at that point, where the dominoes were all falling, I knew, 'oh, this is a story that feels complete'. And then I sent it to my parents and they had no idea what they were reading, because I sent it to them, I don't write in screenwriting programs, so I sent them an e-mail with no names above the characters. Anyway, they said 'this is terrible, what did you what did you do?'. And then I made it more official." [caption id="attachment_985499" align="alignnone" width="1920"] Photo by Agata Grzybowska, Courtesy of Searchlight Pictures, © 2024 Searchlight Pictures All Rights Reserved.[/caption] On What Eisenberg Was Excited About with Working with Kieran Culkin — and Casting Him in a Role That He Was First Planning to Play Himself "I was originally thinking I would play the role of Benji. And our producer is Emma Stone, and she is obviously a very successful producer/actress, and she told me just it would not be a good idea to play a character like that, who's so kind of unhinged and spontaneous, while also trying to direct the movie where I had to be in my other side of my brain of managing a crew. So once I decided I wasn't going to play that role and I was thinking about who could play it, the only person that seemed to me — it's strange, because he's not a Jewish actor — but the only person that seemed to me of my ilk is Kieran. [caption id="attachment_985496" align="alignnone" width="1920"] Tim P. Whitby/Getty Images for The Walt Disney Company Limited[/caption] I don't know what it is, that we're both from New York and speak in this kind of way, and have an energy about us that is similar, but I needed somebody similar and different to me. And Kieran is like me in so many ways and then completely the opposite of me in so many ways. He doesn't feel anxiety about acting. He doesn't think about it. He just wants to get to the set and to just perform. He doesn't want to talk. He does want to analyse it. He doesn't even sleep the night before, and he never wants to rehearse. And he's just comfortable in his own skin. He's now winning, like today, he just won two major awards for the role. I think he doesn't even care. I sent him a congratulations message. He's never going to get back to me. He just takes care of his kids and doesn't care about ambition, fame, success, any money, anything. He lives a really unusual life and it's exactly what I needed for the character. So what we were experiencing on set as colleagues was quite similar to what they're experiencing on set in character." On Capturing the Relatable Dynamic of Loving Someone But Also Hating Them in a Powerful Monologue — and How Pivotal That Moment Was for Eisenberg "Oh, very strangely pivotal in the sense that I was so conscious of the fact that I, as the writer/director, have a monologue in the movie. And I was so panicked about filming it, because I thought I would screw it up, and then I thought 'I don't want the other cast to be sitting there all day while I do this shot of myself'. So the cinematographer and the producer Ali Herting [I Saw the TV Glow, The Curse] basically forced me into doing this long shot that pushes in. We did one take and I was too embarrassed to do it again, because it just seemed indulgent. It's the only take we got. And because I knew I only wanted to one take, I put all the eggs in the basket of it, and so it was very lived in, so to speak. It's also the most-personal part of the movie — and this is a movie that is very personal. We film the movie at my family's house in Poland and it's about my family's history, and yet the most-personal part of the movie is where I say that stuff. Because I guess what I'm talking about is just the way I've felt in my relationships with other guys growing up, just finding people that I'm in awe of — not just guys, also women and family members and all sorts of people — where I have these dual feelings of wanting to be them and kill them at the same time, and loving them and hating them at the same time. I'm living in the shadow of Benji, but in some ways my life has greater stability than his. In most ways, my life has more stability. And so I understand that I've created the life I want, and yet still every time I'm with him he brings up those childhood feelings of envy." On What Eisenberg Makes of His Path From His Screen Debut in TV Series Get Real 25 Years Ago to Everything That's Come His Way Since, Including Writing and Directing "When I was like 16, I got my first professional acting job, which was acting in this TV show. And I'll never forget the audition, all the executives were there, and I remember I was just trying to be funny in front of them. And I was not thinking of myself as a funny person at that point. I was trying to be funny, and people were laughing, like adults were laughing. And I thought 'oh, that's interesting, I wonder if I'm allowed to just be funny the way I want to be funny — it can translate'. I didn't have to be funny like Adam Sandler or something. I could just be funny like myself. So that TV show allowed me to explore, let's say, my own voice as an actor. So that was a really, really lucky experience that no one watched. And since then, I've been very lucky to play roles where I can bring myself to it or bring my own sensibility to certain things, especially in a movie like A Real Pain, which is like my story, and I'm always surprised that anybody likes it. Because when you think of something that's your own, and that's private or artful or creative or something that's funny in your head, you never expect to have any kind of public reaction. But now I've found myself in this very weird position where I get to write stuff and can produce it, and it just feels quite strange because it all still feels very personal." A Real Pain opens in cinemas Down Under on Thursday, December 26, 2024. Images: Courtesy of Searchlight Pictures. © 2024 Searchlight Pictures All Rights Reserved.
Not content with crafting some of the most gorgeous films to ever grace cinema screens, Studio Ghibli has revealed further details about its latest piece of enchanting magic — the animation house's first theme park. Originally announced last year with a 2020 opening date, the space is now set to launch in 2022. And while that means pushing back your travel plans an extra two years, it's going to be more than worth the wait. Initially described as a My Neighbour Totoro-focused park, the new Ghibli site will actually spirit visitors away to a whole realm dedicated to its considerable catalogue of movies. As well as Totoro-themed attractions — such as a replica of Satsuki and Mei's house, which already exists at the 200-hectare Expo Park site in Nagoya's Aichi Prefecture — the antique shop from Whisper of the Heart and Kiki's home from Kiki's Delivery Service will also form part of the space. Further, a village area will pay tribute to Princess Mononoke, and a section called the Big Ghibli Warehouse will feature play areas, exhibitions and cinemas. Meanwhile, Howl's Moving Castle will show up in several forms: in a building dedicated to the imaginary scientific elements from with the studio's films, and in the main gate structure. Expect more nods to Ghibli's various features to follow, recreating other aspects from its three-decade-old body of work. If the end result is even half as wondrous as the studio's museum in Mitaka, a city on the western outskirts Tokyo, then fans are in for a treat. There, you can climb up to the building's rooftop garden to see one of the robots from Laputa: Castle in the Sky; watch exclusive shorts, including a sequel to My Neighbour Totoro; and touch a life-sized cat bus, which kids under 12 can climb and play on. Indeed, the museum is such a tourist attraction, you have to buy tickets over a month in advance — and experiencing the rush of folks in the merchandise-packed gift shop will make you feel like a susuwatari (Totoro's gorgeous little balls of floating soot). Incorporated into the existing parklands, the theme park will be heavy on greenery and the natural surroundings, which matches the environmental messaging that plays a prominent part in Ghibli's movies. The site will also encourage "enjoying walking", according to the draft concept outline, while aiming to offer "a one-of-a-kind park loved by more people". We don't think either will be difficult. Via Japan Times. Images: Aichi Prefecture.
If you've already covered your dining table with jigsaw puzzles, spent hours live streaming koalas and are looking for something else to do with your house mate, why don't you organise a night of friendly competition and whip out some board games. Helping you do just that is Australia's newest subscription service. The Board Game Box, as it has fittingly been dubbed, delivers a new board game to your door each month. You can sign up for one ($20), three ($60), six ($120) or 12 ($220) months, with a $12.20 shipping fee. There's no word on exactly what games you'll be sent each month, but it's promising that boxes will contain "latest releases, as well as the classics board games" and images hint to the likes of Monopoly and chess. Board games not your thing? The same company also offers subscription puzzle boxes, Lego boxes and soap boxes. Check out all of the options over here. If you're sick of being on your screen — sliding down endless Twitter holes and glued to live streams — this may be the perfect antidote. If you can't get enough of your screen, however, check out our round up of the best virtual events. You can sign up to The Board Game Box over here.
Stuff. I know I have too much of it. And storage? Far too little. This weekend I just finished reading What's Mine Is Yours, a book by Rachel Botsman and Roo Rogers advocating collaborative consumption. Basically, it talks about all the avenues through which people swap, share, barter, trade and rent on a massive scale with the help of communication technologies like the interwebs. I was left staggered by the sheer amount of stuff I own which spends most of its time in my possession gathering dust. How exciting, then, to stumble upon a solution to my problem both local and nation-wide in its reach. The Garage Sale Trail will be held on Sunday, April 10 this year in backyards, front yards and garages right across Australia. You can register your garage sale on the website, and on the day people can hop between garage sales in their local area. Pop in your post-code to check out what's near you. The pilot project held in Bondi last year attracted droves of people, emptied ATMs in the area and saw the equivalent of 15 shipping containers of goods exchanging hands. Sounds like a pretty sweet way to get sustainable. https://youtube.com/watch?v=AuOBz7FF7z4
We hate to jump on the bandwagon of retailers telling you to get onto your Christmas shopping early this year, but sometimes we all need a little push and one retailer knows just the thing. Gift problem solvers since 2005, Etsy are stepping into the real world to host a four-day Christmas market. Thankfully, you (and that impossible-to-buy-for family member/partner/friend) are invited. If you're a regular Etsy trawler, you'll know that the rapidly growing host of online boutiques is home to many a talented designer and craft maker. Now, 53 of those excellent jewellers, artists, artisans, fashion and homewares designers are setting up shop at BrisStyle HQ from November 27-30. Get ahead of the last-minute department store stampedes and do your Christmas shopping in style this year. The market is open from 10am-2pm.
UPDATE, March 15, 2021: Brooklyn is available to stream via Netflix, Stan,Google Play, YouTube Movies and iTunes. From its opening frames, Brooklyn feels like a film from another time. Director John Crowley (Closed Circuit) stays patient as he surveys the life of aspiring Irish bookkeeper Eilis Lacey (Saoirse Ronan), and equally unhurried when he follows her to 1950s New York in search of a better life. He watches and waits as she does the same, though the movie doesn't suffer for it. Instead, it becomes a rare effort that knows how long things take to unfold, and isn't in a hurry to rush any moment. A leisurely sense of timing isn't the film's only old-fashioned flourish — and nor is the gorgeous period look it cultivates, showcasing the intricate work of cinematographer Yves Bélanger and production designer François Séguin. The film version of Colm Tóibín's 2009 novel of the same name, as adapted by author Nick Hornby, also eschews the need for extremes. It still ponders conflicting options, as Eilis is torn between her old and new homes, her past and her future, and between two men who love her. It's just that the movie understands a simple truth that many don't: that, regardless of the choice or conflict, the bulk of reality exists somewhere in the middle. Perhaps that's why Eilis' tale — struggling to leave her widowed mother (Jane Brennan) and caring sister (Fiona Glascott), seeking states-side assistance from kindly priest Father Flood (Jim Broadbent), and moving into a Brooklyn boarding house overseen by the strict Mrs Kehoe (Julie Walters) — always feels so honest and heartfelt. And perhaps that's why it continues to feel genuine as Eilis falls for plumber Tony Fiorello (Emory Cohen), then finds her love tested when she connects with Jim Farrell (Domhnall Gleeson) upon a forced return to Ireland. Indeed, what appears to be a straightforward romantic drama soon proves much more nuanced and sincere, with the stellar cast also doing their part. The film's determination to take things slowly doesn't just suit the story, but the performers, particularly the sensitive efforts of Ronan. She plays the shy Eilis as someone who feels much but says little, and there's nothing quite as moving as watching her face convey the character's inner turmoil. Cohen and Gleeson, the former previously a standout in The Place Beyond the Pines and the latter popping up in everything from Ex Machina to The Force Awakens to The Revenant, ensure their respective love interests remain more than narrative complications — and that Eilis' fondness for them both is just as thoughtfully realised. Combine the central trio's textured portrayals with the movie's overwhelmingly bittersweet tone — another outlier in an art form usually obsessed with clear-cut emotions — and Brooklyn becomes a rousing, resonant throwback in the most pleasing and engaging of ways. Here, saying that the film seems much older than it is proves the best kind of compliment.
Dark Mofo might be taking a breather in 2024, but Tasmania's Museum of Old and New Art (MONA) will still be embracing summer at Mona Foma. The sunny counterpart to the Apple Isle's moody winter fest has locked in its 2024 return from Thursday, February 15 to Sunday, February 25 in nipaluna/Hobart and from Thursday, February 29 to Saturday, March 2 in Launceston. It has also dropped one helluva getaway-worthy lineup. [caption id="attachment_923130" align="alignnone" width="1920"] Andreas Neumann[/caption] Back in October, Queens of the Stone Age were revealed as the first act on Mona Foma's program for the year. They're joined by Courtney Barnett, TISM, Paul Kelly, Mogwai, Shonen Knife and Cash Savage and The Last Drinks, for starters. If you don't know where to start, the quintessential Mona Foma experience is the Mona Sessions. On the evenings of Friday, February 23 to Sunday, February 25, you can catch live music from international artists on the sprawling museum lawns. Arrive on a camouflage ferry before exploring one of Australia's most innovative museums. Then, enjoy back-to-back performances by Scottish rockers Mogwai and Japanese band Shonen Knife, joined by fellow overseas talents Holy Fuck, Wednesday, Michael Rother + Friends (playing Neu! songs) and Lonnie Holley with Moor Mother and Irreversible Entanglements. Now that TISM are back playing live together, the Australian legends will bust out 'Greg! The Stop Sign!', 'Whatareya' and 'Ol' Man River' at Cataract Gorge. The Ron Hitler-Barassi-led band are part of a free one-day event at the stunning site during Mona Foma's Launceston weekend, as are Cash Savage and The Last Drinks. Head along and you'll also enjoy morning meditations to start the day and hear from Mulga Bore Hard Rock and FFLORA + Grace Chia. [caption id="attachment_926553" align="alignnone" width="1920"] Steve Cook[/caption] More on the music program: Darren Hanlon, Bree van Reyk and the Tasmanian Symphony Orchestra are teaming up; French Korean siblings Isaac et Nora will perform Latin-American songs they've learned by ear; and Barelona-based producer Filastine and Indonesian singer Nova will provide live tunes on a 70-tonne sailing ship to muse on the climate crisis. DJs will get spinning beneath James Turrell's Armana at Mona and artists will be hitting up the Frying Pan Studios to jam and record. Emeka Ogboh's contribution to the festival is another big highlight. In the immersive exhibit Boats, the Nigerian artist ponders migration in a sensory experience that boasts its own gin — made with native Tasmanian and West African botanicals — alongside snacks, conversation and a sound installation. [caption id="attachment_926554" align="alignnone" width="1920"] Wei-Tsan Liu[/caption] Also set to impress: Taiwanese artist Yahon Chang will be painting on a 20-by-15-metre canvas at Princes Wharf 1 with a human-sized brush in a performance that'll blend calligraphy, art, meditation, kung fu and tai chi. Other program standouts include the world premiere of Justin Shoulder's Anito; Dancenorth's latest production Wayfinder, which includes Hiromi Tango on design duties and music from Hiatus Kaiyote; the return of party venue Faux Mo at The Granada Tavern; and a Street Eats food and drink market pop-up with a lineup of musical guests. [caption id="attachment_784488" align="alignnone" width="1920"] MONA/Jesse Hunniford, Robin Fox laser installation at the Albert Hall, Launceston, Mona Foma 2019[/caption] Nab your tickets now at the Mona Foma website. You can also book your getaway package through Concrete Playground Trips. Top images: Moshcam, Pooneh Ghana, Akira Shibata. All images courtesy of the artist and Mona Foma.
Has that hectic peak hour traffic got you dreaming about a more carefree commute? Well, if Uber's ambitions are realised, flying vehicles could be cruising the skies of Sydney and Melbourne as early as 2023. In October last year, the ridesharing company unveiled plans for its Elevate project, which would see it develop a network of on-demand, electric aircraft that could take off and land vertically, ideal for congested city zones. And while there are plenty of others pushing the concept of flying vehicles internationally, (like Kitty Hawk's futuristic vehicle prototype and Airbus' driverless flying taxis) it looks like Uber's plans might involve Australia in a significant way. Talking to the Australian Financial Review, Uber's chief product officer Jeff Holden has revealed that, after launching the Elevate cars in Dallas and Dubai in 2020, the company's sights are set further afield — and our two largest cities, Melbourne and Sydney, could be enjoying a slice of the action in a secondary 2023 roll-out. According to Holden, Sydney's nightmarish congestion issues mean the city is prime turf for the company's urban air transport trials. Anything to avoid getting stuck in the Harbour Tunnel at 5.45pm. Word is, Uber's multi-passenger flying cars will look and act a bit like helicopters, but use multiple propellers and rechargeable batteries. The company would also develop a series of rooftop 'vertiports' across each city, where aircraft will take off, land, and recharge. Apparently a daily flight to the office won't even send you broke, with Elevate fares expected to hover around the same price as your average UberX trip, once the project's fully established. Looks like we might be using The Fifth Element-style taxis way before 2263. Via Australian Financial Review and news.com.au.
Australians are devastated after the Bondi terror attack that killed 16 people and injured dozens on Sunday night. As emergency services continue to treat victims, authorities are urging those who can to donate blood and offer support to the affected communities. New South Wales Premier Chris Minns praised frontline healthcare workers, referencing "extraordinary scenes" in hospitals overnight. "[healthcare workers] did an incredible job, but they need your help. They need blood, and if you're thinking about doing an act of public service in the coming 24 hours, I urge you to contact the Red Cross and do that piece of public-mindedness," Minns said. View this post on Instagram A post shared by Chris Minns (@chrisminnsmp) The Australian Red Cross Lifeblood confirmed it issued several life-threatening orders for blood products following the attack and has begun transferring supplies from other states to meet demand. A spokesperson said the need is ongoing, particularly for O-negative donors, whose blood can be used in any emergency case. "Fewer than seven percent of the population are O-negative, making it a challenge," Lifeblood said. "In the event of a serious trauma or emergency, up to 100 blood donations may be needed to save just one life." Cath Stone, Executive Director of Donor Experience at Lifeblood, said donating blood is one of the most practical ways Australians can help right now. "When tragic events occur, donating blood is a good way to help people," she said. "To donate blood or plasma, visit lifeblood.com.au, call 13 14 95 or download the Lifeblood app." View this post on Instagram A post shared by Australian Red Cross (@redcrossau) Across Sydney, hospitals continue to operate at a trauma level, and queues have formed outside donor centres. Blood from interstate is also being sent to New South Wales to meet urgent demand. Local and faith leaders have urged Australians to stand with Sydney's Jewish community and others directly affected. Organisations including Lifeline Bondi, Headspace Bondi Junction and The Junction Neighbourhood Centre are offering free mental health and counselling support. Where to donate Major Lifeblood centres in Sydney include Town Hall, York Street and Parramatta, with extended hours this week. Temporary collection sites have also opened in Bondi Junction and Coogee. Appointments can be made at lifeblood.com.au through the Lifeblood app, or by calling 13 14 95. If you need help If you are struggling with your mental health in the wake of the attack, help is available 24/7. Call Lifeline on 13 11 14, NSW Mental Health Line on 1800 011 511 or the Kids Helpline on 1800 55 1800. Images: iStock
Heads up, Mother's Day is just one week away. Yep, you can pucker up on our tootsies later. But there's pressie planning afoot, and we've found quite the showstopper for your dear ol' Mumsie this year thanks to Gelato Messina. Never one to miss an opportunity to experiment with new ways to inhale gelato, Messina have been cooking up quite the delicate novelty dessert for Mum: a Italian-inspired chocolate box of gelato-filled nibbles. Each box comes with 12 handmade chocolate and gelato bon bons; best enjoyed with opera blaring in the background, with a strong, black cup of coffee and a shoulder massage. Go on, your mum put up with you through puberty, you owe her one massage. So which crazy tell-your-friends flavours have Messina come up with for their bitty bon bons? There's six in total, each more decadent than the last: blood peach sorbet with rosewater gel, roasted banana gelato with white chocolate ganache, mandarin puree with salted butter caramel gelato, hazelnut and coffee gelato with roasted hazelnuts, wild strawberry sorbet with pistachio praline and (wait for it) shiraz sorbet with dark chocolate ganache and popping candy. If you can find us something that says 'perfect Mother's Day gift' better than shiraz sorbet bon bons, we'll eat this empty bon bon box. The Messina chocolate and gelato bon bon boxes are going for $39 a box (with a cute little card), available to order from Monday, May 4. They're available for collection from May 8-10 from Darlinghurst, Miranda and Parramatta stores in Sydney, as well as the Fitzroy and Coolangatta stores.
For years, Brisbane Powerhouse played host to Moonlight Cinema, with an outdoor big screen set up outside the New Farm venue's Stores Building each summer. That annual setup has since shifted to Roma Street Parklands, so Powerhouse is opening its own replacement. Even better — that new outdoor cinema will be sticking around permanently. Set to launch this coming spring and run year-round, this new excuse to watch movies under the stars — and take advantage of the fact that that's something you can do no matter the season in Brissie, even in winter — will screen everything from big-name blockbusters to arthouse flicks. It'll be run with a major exhibitor, with exactly who that'll be yet to be revealed. Still, get ready to enjoy film festivals, themed nights and events, and concert flicks and live events as well, giving movie buffs multiple reasons to head by. Whatever you choose to watch, you'll sit on chairs, cushions and rugs eating gourmet food and sipping champagne — so, all the outdoor movie staples will be covered. The outdoor cinema is one of four new additions to Brisbane Powerhouse that've just been announced, which also includes the Hap Wah Night Market. It's set to debut in March 2023, running for the entire month. It'll then pop up again in October, and also return in the Powerhouse forecourt and surrounding parks in those two months every year. Here, Brisbanites can look forward to a food-focused night market that'll score its own village precinct each time that it's up and running, and have Blade Runner-meets-Queensland theming with a dash of Cantonese culture, too. The name stems from a north Queensland sugar plantation from the 19th century, aka the state's first Chinese business, and the markets will also feature free and cheap art installations, music and films. Also on its way: the Pleasuredome, which'll make its presence known from this spring alongside the outdoor cinema. It'll take over the Powerhouse's Performance Lawn by the river, and span a cluster of glow-in-the-dark Nordic-style tents as well as a sailcloth-topped central venue, all of which will host regular shows and cater to 360 people at once. Sitting beneath Moreton Bay fig trees, it'll be able to stage long-table dinners, cabaret and theatre-style gigs, complete with full-service bars serving drinks. There'll be alfresco lounging zones, and it'll play a big part in Powerhouse's big fests such as Brisbane Comedy Fest. As well as being set up for shows and festivals for ten months of the year, it'll be used for weddings and private events, and give patrons a hangout space in-between. Last but by no means least, Keith Courtney's Kaleidoscope is also coming to the venue — this one just for a couple of months. The latest installation by the Melbourne artist, and arriving fresh from his home town, it's a 700-square-metre expanse of glass, steel, mirrors and moving prisms that features a maze of corridors decked out in a revolving showcase of lights and colours. Expect to have your senses disoriented while you're wandering through, including both motion and gravity. Kaleidoscope will sit on the Performance Lawn — before the Pleasuredome's debut — from Friday, August 12–Monday, October 3 in association with Brisbane Festival. All of these new additions — permanent and temporary alike — have been locked in under Brisbane Powerhouse CEO/Artistic Director Kate Gould's new reign, and mark the venue's first hefty changes since she was appointed in the role in mid-2021. They're also funded with help from the Brisbane City Council and the Australian Government's Restart Investment to Sustain and Expand (RISE) Fund. "Returning to Brisbane last year after an 18-year absence reminded me of our city's natural beauty. With its sultry climate and luscious landscape, it seems a shame to always head indoors for our cultural fix," Gould said. "Brisbane Powerhouse will bring art outside, creating a series of external venues for performance, film and feasting. We are grateful to Brisbane City Council for backing our vision to revitalise Brisbane Powerhouse and its environs. And there are more surprises to come." Brisbane Powerhouse's outdoor cinema and Pleasuredome performance space will launch in spring 2022, while Kaleidoscope will run from Friday, August 12–Monday, October 3 — and the Hap Wah Night Market will debut in March 2023, all at 119 Lamington Street, New Farm. For more information about the venue, head to the Brisbane Powerhouse website.
It's happening months earlier than anticipated, but New Zealand is set to reopen its doors to tourists from next month, kicking things off by welcoming back its closest neighbours. In news sure to trigger a sigh of relief for tourism operators and those keen on a winter break, from 11.59pm NZST / 8.59pm AEST on Tuesday, April 12, Aotearoa will scrap its current international border ban for Australian tourists — meaning double-vaccinated Aussie holidaymakers will be able to travel across the ditch without requiring isolation. Then from 11.59pm NZST / 8.59pm AEST on Sunday, May 1, double-vaccinated holidaymakers from visa-waiver countries like the US and UK will be able to follow suit. New Zealand's Prime Minister Jacinda Ardern announced the move in a press conference on Wednesday, March 16, revealing that she's excited and ready "to welcome the world back". "In particular, I'm ready to welcome back our trans-Tasman travellers… they'll be able to arrive in time for the Australian school holidays and provide a boost for our winter ski season," she said. "I'm asking our Australian family and friends to book their tickets." Tourists will be required to test negative for COVID-19 with a PCR or RAT before leaving Australia for their trip, before providing negative tests on day one and day five of their stay in New Zealand. The new plan is an expedited version of the New Zealand Government's original border-reopening arrangement announced back in February, when it was proposed tourists from Australia and around the world would probably be able to visit New Zealand by July. However in March, NZ COVID-19 Response Minister Chris Hipkins said he believed that would be "at the latest". The change of plans has come amid New Zealand's current Omicron outbreak, which sees the country currently ranking among the highest rates of COVID-19 transmission in the world. Australian tourists will be able to enter New Zealand without isolating from 11.59pm NZST / 8.59pm AEST on Tuesday, April 12. For more information, head to the New Zealand Government's official COVID-19 website.
You might associate Newcastle with surf, sand and summer, but the coastal location also makes this a perfect winter short break. There's no more invigorating way to start a frosty morning than with a brisk beachside walk. What's more, winter equals whale-watching season, and for spotting humpbacks, Newie's towering headlands are spectacular. When you're ready to head back indoors, you'll find the city packed with excellent chefs, baristas, artists, designers and makers. Many of them have escaped the big smoke to set up digs here, where they get to be beside the sea without paying torturously high rents. With that in mind, set up home base at one of the AccorHotels in the city and follow our guide to a warming, delicious winter weekender, just a two hours' drive north of Sydney. EAT AND DRINK Good cafes aren't hard to find in Newcastle; it's choosing one that's the tough bit. For a cheery beginning, settle among the bright tiles, artworks and plants of Ground Up Espresso in Carrington, a waterfront suburb on Newcastle Harbour's north shore. The most decadent, comforting brekkie on the menu has to be the crepes with smoked salmon and creme fraiche. Afterwards, cross the water to Maryville to warm your mitts on bakery treats at Uprising. Alternatively, if you want to stick to the CBD, then One Penny Black serves a bunch of single origins and blends, as well as winter-inspired dishes including coconut and cinnamon porridge. For tea drinkers, The Tea Collective in inner-city Cooks Hill is something of a mecca. Here, leaf obsessive Becci Fowler serves premium-quality, perfectly brewed cuppas. On a frosty morning, the gingerbread chai is hard to beat. Downstairs are The Autumn Rooms, a sun- and greenery-splashed space, offering buttermilk waffles with chai-infused mascarpone, pistachio crust, mixed berries and dark chocolate ganache, among other delights. At a nearby bowling club is Bistro Lowlands, home to some of Newie's tastiest burgers, including the Firebird 2.0 (buttermilk fried chicken, double cheese, sriracha slaw and jalapeno mustard). If it's Italian you're hankering for, head to the CBD's Napoli Centrale, where Naples-trained chef Alfonso Muras whips up traditional pizzas and a mean black truffle gnocchi with gorgonzola sauce. Mediterranean eatery Rustica offers both stunning views overlooking Newcastle Beach and a hearty share-style menu. Start with tapas and small plates, think Turkish-style carrot labne, before graduating to roast pork belly and Moroccan vegetable tagine. Meanwhile, for indulgent dining, book a table at hatted restaurant Subo. You'll be treating yourself to a set five-course menu, designed especially for winter. Dishes include carpaccio of Hervey Bay scallops with jamon, nori and XO sauce, as well as Cape Grim short rib cooked overnight in Guinness and red wine with bagna cauda (an Italian dipping sauce), turnip and fried herbs. Pre- and/or post-dinner drinks? There's The Grain Store for an epic craft beer collection, Reserve for hundreds (really, hundreds) of wines and The Koutetsu for cocktails among antique lampshades, dark timber and secretive nooks. DO Winter might not be the most appealing time for a swim at Newcastle's pretty, blissfully uncrowded beaches, but it's a whale watcher's dream. Get an eyeful on foot at either Nobbys Headland or Shepherds Hill Lookout, or take to the sea aboard the trusty vessel Coast XP. Another way to embrace the salty air is with a hike. The Bathers Way coastal walk stretches from Nobbys to Merewether Beach, with views of Newcastle from every which angle and a chance to learn about the city's history at Fort Scratchley, where guns were fired in 1942 during shelling by a Japanese submarine. Another key point along the walk is the Anzac Memorial Bridge, an icon of Newcastle that offers a 450-metre clifftop walkway. Not enough outdoorsiness for you? Hit the dunes of Stockton Beach on a quad bike (hire from Sand Dune Adventures, Quad Bike King or Port Stephens 4WD), take to the skies at TreeTops adventure park, or get some wind in your hair on one of Newie's many cycle paths. The 15-kilometre Fernleigh Track takes in peaceful bushland and wetlands. Meanwhile, you can get your art dose at the Olive Tree Art and Design Market, where local creatives gather on the first Saturday of every month, or anytime among the indie shops and galleries of the Darby Street Precinct in Newcastle's urban heart. Also worth checking out is the Newcastle Art Gallery — which hosts talks, tours and concerts throughout winter — and the Newcastle Jazz Festival that comes to town in August. SLEEP If there's one element that's vital to a winter weekender, it's a warm, tranquil hideaway for the evenings. If you're keen to snuggle up with the beach at your doorstep, book at the Novotel Newcastle Beach. Rooms — which range from Standard to Superior Balcony — come with king-sized beds, bucketloads of winter sunshine, loads of space and uplifting splashes of orange and blue. There's also a spa, sauna, gym, on-site restaurant and 24-hour room service. For a real indulgence, head to the on-site restaurant, Bistro Dalby, for high tea. Mini pressed Cuban sandwiches and prawn brioche sliders feature among the savouries, with salted raw caramel slice and chocolate eclairs in the sweet selection. A more affordable, yet still cosy, hotel option is the Ibis Newcastle, located near the city's Honeysuckle Precinct, a harbour-front area where former shipping wharves have been transformed into eateries and apartments. Some rooms offer water views, while all give you a super-comfy bed, flat-screen TV, free wifi and 24-hour room service. Alternatively, if you're on a brief visit, then the Mercure Newcastle Airport could be the way to go. It lets you easily explore nearby areas, such as Port Stephens, and all rooms have a sleek, minimalist design and photos of iconic landmarks taken by local Owen Signs. Go to the AccorHotels website to book your stay in Newcastle, and to discover more of regional NSW, swing by Visit NSW.
It started back in 1956 as a singing contest between a mere seven nations. Now, more than six decades later, Eurovision is a glitter and spandex-fuelled global musical phenomenon. Forty-one countries not only in Europe but from elsewhere compete — hello Australia — and viewers tune in en masse each May to watch, sing along and add new pop tunes to their playlists. Well, they do most years. When the COVID-19 pandemic began last year, Eurovision didn't go on as planned. SBS hosted a week-long Eurovision festival instead — and Netflix released the Will Ferrell- and Rachel McAdams-starring Eurovision Song Contest: The Story of Fire Saga — but, thankfully, the beloved song contest is back in 2021. Come 5am AEST, Wednesday, May 19 Australian time, Eurovision will return to SBS as part of the broadcaster's usual celebration of all things Europop at this time of year. Getting up early to watch the first semi final is recommended, especially if you're keen to see this year's Aussie entrant Montaigne compete. She'll be up against performers from 15 countries — including Israel's first Ethiopian representative, Eden Alene — and will perform the song 'Technicolour' from home. That's just part one of this year's Eurovision fun. After Montaigne follows in Guy Sebastian, Dani Im, Isaiah, Jessica Mauboy and Kate Miller-Heidke's footsteps, the second semi final will air at 5am AEST on Friday, May 21. And, come the same time on Sunday, May 23, the grand final will hit the screen. For those who can't tear themselves out of bed before it's light, the first semi final will also screen in primetime at 8.30pm AEST on Friday, followed by the second semi final at 8.30pm AEST on Saturday — and the grand final at 7.30pm AEST on Sunday. You might not be able to avoid finding out the results by then, though, unless you veto the internet and social media for a few days. SBS' usual local hosts Myf Warhurst and Joel Creasey will be overseeing the show — and yes, if you're feeling a bit of deja vu, Montaigne was meant to represent Australia last year, before the contest was cancelled. And if you can't decide whether to beat the sun or wait and host a party at sensible hour, it's worth remembering that Australians can vote for Eurovision, but only during the live broadcasts. For the semi finals, you're limited to voting during the event that features Montaigne — and you can only vote in the grand final if the singer makes the cut. Also, there's another caveat: you're not actually allowed to vote for Australia's entry, which you can nonetheless check out below. https://www.youtube.com/watch?v=bX_y759_F_U SBS' Eurovision 2021 coverage runs from Wednesday, May 19–Sunday, May 23. For more information, head to the broadcaster's website. Top image: Jess Gleeson.
Locking gazes across the room, staring intently with a deep fascination that feels fated, seeing oneself in the sparkle of another's eyes: when these moments happen in a movie, it's typically to fuel the first flushes of romance. When they occur early in Passing, however, it's because former childhood friends Irene (Tessa Thompson, Westworld) and Clare (Ruth Negga, Ad Astra) have spied each other in a swanky Manhattan hotel. The pair peer back and forth, intrigued and attentive. That said, it isn't until Clare approaches Irene — and calls her Reenie, a nickname she hasn't heard in years — that the latter realises who she's been looking at. It's the immaculately styled blonde bob that fools Irene, as it's meant to fool the world. As becomes clear in a politely toned but horrendously blunt conversation with Clare's racist husband John (Alexander Skarsgård, Godzilla vs Kong) shortly afterwards, Irene's long-lost pal has built an entire life and marriage around being seen as white. Passing's eponymous term comes loaded not just with meaning, but with history; adapted from Nella Larsen's 1929 novel of the same name, it's set in America's Jim Crow era. This introductory scene between Irene and Clare comes layered with multiple sources of tension, too, with Irene only in the hotel because she's decided to flirt with visiting a white establishment. Still, she's shocked by her pal's subterfuge. When she initially spots Clare, the film adopts Irene's perspective — and its frames bristle with a mix of nervousness, uncertainty and familiarity. Irene rediscovers an old friend in a new guise, and also comes face to face with the lengths some are willing to go to in the name of survival and an easier life. Friendships can be rewarding and challenging, fraught and nourishing, and demanding and essential, including all at once, as Passing repeatedly demonstrates from this point onwards. Irene can't completely move past Clare's choices and can't shake her fears about what'd happen if the vile John ever learned Clare's secret; however, she's also quick to defend her to others — to her doctor husband Brian (André Holland, The Eddy), who swiftly warms to Clare anyway; and to acclaimed white novelist Hugh Wentworth (Bill Camp, News of the World), who's her own entry point into an artier realm. Indeed, in household where talk of lynchings is common dinner conversation, Irene recognises far more in Clare's decision than she'll vocally admit. Almost everyone she knows is pretending to be something else as well, after all, including Irene in her own ways. Largely confined to Irene and Brian's well-appointed Harlem home and other parties in the neighbourhood — after that first hotel rendezvous, that is — Passing is an economical yet complicated film. It may seem straightforward in charting Irene and Clare's rekindled acquaintance, but it's exacting and precise as it interrogates both societally enforced and self-inflicted pain. Its Black characters live in a world that pushes them aside and worse merely for existing, with its central pair each internalising that reality. Their every careful move reacts to it, in fact, a bleak truth that actor-turned-filmmaker Rebecca Hall (The Night House) never allows to fade. That's one of the reasons she's chosen to shoot this striking directorial debut in elegant, crisp and devastatingly telling monochrome hues: both everything and nothing here is black and white. Hall doesn't appear on-screen here herself, but she still gifts Passing the same intensity and nuance that's always been part of her performances. In the film's lingering frames, intimate close-ups of Thompson and Negga, and all-round eagerness to see the space that surrounds them — that often separates them, too — she proves as astute a director as she is an actor. It helps that she has enlisted two leads who exude the same traits, and Passing couldn't be more perfectly cast as a result. Thanks to Sylvie's Love and Loving, both of the movie's stars have grappled with race relations in America already in their careers. They've done so to affecting and astonishing effect, too. Here, while never repeating themselves, both Thompson and Negga are just as exceptional as they've ever been. It was always going to take intricate, complex and sensitive portrayals to tell this story, and Passing's talented leads just keep delivering. The whirlwind of emotions that flickers through Irene again and again, as evident in her gaze, posture and tone far more than she's openly trying to convey, is nothing short of masterful on Thompson's part. And the determination and sorrow fighting inside Clare — the yearning to connect with the background she shunned out of what she felt was necessity, and the unwillingness to be judged for her choices as well — echoes through a hypnotic turn by Negga. Showy yet thoughtful, it's the kind of performance might've just stuck to the confident and ostentatious character's Roaring Twenties flapper-style surface notes in other hands. With meticulous assistance from cinematographer Eduard Grau (The Way Back) and editor Sabine Hoffman (Juliet, Naked), Hall also turns Passing into an exercise in looking; this is a feature about perception and authenticity, and it repeatedly pushes those concepts to the fore in every image. It observes quietly and intently, giving Irene and Clare the type of unfettered, unguarded and earnest attention that they're clearly so rarely able to enjoy as they wrestle with racial identity in their daily existence. It truly sees them, including their strengths, struggles, dreams, desires and flaws. And, it refuses to redirect its gaze when the tragedy it has always been building towards makes its presence known — an outcome that shocks and feels inevitable at the same time. The jazzy score might play things gently, but Passing uses its polish, poise and patience, and its superb performances, to pack probing and pain into every delicately rendered moment. Passing screens in select Brisbane cinemas from Thursday, October 28, and streams via Netflix from Wednesday, November 10.
"Siri — write my Her review". "[da-dup]…I'm not sure I understand". Yeah, okay. So, it's not perfect, but the fact is, I just had a conversation with my phone. What's more, I didn't feel weird about it, and — most crucially — neither did the people around me. It's for this reason that Spike Jonze's new movie Her feels eerily and uncomfortably plausible. Familiar, even. In fact, inevitable. Set in the almost certainly near future, Joaquin Phoenix plays Theodore Twombly — a gentle, retiring man who works at BeautifulHandwrittenLetters.com penning heartfelt correspondence between people he's never met. In his personal life, his wife (Rooney Mara) has left him and now communicates exclusively via their lawyers. In short, nobody really talks anymore. Then one day he buys and installs a new operating system called 'OS1' — an artificially intelligent construct that names herself, or rather itself, 'Samantha' (voiced to perfection by Scarlett Johansson). At first Samantha simply streamlines Theodore's life, triaging his emails and encouraging him to get out more, but gradually, as she evolves and learns more from their interactions, they begin to fall in love. It seems ridiculous, yes, but thanks to Jonze's masterful script and direction, it never really feels it, and that's what makes HER the first must-see film of 2014. "Is it a real relationship?" Theodore asks his best friend (a game designer played by Amy Adams), to which she replies: "Well… what is real?" It sounds like hack freshman philosophy but actually cuts to the core of the film, because — in essence — Theodore's relationship is largely indistinguishable from every real-world, long-distance one. In this increasingly international age where overseas employment and study opportunities beckon with greater frequency and ease, it often feels like the number one obstacle for couples to overcome is mere geography. Hence, nobody bats an eyelid when two people attempt to sustain a relationship exclusively and indefinitely via phone calls, meaning — to the outside world — Theodore's interactions with Samantha are just as commonplace and unremarkable. And ultimately, who's to say they're not? Look around you right now. How many people are on their phones — talking, listening, scrolling, reading or playing? The loneliness and isolation of an increasingly interconnected world is a pervasive and fascinating phenomenon, but few have yet explored how humanity's growing fusion with technology might lead to actual relationships with it. Well, except maybe for the Japanese. To say much more is to risk giving away precious moments and quiet surprises (of which there are many), though it's worth noting Her pleasantly avoids a lot of tech in-jokes and future gags that could easily have rendered it a far more pedestrian affair. Ultimately, it is a beautiful, imaginative and provocative offering by Jonze that asks some fascinating questions about the direction love is taking in the technological age. Could we love an operating system, and — more importantly — could it love us back? "Siri - do you love me?" "[da-dup] Look…a puppy!" Man, love is hard. https://youtube.com/watch?v=ne6p6MfLBxc
December is a time for reflection. A time to look back on the year that was, read round-ups to check up on what you've missed and put together best-of lists (indeed, we've just launched our own in Sydney, Melbourne and Brisbane). Earlier this week Time Magazine announced the 'silence breakers' behind the #metoo campaign as its 'Person' of the Year, which, if you needed reminding, is pretty indicative of how difficult and momentous this year has been. How to deal with it all? With purple, apparently. Ultra Violet (PANTONE 18-3838) has just been named as Pantone's 2018 Colour of the Year. The dramatic shade was chosen by Pantone's colour experts not only because it's "provocative and thoughtful", but because its connection to cosmos suggests that there's more out there to be discovered and limitless possibilities of what's to come. Of course, purple has a cultural significance too — many of us would associated it with the late Prince. According to Pantone, the enigmatic colour has long been a symbol of counterculture and experimentation, as popularised by Prince, David Bowie and Jimi Hendrix. Referencing the year that was, Pantone executive director Leatrice Eisemen says that Ultra Violet inspires creativity and imagination and "takes our awareness and potential to a higher level". Then there's Ultra Violet's association with mindfulness; the colour is often used in meditation and spiritual practices. So paint your room in it, cover your body in it or just buy some purple socks — it might help you get through this crazy messed up world in 2018.
Coachella 2019 is upon us. While most of the world can't head to the huge music festival, there are still plenty of ways to play along at home. Expect the Coachella livestream to be busy across its three YouTube channels, and expect plenty of eyeballs to head Amazon Prime's way too — all thanks to Childish Gambino's new movie. The artist also known as Donald Glover has teamed up with his Atlanta director Hiro Murai, his screenwriter brother Stephen Glover, Black Panther's Letitia Wright, Game of Thrones' Nonso Anozie and, oh, none other than Rihanna, for a new film called Guava Island. It's premiering in a specially built theatre at Coachella this weekend, to tie in with Childish Gambino's headlining set, and it'll also be available to stream for an 18-hour window via Amazon's streaming platform. If you're keen to watch, you'll need to head to Prime Video between 5pm on Saturday, April 13 to 11am on Sunday, April 14, Australian time. It'll be available for free, which is excellent news if you're not a subscriber. And, it'll also stream on Twitch at 10am on Sunday, April 14, should you need another viewing option. Shot over four weeks in Cuba according to the New York Times, and dubbed a "tropical thriller" by Amazon, the film follows musician Deni (Glover), who wants to throw a festival on an island — with Rihanna playing his girlfriend and muse Kofi. In case Fyre Festival has popped into your mind, Vanity Fair described Guava Island as a "music-driven, hour-long film" that's "inspired by Brazilian crime drama City of God and Prince's Purple Rain". If you're eager for a sneak peek before the film hits later today, Amazon Prime posted a teaser to its Instagram feed: https://www.instagram.com/p/BwF9J-NhOQ8/ Guava Island will be available to stream on Amazon Prime from 5pm on Saturday, April 13 to 11am on Sunday, April 14, Australian time — and also via Twitch from 10am on Sunday, April 14.
White rabbits, tea parties, royal megalomaniacs — outside Lewis Carroll's gloriously twisted imagination, Alice's Adventures in Wonderland is meant for the stage. And next year, you'll be able to see this dark, surreal and twisted tale as a ballet. After sold out seasons in Melbourne and Sydney in 2017, Alice's Adventures in Wonderland is heading to Brisbane in early 2019. Spearheaded by legendary choreographer Christoper Wheeldon and scored by Joby Talbot, Alice will be brought to life by the Australian Ballet in what they're calling "magnificent detail". Think Broadway-level. Designer Bob Crowley will throw as many immersive digital projections, wigs and masks, puppets and intricate costumes as he can at this one. Throughout the performance, you'll meet a tap-dancing Mad Hatter, a fiery Queen of Hearts and a nervous White Rabbit. In this month's Helpmann Awards, the production took home two gongs: Best Ballet and Best Female Dancer in a Ballet, Dance of Physical Theatre Production, which went to the show's principal artist Ako Kondo who plays Alice. Tickets go on sale at 11am Friday, July 20.
"My plan was to die before the money ran out, but I kept and keep not dying — and here I am." When asked about her strategy as she faces financial ruin, that's Manhattan socialite Frances Price's (Michelle Pfeiffer, Maleficent: Mistress of Evil) frank response. Her fortune has dwindled, the banks are about to repossess everything she owns and she doesn't know what her now-precarious future holds; however, she's most annoyed about having to answer her financial advisor's exasperated questions. Conveying Frances' reply with little else but spikiness otherwise, Pfeiffer turns this early French Exit scene into a deadpan masterclass. The character's candour, irritation and sharp edges are all personality traits, rather than specific reactions to her current predicament, and Pfeiffer makes it clear that she'd still be spitting out acerbic retorts with the same poker face if Frances had been queried about absolutely anything else. She frequently does just that afterwards, in fact, and she's a caustic delight in this wry exploration of a familiar topic: weathering life's many disappointments. Widowed for a decade, and happy to keep cultivating an eccentric reputation as the years go on, Frances hasn't dedicated even a second to tangibly preparing for her present lack of funds. That said, she soon has another plan. Surreptitiously selling off her belongings as her accountant advises — and viciously haggling over commission rates in the process — she rustles up what cash she can and absconds to Paris, where a friend's empty apartment awaits rent-free. There, she reverts to her old approach. Once her remaining money has been frittered away on wine, coffee, and oversized tips to anyone and everyone, she doesn't see the point of going on. But her dysfunctionally codependent relationship with her twentysomething son Malcolm (Lucas Hedges, Waves), his on-and-off romance with his secret fiancée Susan (Imogen Poots, Black Christmas), and a new friendship with the lonely and besotted Madame Reynard (Valerie Mahaffey, Dead to Me) all add unexpected chaos to Frances' scheme, as does a cruise ship fortune teller (Danielle Macdonald, Unbelievable) and a runaway cat who just might be her reincarnated husband. French Exit doesn't watch on as Frances tries to live a modest life and adjust her extravagant ways. It doesn't follow the unapologetically venomous woman as she learns to reassess her choices and attitude, either. Rather, it unfurls a keenly observed character study that's wrapped up in an oddball comedy — and while mining the loss of extreme wealth for chuckles has served Schitt's Creek well, too, French Exit proves as distinctive as its protagonist. It's a film about a woman called Frances who was once married to Franklin, owns a cat called Small Frank and relocates to France, after all. She leaves suddenly and without informing New York high society of her departure, of course, as the movie's title suggests. That's the type of humour pulsating through this light yet still probing picture, as directed with a fluid touch by Azazel Jacobs (The Lovers), and scripted by author Patrick deWitt from his own 2018 novel. Indeed, the fact that Frances' son isn't called Frankie, and that no one called Fran also pops up, is actually disappointing once French Exit establishes its absurdist wavelength. A haunted sensation hovers over this portrait of privilege undone, though, and not just because of Small Frank's possible backstory. Casting Pfeiffer is the movie's best choice, and must've been far too delicious to pass up — seeing the former Catwoman chase a mouser around Paris is amusing, naturally — but it's easy to see how French Exit could've and probably would've crumbled without her. Finding the perfect person for a part that no one else would've done justice can do that. This film belongs to its equally slinky and scathing star, who adds another commanding performance to a resume filled with them, but she's the overwhelming reason that Frances' wounding one-liners, larger-than-life demeanour and all-round cattishness strike a chord. Equally icy and vulnerable even when she's playing for laughs, she also ensures that Frances never feels like a caricature, or as if she has simply stepped out of a Wes Anderson or Noah Baumbach picture. (In its pithy dialogue and idiosyncratic family dynamics, French Exit overtly resembles both The Royal Tenenbaums and The Meyerowitz Stories (New and Selected), and even offers a gender-flipped accompaniment to Sofia Coppola's On the Rocks as well). Thankfully, Pfeiffer is truly magnificent and magnetic, and the film's embrace of farce is just as compelling. The latter is refreshing, too, ignoring the usual poignant life lessons, and instead embracing the mess and mania Frances seems to cultivate every time she opens her mouth. Jacobs and deWitt haven't starved their feature of canny insights, especially in Pfeiffer's barbed words. A trace of unshakeable melancholy lingers over every sentence as her character tries to do what everyone must: figure out how to go on. But, paired with a lively pace, scenic but never gratuitously touristy Parisian cinematography, and a willingness to get silly and whimsical, French Exit bubbles rather than wallows — and while it doesn't quite find its mark consistently enough, it's a gem whenever it does. https://www.youtube.com/watch?v=W0UbkJD2KDY
When the end of August hits, Greater Sydney will have been in lockdown for a very lengthy nine weeks. The region's stay-at-home stint hasn't just expanding in duration, however. Lockdowns have also been spreading across New South Wales as new positive COVID-19 cases pop up, including in Tamworth, Armidale, Newcastle, Lake Macquarie, Maitland, Port Stephens, Singleton, Dungog, Muswellbrook and Cessnock. And, since 6pm on Monday, August 9, four Local Government Areas on the NSW north coast have been put under stay-at-home conditions as well. Until at least Tuesday, August 17, the Byron Shire, Richmond Valley, Lismore and Ballina Shire LGAs are now under the same lockdown rules that Sydneysiders have been experiencing since the end of June. The stay-at-home order was announced "following updated health advice from NSW Chief Health Officer Dr Kerry Chant," NSW Health announced in a statement — and the new restrictions apply to everyone who lives in these areas, or has been there, on or after Saturday, July 31. The change comes after a man tested positive to COVID-19 in the area, after arriving in Byron from Sydney. As a result, it means that residents can only leave the house for four specific essential reasons: to work and study if you can't do it from home; for essential shopping; for exercise outdoors; and for compassionate reasons, which includes medical treatment, getting a COVID-19 test and getting vaccinated. ⚠️ Stay-at-home order for new areas of concern ⚠️ New restrictions will be introduced for the Byron Shire, Richmond Valley, Lismore and Ballina Shire Local Government Areas, effective from 6pm today until 12.01am Tuesday 17 August. pic.twitter.com/mLyRr4ShBU — NSW Health (@NSWHealth) August 9, 2021 Also, only businesses deemed "critical retail" are permitted to remain open. Stores that can continue to welcome in customers include supermarkets, grocery stores, butchers, bakeries, fruit and vegetable stores, liquor stores and fishmongers; pharmacies and chemists; and shops that primarily sell health, medical, maternity and infant supplies. Also allowed to stay open: pet supply shops, post offices, newsagencies, office supply stores, petrol stations, car hire places, banks, hardware shops, nurseries, and places that sell building, agricultural and rural goods. Any retail premises that don't fall into the above categories are closed to physical customers, but they can do takeaways, home deliveries, and click and collect orders. If you need supplies, only one person from each household can go out shopping each day to buy essential items — and browsing is prohibited, too. Carpooling is still off the cards, unless you're in a vehicle with members of your own household. And, you can still only exercise in groups of two outdoors — or as a household. And, although folks in Greater Sydney are under lockdown anyway — and, in Queensland, people in 11 LGAs in and around Brisbane have just come out of their own lockdown and are asked not to travel outside of these regions under current restrictions — no one should be venturing north or south to head to Byron while it is under stay-at-home conditions. In fact, as part of the order, people can't enter the Byron Shire, Richmond Valley, Lismore and Ballina Shire LGAs without a reasonable excuse to do so. As always, NSW residents are asked to continue to frequently check NSW Health's long list of locations and venues that positive coronavirus cases have visited. If you've been to anywhere listed on the specific dates and times, you'll need to get tested immediately and follow NSW Health's self-isolation instructions. In terms of symptoms, you should be looking out for coughs, fever, sore or scratchy throat, shortness of breath, or loss of smell or taste — and getting tested at a clinic if you have any. The Byron Shire, Richmond Valley, Lismore and Ballina Shire Local Government Areas will remain in lockdown until at least Tuesday, August 17. For more information about the status of COVID-19 in NSW, head to the NSW Health website.
