There's nothing better than putting on a piece of clothing and instantly looking effortlessly cool. The team at Wolfe and Ordnance agrees, which is why it built the whole boutique around that idea and makes sure everything it curates and stocks does just that for its customers. The boutique boasts looks from bohemian brand Spell, Sir The Label's contemporary style and Nobody Denim's casual threads, making it easy for locals and visitors of James Street to snap up the in-demand styles on offer. Think statement accessories, on-trend prints and timeless silhouettes — all the makings of maximum impact with minimum effort.
Editors fictional and real may disagree — The French Dispatch of the Liberty, Kansas Evening Sun's Arthur Howitzer Jr (Bill Murray, On the Rocks) among them — but it's easy to use Wes Anderson's name as both an adjective and a verb. In a sentence that'd never get printed in his latest film's titular tome (and mightn't in The New Yorker, its inspiration, either), The French Dispatch is the most Wes Anderson movie Wes Anderson has ever Wes Andersoned. The immaculate symmetry that makes each frame a piece of art is present, naturally, as are gloriously offbeat performances. The equally dreamy and precise pastel- and jewel-hued colour palette, the who's who of a familiar cast list, the miniatures and animated interludes and split screens, the knack for physical comedy, and the mix of high artifice, heartfelt nostalgia and dripping whimsy, too. The writer/director knows what he loves, and also what he loves to splash across his films, and it's all accounted for in his tenth release. In The French Dispatch, he also adores stories that say as much about their authors as the world, the places that gift them to the masses, and the space needed to let creativity and insight breathe. He loves celebrating all of this, and heartily, using his usual bag of tricks. It's disingenuous to say that Anderson just wheels out the same flourishes in any movie he helms, though, despite each one — from The Royal Tenenbaums onwards, especially — looking like part of a set. As he's spent his career showing but conveys with extra gusto here, Anderson adores the craftsmanship of filmmaking. He likes pictures that look as if someone has doted on them and fashioned them with their hands, and is just as infatuated with the emotional possibilities that spring from such loving and meticulous work. Indeed, each of his features expresses that pivotal personality detail so clearly that it may as well be cross-stitched into the centre of the frame using Anderson's hair. It's still accurate to call The French Dispatch an ode to magazines, their heyday and their rockstar writers; the film draws four of its five chapters from its eponymous publication, even badging them with page numbers. But this is also a tribute to everything Anderson holds The New Yorker to stand for, and holds dear — to everything he's obsessed over, internalised and absorbed into the signature filmmaking style that's given such an exuberant workout once again. One scene, in the first of its three longer segments, crystallises this so magnificently that it's among the best things Anderson has ever put on-screen. It involves two versions of murderer-turned-artist Moses Rosenthaler, both sharing the boxed-in frame. The young (Tony Revolori, The Grand Budapest Hotel) greets the old (Benicio Del Toro, No Sudden Move), the pair swapping places and handing over lanyards, and it feels as if Anderson is doing the same with his long-held passions. Before Moses' instalment, entitled The Concrete Masterpiece, the picture's bookending story steps into Howitzer's offices in the fictional French town of Ennui-sur-Blasé. Since 1925, he's called it home, as well as the base for a sophisticated literary periodical that started as a travel insert in his father's paper back in Kansas. Because Anderson loves melancholy, too, news of Howitzer's death begins the film courtesy of an obituary. What follows via travelogue The Cycling Reporter, the aforementioned incarcerated art lark, student revolution report Revisions to a Manifesto and police cuisine-turned-kidnapping story The Private Dining Room of the Police Commissioner is The French Dispatch's final issue turned into a movie — and an outlet for both Howitzer's and the director's abundant Francophilia. Watching travel correspondent Herbsaint Sazerac (Owen Wilson, Loki) wheel around Ennui — a place that isn't quite Paris, just as The French Dispatch isn't quite The New Yorker — comes complete with choirboy gangs rumbling seniors, rat-filled tunnels and bodies fished out of rivers. Anderson's love of quaint and quirky details initially shimmers before that, in Howitzer's workspace beneath his comical "no crying" sign, but doesn't stop gleaming for a second. It's there in Moses' success, as aided by his muse/prison guard Simone (Léa Seydoux, No Time to Die), fellow inmate/art dealer Cadazio (Adrien Brody, Succession), and journalist JKL Berensen (Tilda Swinton, Memoria), who relays the specifics. And, it's clear in the chronicle by political writer Lucinda Krementz (Frances McDormand, Nomadland) about a student uprising led by the suitably moody Zeffirelli (Timothée Chalamet, Dune) over accessing girls' dormitory rooms. Regardless of their amusingly monikered setting, there's nary a trace of boredom or indifference in any of these chapters, all of which ape real New Yorker stories and scribes. So too does Howitzer, as well as Roebuck Wright (Jeffrey Wright, No Time to Die), author of the film's third major segment. The French Dispatch layers in themes and ideas as potently and deeply as its visual gems, tortured genius myths and "the touching narcissism of the young" (as the movie itself describes it) all included; however, its Roebuck-focused thread is exquisitely intelligent and affecting. On a TV set, the journalist relays his attempt to write about Nescaffier (Steve Park, Warrior), chef to the local police commissaire (Mathieu Amalric, Sound of Metal), which was derailed by a hostage situation involving the latter's son — and his piece also becomes an outsider's lament. Whether going monochrome in homage to the French New Wave, pulling off a bravura late-film long shot, or finding roles for Elisabeth Moss (The Invisible Man), Saoirse Ronan (Ammonite), Edward Norton (Motherless Brooklyn) and Willem Dafoe (The Card Counter) — plus Jason Schwartzman (Fargo), who also nabs a story credit with the director, Roman Coppola (Isle of Dogs) and Hugo Guinness (The Grand Budapest Hotel) — Anderson does his utmost at every turn. While aided by sublime work by his eight-time cinematographer Robert D Yeoman, regular production designer Adam Stockhausen and frequent composer Alexandre Desplat, the result feels like slipping not only into Anderson's head but his heart, and more so than any other feature he's made. The French Dispatch is a treasure chest for Anderson, his devotees, and lovers of words, France and inventive cinema alike, although it holds zero chance of converting his naysayers. "Just try to make it sound like you wrote it that way on purpose," is Howitzer's wise advice to his writers, but there's no doubting that every minuscule choice made in this remarkable delight is utterly and marvellously intentional.
What flickers in a robot's circuitry in its idle moments has fascinated the world for decades, famously so in Do Androids Dream of Electric Sheep?, Blade Runner and Blade Runner 2049 — and in After Yang, one machine appears to long for everything humans do. The titular Yang (Justin H Min, The Umbrella Academy) was bought to give Kyra (Jodie Turner-Smith, Queen & Slim) and Jake's (Colin Farrell, The Batman) adopted Chinese daughter Mika (Malea Emma Tjandrawidjaja, iCarly) a technosapien brother, babysitter, companion and purveyor of "fun facts" about her heritage. He dotes amid his duties, perennially calm and loving, and clearly an essential part of the family. What concerns his wiring beyond his assigned tasks doesn't interest anyone, though, until he stops operating. Mika is distressed, and Kyra and Jake merely inconvenienced initially, but the latter pledges to figure out how to fix Yang — which is where his desires factor in. Yang is unresponsive and unable to play his usual part as the household's robotic fourth member. If Jake can't get him up and running quickly, he'll also experience the "cultural techno" version of dying, his humanoid skin even decomposing. That puts a deadline on a solution, which isn't straightforward, particularly given that Yang was bought from a now-shuttered reseller secondhand, rather than from the manufacturer anew, is one roadblock. Tinkering with the android's black box is also illegal, although Jake is convinced to anyway by a repairman (Ritchie Coster, The Flight Attendant). He acquiesces not only because it's what Mika desperately wants, but because he's told that Yang might possess spyware — aka recordings of the family — that'd otherwise become corporate property. Before all that, there's a stunning dance — a synchronised contest where families around the globe bust out smooth moves in front of their televisions, competing to emerge victorious. The dazzling scene comes during After Yang's opening credits and is a marvel to watch, with writer/director/editor Kogonada (TV series Pachinko) conveying a wealth of meaning visually, thematically, philosophically and emotionally in minutes. To look at, the sequence brings to mind Ex Machina's, aka the Oscar Isaac-led scene that launched a thousand gifs. In what it says about After Yang's vision of an unspecified but not-too-distant future, it's reminiscent of Black Mirror, with engrained surveillance technology eerily tracking participants' every move. It's here, too, amid the joy of the family progressing further than they ever have before, that the fact that Yang is malfunctioning becomes apparent, turning a techno dream in more ways than one into a potential source of heartbreak. When a feature so easily recalls other films and television shows, and so emphatically, it isn't typically a positive sign. That isn't the case with After Yang. Adapting Alexander Weinstein's short story Saying Goodbye to Yang, Kogonada crafts a movie that resembles a dream for the overwhelming bulk of its running time — it's softly shot like one, and tightly to focus on interiors rather than backgrounds — and that makes it feel like a happily slumbering brain filtering through and reinterpreting its wide array of influences. Another picture that leaves an imprint: Kogonada's own Columbus, his 2017 wonder that also featured Haley Lu Richardson (The Edge of Seventeen), who pops up here as a friend of Yang's that Jake, Kyra and Mika know nothing about. It isn't the shared casting that lingers, but the look and mood and texture, plus the idea that what we see, what we choose to revel in aesthetically and what makes us tick mentally are intertwined; yes, even for androids. After Yang is transfixing, giving its audience plenty of opportunities to put those notions in motion themselves, all just by watching and being swept up in its gorgeously ruminative frames. It's a sci-fi film to revel in — it's cerebral, existential, meditative, hypnotic and soulful, as well as haunting and almost tangibly sensual — and, in the process, to slide onto its poignant wavelength about what truly defines life. After Yang is also tender and curious about intelligence wrought from flesh and from ones and zeros alike, digging into consciousness, memory, and both the impact of and loss of each. From all of that, it ponders the question that's as old as humanity and may even outlive us: what it genuinely means to be human, especially as AI develops, androids and other smart machinery get more immersed in our lives, and robots become inescapably intertwined with our emotional landscape (and perhaps boast their own). Her and A.I. Artificial Intelligence have also traversed somewhat similar terrain in their own ways, but After Yang remains its own film — its own take on all that it contemplates, everything it brings up but doesn't dare to try to simplify with clearcut answers, and the journey it makes through layers of recollections upon recollections. As Jake accesses Yang's memories, it reminds him of his own and reinforces a key fact: that memory is one of life's connective threads, linking our loved ones to us even when they're gone or we are. Kogonada conjures this up while evoking a captivating sense of space and framing via his interior-heavy locations, such as Jake, Kyra and Mika's home. Not since Parasite has a house been as pivotal not only as a setting, but to the atmosphere and substance of a movie. Glass and windows feature prominently, lensed lovingly but meticulously by cinematographer Benjamin Loeb (Pieces of a Woman, Mandy), and putting everyday moments in boxes to treasure. After Yang is a film to feel, to flow with, to sink into, to soak up. It codes that sensation in via Kogonada's sensitive editing, actually, which seems to intuitively mirror the leaping and lurching way the human brain thinks, and through a shifting use of aspect ratios. It's a picture that makes you want to touch it and step into it — and it's home to a masterclass of a quietly powerful portrayal by Farrell, the feature's standout among a well-deployed cast. Operating in the same subtle mode that made him astonishing in The Lobster and The Killing of a Sacred Deer, he's a piece of connective tissue, too, bonding Jake's stresses and delights with viewers' (because everything his character experiences emotionally is unshakeably relatable, even sans androids like Yang). Only an exceptional movie can equally think and feel so vastly, and pose unresolvable queries while also offering such a soothing embrace. It's something that Yang might've pined for, and that we all may have without ever realising it; to see here, it's magic.
Themes of consequence and redemption lie at the heart of Christopher Nolan's grim and brooding epic The Dark Knight Rises. Eight years after the events of The Dark Knight, Batman (Christian Bale) has long since vanished and Bruce Wayne's former double life has left him a cripple and a recluse. Commissioner Gordon (Gary Oldman), too, grapples with a conscience burdened by lies to protect the late Harvey Dent, while all of Gotham City stands on the cusp of an anarchist revolt borne of greed and apathy. Difficult choices await them all, pitting self-interest against selflessness — often to the extremes of life and death — as the prophesised class war finally erupts and the city’s reluctant saviour is spurred back into action. Squaring off against Batman is the heavyset mercenary Bane (Tom Hardy). Following in the footsteps of Heath Ledger was never going to be easy, and any attempts to compare the two are probably as unnecessary as they are unfair. Hardy’s job was made all the more challenging, however, thanks to his character’s now infamous facemask, a spiderlike device that not only resulted in an awkward and muffled voiceover track but also limited Hardy’s capacity for emotional expression to nothing but his eyes. The result is a sort of effete Darth Vader, absent any real menace beyond Hardy's sheer hulking physical presence. Given Bane's objective is also identical to that of his predecessor in Batman Begins, there’s an overall "R'as al Ghul Version 2.0" air to the character, which feels like a missed opportunity for both fans and Hardy alike. The remainder of the cast is distinctly Inception-esque, with Hardy and the old Batman regulars joined by Joseph Gordon-Levitt and Marion Cotillard. Anne Hathaway rounds out the ensemble as the beguiling Selina Kyle, a cat burglar with a conscience who acts as both temptress and tormentor to the Wayne/Batman double act. Hathaway sparkles as the implied (but never named) Catwoman, bringing both a playfulness and sensuality to the role. Filmed principally within New York City, including inside the Stock Exchange, Nolan's allusion to the global financial crisis and the Occupy Wall Street movement feels a little heavy-handed at times, as does the uncharacteristically expository dialogue scattered throughout the film. On the flipside, the cinematography is predictably stunning and the main set pieces once again bring out the very best in Nolan: the pursuits are frenzied, the fights are savage, and the explosions are enormous. You get the sense Nolan’s at his most comfortable when the stakes are at their highest; the bigger and more imaginative the shot, the better he delivers. Epic in its scale and setting an imposing benchmark for all future films (not just comic book adaptations), The Dark Knight Rises represents an ambitious, honourable, and utterly satisfying conclusion to this genre-defining trilogy.
The roof at New York's world famous Metropolitan Museum of Art is playing host to a most unusual dinner party. Created by prolific Argentinean artist Adrián Villar Rojas, The Theater of Disappearance consists of more than 100 characters and objects from the Met's incredible collection that have been digitally scanned and cast as sculptures, before being spread around the Iris and B Gerald Cantor Roof Garden. Made with 3D printers or through a computer-controlled milling process, the outdoor display mixes and matches artwork from all around the globe. Some figures sit around long white banquet tables, while others look out across the Manhattan skyline. Egypt's King Horemheb gives a piggyback ride to a woman in sneakers, who in turn holds Tutankhamun's head in her left hand. Plates and coins and goblets and even medieval armour lay strewn across the table. "I wanted to play with the doodles of culture," Rojas told The New York Times. Unhappy with what he sees as the sterile, constructed world of contemporary museums, he decided to imagine his own museum "without divisions, without geopolitics, totally horizontal." The Theater of Disappearance will be on display at The Met until October 29, weather permitting. Images via The Met on Twitter.
Pushing ladies to the front has always been All About Women's focus, ever since the Sydney Opera House's key feminist festival first took to the stage back in 2013. In 2023, however, it's doing just that with an in-conversation event that couldn't be more perfect: Bikini Kill Speaks, featuring the seminal riot grrrl pioneers — aka Kathleen Hanna, Tobi Vail and Kathi Wilcox — chatting through their music, activism and why their message remains as relevant as ever after three decades. Hanna, Vail and Wilcox's session comes while Bikini Kill are in the country for their first Australian shows in more than 25 years, including stops at Mona Foma and Golden Plains, plus other solo dates around the country — Sydney Opera House among them. In fact, in addition to the in-conversation session, that gig will close out All About Women's 2023 event. [caption id="attachment_875442" align="alignnone" width="1920"] Debi Del Grande[/caption] When All About Women takes place in March, it'll run over three days — from Saturday, March 11—Monday, March 13 — growing again after it only just expanded to two days in 2022. In another big change, it'll be guided by four festival co-curators for the first time ever. Doing the honours: author, podcast presenter and gender equality advocate Jamila Rizvi; Gamilaroi academic and Tell Me Again author Dr Amy Thunig; feminist social commentator, novelist and writer Jane Caro AM; and Sydney Opera House's Head of Talks and Ideas Chip Rolley. The rest of All About Women's 2023 lineup hasn't yet been unveiled, but audiences can expect a range of international and Australian artists, thinkers and storytellers on the bill — exploring a broad variety of topics relevant to gender, justice and equality via panels, conversations, workshops and performances — when the full details drop on Tuesday, January 17, 2023. [caption id="attachment_837695" align="alignnone" width="1920"] Prudence Upton[/caption] "All About Women is unparalleled in its ability to attract audiences from across the country, with a passion for debates and discussions about gender. The festival always delivers a healthy dose of levity alongside its signature significant local and international conversations," said All About Women festival co-curator Jamila Rizvi. "Striking that balance between impact and frivolity is what my programming style is all about. To say that it is a privilege to co-curate the festival in 2023 is an understatement!" [caption id="attachment_837698" align="alignnone" width="1920"] Jacquie Manning[/caption] In 2022, while the festival went ahead in-person for Sydneysiders, it also live-streamed to viewers both around Australia and worldwide. Whether that'll be the case again in 2023 hasn't yet been revealed, but if you live outside of the Harbour City, cross your fingers. All About Women 2023 will take place from Saturday, March 11—Monday, March 13 at the Sydney Opera House. The full program will release on Tuesday, January 17, 2023 — check back here then for further details. Tickets for Bikini Kill Speaks go on sale at 9am AEDT on Friday, December 2, with Sydney Opera House Insiders presales from 9am AEDT on Tuesday, November 29 and What's on presales from 9am AEDT on Wednesday, November 30. Top image: Debi Del Grande.
Start the Lunar New Year as you intend to continue it: with a bottomless feast of dim sum and cocktails. Throw in non-stop Tsingtao beers, wine and non-alcoholic beverages as well, and you'll be welcoming the Year of the Dragon in style. Those drinks and dumplings are on the menu for three hours at Emporium's sky-high The Terrace, as part of the South Bank venue's Lunar New Year party for 2024. While you're eating and drinking, you'll be on the 21st level, scoring a gorgeous view over the city — and being entertained by a dragon dance performance. The food menu includes barbecue pork buns, siu mai, and scallop and prawn dumplings from the unlimited dim sum station. Shiitake and leek spring rolls, crispy squid and coconut crumbed prawns will also be doing the rounds, while sticky black rice and mango will take care of your sweet tooth. And, yes, there'll be fortune cookies for everyone. As for the drinks, the cocktail list includes the Boba Boi, which is made with Midori, aloe vera and melon. It all happens from 6–9pm on Saturday, February 10, with tickets on sale for $150. Emporium's lunar new year shenanigans are usually popular, so nabbing a ticket quick smart is recommended. A DJ will spin tunes from 7.30pm, too, while someone will win a lucky door prize.
Every time that the Brisbane International Film Festival rolls around, something is a little different. After a decade of almost constant change, that's how it feels, at least. BIFF cycled through a few artistic directors, then found itself completely scrapped. It was replaced by a short-lived Asia Pacific-focused film fest, and then revived as BIFF again at Palace Cinemas. Next, it moved to the Gallery of Modern Art for three years, before getting another revamp in 2021 — with the folks behind the Gold Coast Film Festival now calling the shots. One thing that's remained through all of those ups and downs: screening must-see films to devoted Brisbane movie lovers. Tweaks keep happening behind the scenes, but watching the latest and greatest flicks dance across the silver screen has always been the main attraction. So, from Thursday, October 21–Sunday, October 31, that's what's happening. Cinephiles, Christmas has come early. BIFF's 2021 lineup includes more than 100 films — features, documentaries and shorts alike, spanning both brand new and stone-cold classic titles — all waiting for your super-eager eyeballs. That's a hefty lineup to wade through, so we started our festival viewing early. Here's ten standout BIFF highlights that we've seen, reviewed and heartily recommend. PETITE MAMAN Forget the "find someone who looks at you like…" meme. That's great advice in general, but it's mandatory if you've ever seen a film by Céline Sciamma. No one peers at on-screen characters with as much affection, attention, emotion and empathy as the French director, with her talent for truly seeing into hearts and minds shining again in Petite Maman. In Sciamma's latest delicate and exquisite masterpiece after Tomboy, Girlhood and Portrait of a Lady on Fire, she follows eight-year-old Nelly (debutant Joséphine Sanz) on a trip to her mother's (Nina Meurisse, Camille) childhood home. Nelly's grandmother (Margot Abascal, The Sower) has just died, and the house needs packing up. While her parents work, the curious child roves around the surrounding woods — and discovers Marion (fellow newcomer Gabrielle Sanz), who could be her twin. Sciamma is exceptionally talented at many things, creating richly detailed and intimately textured cinematic worlds high among them. She doesn't build franchises or big fantasy realms, but surveys faces, spaces, thoughts and feelings — exploring them like the entire universes they are. That approach pulsates through every frame of Petite Maman like a heartbeat. The film itself resembles a gentle but soul-replenishing breeze in its rustic look and serene pacing, but it thrums with emotion and insight at every moment. It's a modern-day fairy tale, too, complete with a glorious twist, with this radiant, moving, smart and perceptive movie musing deeply on mothers, daughters and the ties that bind. THE DROVER'S WIFE THE LEGEND OF MOLLY JOHNSON Leah Purcell's resume isn't short on highlights thanks to Black Comedy, Wentworth and Redfern Now, but the Australian actor, director and writer clearly has a passion project. In 2016, she adapted Henry Lawson's short story The Drover's Wife for the stage. In 2019, she moved it back to the page. Now, she brings it to the screen via The Drover's Wife The Legend of Molly Johnson. Only minutes into her searing feature filmmaking debut, it's easy to see why Purcell keeps needing to tell this tale. In her hands, it's a story of anger, power, prejudice and revenge, and a portrait of a history that's treated both women and Indigenous Australians abhorrently. Aussie cinema hasn't shied away from the nation's problematic past (see also: Sweet Country, The Nightingale, The Furnace and High Ground); however, this is an unshakeably potent film. In a fiery performance that bristles with steeliness, Purcell plays the eponymous and heavily pregnant Molly. In the process, she gives flesh, blood and a name to a character who wasn't ever afforded the latter in Lawson's version: a 19th-century Indigenous Australian woman left alone with her children on a remote property for lengthy stretches while her husband works. During his latest absence, new sergeant Nate Clintoff (Sam Reid, The Newsreader) and Aboriginal fugitive Yadaka (Rob Collins, Mystery Road) separately venture Molly's way. From there, this sometimes-stagey but always blistering western digs sharply into issues of race, gender and identity — and eagerly, shrewdly and ferociously draws cinematic blood. DRIVE MY CAR Inspired by Haruki Murakami's short story of the same name, Drive My Car's setup couldn't be simpler. Still recovering from a personal tragedy, actor and director Yusuke Kafuku (Hidetoshi Nishijima, Silent Tokyo) agrees to helm a stage version of Chekhov's Uncle Vanya in Hiroshima — but the company behind it insists on giving him a chauffeur for the duration of his stay. He declines, yet they contend it is mandatory for insurance and liability reasons, so Misaki (Toko Miura, Spaghetti Code Love) becomes a regular part of his working stint in the city. Friendship springs, slowly and gradually, but Murakami's name is one of the first signs that this won't follow a standard road. The other: Japanese filmmaker Ryûsuke Hamaguchi, who makes layered, thoughtful and probing reflections upon connection, as seen in his previous efforts Happy Hour and Asako I & II. Drive My Car doesn't hurry to its narrative destination, clocking in at a minute shy of three hours, but it's a patient, engrossing and rewarding trip. It's a gorgeously shot and affectingly performed one, too, whether taking to the road, spending time with its central pair, or chronicling Yusuke's involving auditions and rehearsals. Another thing that Hamaguchi does disarmingly well: ponder possibilities and acceptance, two notions that echo through both Yusuke and Misaki's tales, and resonate with that always-winning combination of specificity and universality. Drive My Car is one of two new films by Hamaguchi currently doing the festival rounds, too, with Wheel of Fortune and Fantasy also screening at BIFF — so that's your festival double feature sorted. THE WORST PERSON IN THE WORLD Sometimes, a performance just flat-out shakes and startles you — in a good way, that is. In her 2021 Cannes Film Festival Best Actress-winning role, Norwegian actor Renate Reinsve (Phoenix) turns in that type of complex, layered, no-holds-barred and relatable portrayal. She's magnificent, and thoroughly deserves all of the shiny trophies sent her way. She plays Julie, a young Oslo resident who doesn't ever earn The Worst Person in the World's title, but nonetheless pinballs through the mess of her millennial life. Across 12 chapters, plus a prologue and epilogue, almost everything about the character's existence changes within the mere four years that the movie focuses on: dreams, goals, studies, careers, loved ones, boyfriends (including Bergman Island's Anders Danielsen Lie), apartments, friends and her perception of herself. That aforementioned moniker stems from a comment that Julie spits her own way, actually, because she's often aware of her own chaos. Writer/director Joachim Trier (Thelma) is just as cognisant of how romantic dramedies like this tend to turn out, which both feeds and enables Reinsve's astonishing performance — because this isn't the usual cliche-riddled affair. Every up and down that comes Julie's way transcends tropes to contemplate what growing up, being an adult and forging a life is really like, including at both the sunniest and the most heartbreaking extremes. As a character study, The Worst Person in the World is a masterpiece. As a snapshot of an age and life stage, it's just as canny, insightful and excellent. ZOLA It wasn't just a Twitter thread — it was the Twitter thread. Whether you read it live as it happened, stumbled across the details afterwards or first heard about it via Zola's buzzy trailer, calling this stranger-than-fiction tale a wild ride is always an understatement. Its opening words, as also used in this tweet-to-screen adaptation, happen to capture the vibe perfectly: "you wanna hear a story about how me and this bitch fell out? It's kind of long, but it's full of suspense." In the film, that phrase comes via the eponymous Detroit waitress (Taylour Paige, Ma Rainey's Black Bottom). The other person she's referring to: a woman (Riley Keough, The Lodge) she serves at work, then joins on a road trip to Florida. The minutiae is best discovered by watching, but saying that Zola's getaway with her new pal doesn't turn out as planned is really just the starting point. Paige is fierce and finessed as Aziah 'Zola' Wells, Keough adds another tricky yet memorable performance to her resume (see also: American Honey), Succession's Nicholas Braun twists his Cousin Greg persona and Colman Domingo (Candyman) proves scarily commanding. That's all crucial, but this is writer/director Janicza Bravo's (Lemon) film. Wondering how you adapt a series of tweets into a movie? Bravo approaches the task with not just flair, energy and enthusiasm, but with a dreamlike vibe and a clear understanding of social media's role in our lives. This is exactly what a flick based on tweets should be — and, among its many delights (including the score and the cinematography), it features the smartest urination scene you're ever likely to see. BERGMAN ISLAND Each filmmaker walks in the shadows of all who came before them — and as the cinema's history lengthens, so will those penumbras. With Bergman Island, French director Mia Hansen-Løve doesn't merely ponder that idea; she makes it the foundation of her narrative, as well a launching pad for a playful and resonant look at love, work and creativity. Her central couple, both filmmakers, literally tread in the footsteps of the great Ingmar Bergman. Visiting Fårö, the island off Sweden's southeastern coast that he called home and his base, Chris (Vicky Krieps, Old) and Tony Sanders (Tim Roth, The Misfits) couldn't escape his imprint if they wanted to. They don't, of course, as they're searching for as much inspiration as they can find; however, the idea of being haunted by people and their creations soon spills over to Chris' work. These Fårö escapades only fill half of the movie, because Bergman Island also brings Chris' budding screenplay to life. There, fellow filmmaker Amy (Mia Wasikowska, Blackbird) visits an island, too — dancing to ABBA and crossing paths with her ex Joseph (The Worst Person in the World's Anders Danielsen Lie). That tumultuous relationship is as bedevilled by other art and the past as Chris' quest to put pen to paper. And, via the film-within-a-film concept, there's a sense of mirroring that couldn't spring any firmer from Bergman himself. That said, the end result is as savvy and soulful as anything on Hansen-Løve's resume (including the stellar Eden and Things to Come) — and, due to Krieps and Wasikowska, as exceptionally acted. UNDINE For the second time in as many films, German writer/director Christian Petzold teams up with Paula Beer and Franz Rogowski, but you could never accuse them all of doing the same thing twice. Back in 2018, the trio turned Transit into a war-torn romance that mused on conflict's lingering scars. Here, they reinvent a German myth about a water spirit who can only turn human via love. A familiar chemistry lingers, though, as it's meant to. Whenever directors and actors keep collaborating — especially when directors retain multiple actors across different movies — that's built into the fabric of the film. As viewers, we can't help recalling our knowledge of their shared past. It's just how we respond to art, to people, and to connections. A movie not only about romance, but about the impact of the past on the present, Undine provokes and rewards this reaction. Undine (Never Look Away's Beer, the 2020 Berlinale Silver Bear winner for Best Actress for her efforts here) is a historian who guides museum tours about Berlin's origins. When her boyfriend Johannes (Jacob Matschenz, Babylon Berlin) breaks up with her suddenly, she warns him that she'll have to kill him. Then she meets industrial diver Christoph (Rogowski, A Hidden Life), but even as their love blossoms, her previous relationship isn't easily overcome. Petzold is no stranger to pondering the tides of history that just keep ebbing, flowing and swelling (see also: Barbara and Phoenix); however, in the enchanting, beguiling, beautifully shot Undine, he's at his most haunting. THE SCARY OF SIXTY-FIRST When Succession roves over New York's skyline, it gleams with wealth and privilege, a world that the stellar HBO satire sharply cuts into at every chance it gets. As one of the show's supporting cast members, Dasha Nekrasova slides into that realm, but that's not her only dalliance with the city's architecture, power brokers and all that both represent. The Scary of Sixty-First, her feature directorial debut, also savages the rich and seemingly consequence-free. More accurately, it clasps onto a real-life story that's made that case inherently, abhorrently and monstrously. There's no gentle way to put it, but the fact that Nekrasova plays a woman investigating whether a bargain Upper East Side duplex was once one of Jeffrey Epstein's "orgy flophouses" says plenty about this purposefully provocative conspiracy thriller-slash-horror/comedy. College pals Addie (Betsey Brown, Assholes) and Noelle (co-screenwriter Madeline Quinn) can't believe their luck when they find the cheap property, even if it does visibly need a clean (and have mirrored ceilings). From night one, however, the literal nightmares begin — and soon they're spying blood stains, scratched walls and eerie tarot cards. Enter Nekrasova's paranoid stranger, who comes bearing the Epstein news. Addie and Noelle take the revelation in vastly different ways, and The Scary of Sixty-First keeps boldly twisting its 70s and 80s-influenced frames (and Eyes Wide Shut and Rosemary's Baby-influenced, too) in hellish directions. Uncompromising and compelling, this slap in the face of a movie really isn't easily forgotten. BAD LUCK BANGING OR LOONY PORN "Banging" is the certainly word for it; when 2021 Berlinale Golden Bear winner Bad Luck Banging or Loony Porn begins, it's with high school teacher Emi (Katia Pascariu, Beyond the Hills) and her camera-wielding husband (first-timer Stefan Steel) having loud, enthusiastic, pink wig-wearing sex — and filming it. Romanian director Radu Jude (I Do Not Care If We Go Down in History as Barbarians) shows the explicit footage as others will see it, because others will indeed see it: the students at Emi's school, their parents and her fellow teachers. All genitalia and thrusting and lustful talk (and shouted queries through the door from whoever is looking after the couple's child), this graphic opening also makes a statement. So many people with the film's frames will take issue with it as vocally as Emi and her partner are enjoying themselves, but Jude definitely isn't one of them. What follows is a razor-sharp satire of a world that's so indifferent to so much, but so unaccepting of carnality. The film wields that notion as a weapon, all as Emi and Bucharest's other residents also navigate the pandemic. In the cinema verite-style first section, Emi rushes around the city on foot, learning of the sex tape backlash while surrounded by everyday hostilities and vulgarities. Next, Jude unleashes scathing and playful cine-essay snippets about Romania's past, the planet's present, human behaviour, and how porn is used as both a scapegoat and anaesthetic. Then, Emi is interrogated by parents and teachers, their judgement and hypocrisy on full display — in the climax to an already brilliant, biting and bleakly hilarious achievement. BLIND AMBITION From fleeing Robert Mugabe's Zimbabwe to taking their nation's first-ever team to the World Wine Blind Testing Championships in Burgundy, Joseph, Tinashe, Marlvin and Pardon have quite the story to tell. The quartet met in South Africa, where they each individually made their home long before they crossed paths. They all also found themselves working with wine, despite not drinking it as Pentecostal Christians — and, in the process, they discovered a knack for an industry they mightn't have even contemplated otherwise. That's the tale that Blind Ambition relays, and it's a rousing and moving one. Indeed, it won't come as a surprise that the movie won Australian filmmakers Warwick Ross and Rob Coe (Red Obsession) this year's Tribeca Film Festival Audience Award for Best Feature Documentary. Blind wine testing is a serious business; the first word isn't slang for inebriation, but describes how teams sample an array of wines without knowing what they're drinking. Then, they must pick everything from the country to the vintage to the varietal within two minutes of sipping. As stressed both verbally and visually throughout the doco, there's a specific — and very white — crowd for this endeavour. Accordingly, Team Zimbabwe instantly stands out. Heralding diversity is one of their achievements; their infectious joy, pride and enthusiasm for the field, for competing at the Olympics of the wine world, for the fact that their plight has taken them from refugees to finding a new calling, and for opening up the world to African vino, is just as resonant. Looking for more BIFF recommendations? We've taken a look at a couple of others already this year. So, you can also check out our thoughts on Sisters with Transistors, The Girl and the Spider and The Witches of the Orient, as well as Strong Female Lead. The 2021 Brisbane International Film Festival runs between Thursday, October 21–Sunday, October 31. For further information, or to buy tickets, head to the festival website.
If humanity ever managed to cure or circumvent death — or even just stop being despairingly afraid of our own mortality — the horror genre would immediately feel the difference. Lives are frequently in peril in films that are meant to spook and frighten. Fears of dying underscore everything from serial killer thrillers and body horror flicks to stories of zombies, ghosts and vampires, too. Indeed, if a scary movie isn't pondering the fact that our days are inescapably finite, it's often contemplating our easily damaged and destroyed anatomy. Or, it's recognising that our species' darkest urges can bring about brutal and fatal repercussions, or noting that the desperation to avoid our expiration dates can even spark our demise. Accordingly, Saint Maud's obsession with death isn't a rarity in an ever-growing genre that routinely serves it up, muses on it and makes audiences do the same whether they always realise it or not. In an immensely crowded realm, this striking, instantly unsettling feature debut by British writer/director Rose Glass definitely stands out, though. Bumps, jumps, shocks and scares come in all manner of shapes and sizes, as do worries and anxieties about the end that awaits us all. In Saint Maud, they're a matter of faith. The eponymous in-home nurse (Dracula and His Dark Materials' Morfydd Clark) has it. She has enough to share, actually, which she's keen to do daily. Maud is devoted to three things: Christianity, helping those in her care physically and saving them spiritually. Alas, her latest cancer-stricken patient doesn't hold the same convictions, or appreciate them. Amanda (Jennifer Ehle, Vox Lux) isn't fond of Maud's fixation on her salvation or her strict judgements about her lifestyle. She knows her time is waning, her body is failing and that she needs Maud's help, but the celebrated ex-dancer and choreographer does not want to go gently or faithfully in that good night. Instead, she'd much prefer the solace that sex and alcohol brings over her palliative care nurse's intensely devout zeal. Playing out in a hilltop house near the British seaside that could host any number of gothic horror tales, Saint Maud directs plenty of attention towards the push and pull between its two central characters. But Glass isn't solely interested in an adversarial relationship between a pious young woman with her whole life seemingly ahead of her and the ailing hedonist who'll soon have hers cut far too short. The ideological, psychological and emotional dance that Maud forces Amanda into is gripping to watch — and shrewdly and potently handled — but that's just one of the movie's two key clashes. The other: the war raging within Maud herself. Despite her fervour, as well as the stern but feverish way in which she pushes her devotion to her faith upon others, her own story isn't straightforward. Flashes to her past, and to her previous job in a hospital, make it plain that pain, trauma and tragedy all linger in her recent history. That Maud has changed her name from Kate in the aftermath also colours her backstory, as does her alarm when she's approached by a former colleague, and the fact that her sanity just might be fraying. Set to star in the upcoming Lord of the Rings TV series, Clark also has Love & Friendship, Crawl and The Personal History of David Copperfield on her resume; however, her performance in Saint Maud is career-defining. It's one of the best of recent years by any actor, and it isn't easily forgotten. She's subtle but also severe, two traits that can co-exist in a portrayal this exceptional. She wears Maud's devoutness like a second skin, but also conveys how it itches when anything conflicts with the character's forceful but also fragile status quo. Ehle, who is perhaps presently best-known for Contagion despite boasting three decades of credits to her name, is similarly stellar in a vastly dissimilar way. Amanda isn't an object of pity, or meant to get audiences weeping for her misfortune. Her personality, warts and all, remains steadfastly intact even as illness visibly takes its toll. And, she isn't willing to simply nod, smile and acquiesce to Maud's religious zest out of gratitude, either. Most filmmakers can only dream of guiding such powerful and delicately layered performances out of their two stars — and in their very first stint as a writer and director — but again, Glass isn't willing to rest easy. In its narrative, Saint Maud is about control on several levels, as its titular figure attempts to use her faith to keep her own life and her patient's impending death in check. Behind the lens, Glass has crafted a work of supreme mastery, including in its vivid imagery and sinister mood. Whether the film is sinking into realism, embracing horror or getting surreal, the cinematography (by The End of the F***ing World's Ben Fordesman) and production design can't be faulted. As the movie steps further inside Maud's precarious existence, nor can the score, which conjures up as much unease as the overall feature. They each contribute to a swirling sea of tension, culminating in a thunderous final shot that really couldn't be more fitting, affecting, astonishing or memorable. Part of being a horror fan is spotting the genre's webs and threads, and seeing how the best and the worst examples — and everything in-between — build upon all that's come before. Glass evokes Hereditary and Midsommar-esque levels of dread as her anti-heroine is slowly forced to reckon with her beliefs spiritually, emotionally and physically. Focusing on a young woman seen differently by the world around her, her feature recalls The Witch, too. Both as a character study and as a part-religious thriller, part-body horror flick, it also feels like the product of a 70s binge. That said, Saint Maud is firmly its own movie. Awful and average films make you wish you were watching their influences, while excellent pictures leave you ecstatic that their sources of inspiration have given rise to something so stirring — and, as it haunts from start to finish, demanding viewers' reverence, this revelatory feature falls into the latter category. https://www.youtube.com/watch?v=OP2MlPwflX4
Being able to tell when someone is lying is a handy gift, and one that sits at the centre of supremely entertaining and addictive new 2023 streaming series Poker Face. But no special talents were necessary to predict two obvious things that've come true since the show first started dropping episodes back in January: that it'd be a hit and that a second season would follow. Armchair detectives, get excited about another round of sleuthing with star Natasha Lyonne (Russian Doll) and filmmaker Rian Johnson (Knives Out and Glass Onion: A Knives Out Mystery). US streamer Peacock has just announced that Poker Face will return for season two — and, dropping episodes week by week, season one isn't even finished yet. Exactly when Poker Face will return for its sophomore spin, how many episodes season two will span and who else will pop up — because this is a series with a stacked guest cast, too — hasn't yet been revealed. But the news definitely isn't bullshit, as Lyonne's Charlie Cale likes to utter (and often). A mystery-of-the-week series, Poker Face sees Charlie work her way through resolving a different crime in each episode, all while she's on the road in a Plymouth Barracuda. That's where all those other well-known faces come in, including Adrien Brody (See How They Run), The Menu's Hong Chau and Judith Light, Lil Rel Howery (Deep Water) and Danielle MacDonald (The Tourist) in season one's first few episodes. The show's debut go-around also features Lyonne's Russian Doll mother Chloë Sevigny (Bones and All), plus Ron Perlman (Nightmare Alley), Joseph Gordon-Levitt (Pinocchio), Ellen Barkin (Animal Kingdom), Nick Nolte (The Mandalorian), Cherry Jones (Succession), Jameela Jamil (She-Hulk: Attorney at Law) and newly minted Oscar-nominee Stephanie Hsu (Everything Everywhere All At Once). As seen on Stan in Australia and TVNZ On Demand in New Zealand, Charlie is cruising her way across the US after figuring out a crime with personal ties in episode one, all by using that lie-detecting talent of hers, but making considerable enemies in the process. While that's the show's overall framing story, each instalment focuses on its own whodunnit in its own place, including mysterious deaths at garages, related to metal bands, in retirement homes and onstage during a play. "Poker Face is one of those rare, undeniable shows that we all fell in love with from the start, but the critical acclaim and viewer response has been beyond our wildest dreams," said Susan Rovner, Chairman, Entertainment Content, NBCUniversal Television and Streaming. "Working alongside the creative genius of Rian Johnson, Natasha Lyonne and Ram Bergman, along with our partners at MRC and T-Street, has been a spectacular ride, and we can't wait to hit the road for another season as we continue to build momentum across Peacock's originals slate." Check out the full trailer for Poker Face below: Poker Face streams via Stan in Australia and TVNZ On Demand in New Zealand. Read our review of season one.
Maybe you've always had a Lego collection, because the popular plastic bricks really are for everyone. Perhaps you signed up for a subscription service back when COVID-19 lockdowns first came into effect, because there are only so many puzzles one person can do. Either way, you probably need something to store your Lego in — and, in a collaboration due to hit Australia in 2021, IKEA now has a solution. Obviously, IKEA has plenty of storage on offer. Walk through one of the Swedish retailer's shops and just try to come out without a basket, box, container or other type of storage in your big blue bag — it's virtually impossible. But, when its new Bygglek range arrives, it'll actually feature Lego studs. Keep your bricks in them, or use them to build with (or both). As part of a team-up first announced in 2019, the collection will encompass four different sets: one of three small boxes, two different types of bigger boxes, and one of Lego bricks. All of the above will connect to existing Lego products, too, because of course it will. https://www.facebook.com/ikea.au/photos/a.276205668287/10158652209723288/?type=3&theater IKEA hasn't announced exactly when the Bygglek products will hit Down Under, other than sometime in early 2021. And while they're part of IKEA's children's range, everyone knows by now that Lego isn't just for kids. Nor are creative storage boxes, should you need to a few containers to keep something other than Lego in. IKEA's Lego Bygglek collection will hit Australian stores sometime early in 2021 — keep an eye on the IKEA website for further details.
While it's been a long time between drinks for international tours here in Australia, overseas artists are beginning to pencil in dates for Australian shows next year. With our vaccination rate on the rise, and Prime Minister Scott Morrison announcing a roadmap towards opening up our borders, 2022 tours are beginning to feel a little more possible. So far, Lorde has locked in February and March dates off the back of her just-dropped album Solar Power, and Splendour in the Grass is shooting for a return next July with three international headliners on the cards. One of those headliners is US hip-hop and fashion trailblazer Tyler, The Creator who has now revealed plans for his own headline tour around Australia and New Zealand in 2022. Tyler, The Creator has announced a set of tour dates alongside his appearance at Splendour's 20th-anniversary festival to support the release of his latest album Call Me If You Get Lost. Australian and New Zealand fans can catch the genre-bending album, which features collaborations with the likes of DJ Drama, Lil Wayne and Pharrell Williams, performed alongside back-catalogue hits from Tyler at four dates throughout July and August. The tour will kick off at Auckland's Spark Arena on Friday, July 22, before heading across the ditch to land at Perth's RAC Arena on Tuesday, July 26. This will be followed by performances at Sydney's Qudos Bank Arena on Friday, July 29 and Melbourne's Rod Laver Arena on Tuesday, August 2. Accompanying the hip-hop favourite on tour will be R'n'B singer-songwriter and frequent Tyler, The Creator collaborator Kali Uchis. The last time Tyler graced Australian shores was for a series of festival appearances over New Years 2020/21, hitting up the likes of Beyond the Valley and Field Day. The upcoming 2022 arena tour will, however, mark Tyler, The Creator's first set of headline shows down under in over eight years. [caption id="attachment_823366" align="alignnone" width="2556"] Luis 'Panch' Perez[/caption] TYLER, THE CREATOR — CALL ME IF YOU GET LOST TOUR Friday, July 22 – Spark Arena, Auckland Tuesday, July 26 – RAC Arena, Perth Friday, July 29 – Qudos Bank Arena, Sydney Tuesday, August 2 – Rod Laver Arena, Melbourne Tickets for the Call Me If You Get Lost Tour will be available to Frontier Members from Tuesday, August 31. General public sales will open on Thursday, September 2. Find more details at Frontier Touring's website. Top image by demxx
In Sundown's holiday porn-style opening scenes, a clearly wealthy British family enjoys the most indulgent kind of Acapulco getaway that anyone possibly can. Beneath the blazing blue Mexican sky, at a resort that visibly costs a pretty penny, Alice Bennett (Charlotte Gainsbourg, The Snowman), her brother Neil (Tim Roth, Bergman Island), and her teenage children Alexa (Albertine Kotting McMillan, A Very British Scandal) and Colin (Samuel Bottomley, Everybody's Talking About Jamie) swim and lounge and sip, with margaritas, massages and moneyed bliss flowing freely. For many, it'd be a dream vacation. For Alice and her kids, it's routine, but they're still enjoying themselves. The look on Neil's passive face says everything, however. It's the picture of apathy — even though, as the film soon shows, he flat-out refuses to be anywhere else. The last time that a Michel Franco-written and -directed movie reached screens, it came courtesy of the Mexican filmmaker's savage class warfare drama New Order, which didn't hold back in ripping into the vast chasm between the ridiculously rich and everyone else. Sundown is equally as brutal, but it isn't quite Franco's take on The White Lotus or Nine Perfect Strangers, either. Rather, it's primarily a slippery and sinewy character study about a man with everything as well as nothing. Much happens within the feature's brief 82-minute running time. Slowly, enough is unveiled about the Bennett family's background, and why their extravagant jaunt abroad couldn't be a more ordinary event in their lavish lives. Still, that indifferent expression adorning Neil's dial rarely falters, whether grief, violence, trauma, lust, love, wins or losses cast a shadow over or brighten up his poolside and seaside stints knocking back drinks in the sunshine. For anyone else, the first interruption that comes the Bennetts' way would change this trip forever; indeed, for Alice, Alexa and Colin, it does instantly. Thanks to one sudden phone call, Alice learns that her mother is gravely ill. Via another while the quartet is hightailing it to the airport, she discovers that the worst has occurred. Viewers can be forgiven for initially thinking that Neil is her cruelly uncaring husband in these moments — Franco doesn't spell out their relationship until later, and Neil doesn't act for a second like someone who might and then does lose his mum. Before boarding the plane home, he shows the faintest glimmer of emotion when he announces that he's forgotten his passport, though. That said, he isn't agitated about delaying his journey back, but about the possibility that his relatives mightn't jet off and leave him alone. Sundown is often a restrained film, intentionally so. It doles out the reasons behind Neil's behaviour, and even basic explanatory information, as miserly as its protagonist cracks a smile. The movie itself is eventually a tad more forthcoming than Neil, but it remains firmly steeped in Franco's usual mindset: life happens, contentedly and grimly alike, and we're all just weathering it. Neither the highs nor lows appear to bother Neil, who holes up at the first hotel his cab driver takes him to, then starts making excuses and simply ignoring Alice's worried calls and texts. He navigates an affair with the younger Berenice (Iazua Larios, Ricochet) as well, and carries on like he doesn't have a care in the world. His sister returns, frantic and angry, but even then he's nonplussed. The same proves true, too, when a gangland execution bloodies his leisurely days by the beach, and also when violence cuts far closer to home. Tranquility, bleakness, the ordinary and the extreme in-between: it all keeps coming throughout Sundown. Yes, life keeps happening, even amid the relaxed air that breezes through the movie's aforementioned introductory moments. When there's little on the Bennetts' minds except unwinding, their comfort literally comes at the hands of Acapulco's workers. In the streets, an incendiary mood bubbles well before bodies end up on the sand. The gap between the one percent and the rest of us always stays in plain sight. The fact that a getaway as luxe as this one relies upon not the kindness but the exhaustive labour of others never slinks away. Also, that Neil's family wealth springs from slaughter isn't subtle — animals, in the pork trade — but that's never been Franco's approach. Still, Sundown is a film to soak up, riding its twists and wading through its questions, including the plethora that keep springing about Neil's actions. The last time that Roth worked with Franco, in 2015's Chronic, he turned in a mesmerising performance. Here, he's magnetic and absorbing as a man adrift by choice, through entitlement and also due to the cards he's been dealt. Some shots play up that idea with the director's characteristic lack of understatement — floating in a pool, for instance — but the point would've been plain via the film's central performance alone. Roth isn't coasting, or bobbing, or doing anything aimlessly. Sundown's audience can see Neil's behaviour as comic, heartless, troubled or arrogant, or a combination of all four and more, but Roth makes the sense of detachment and entropy behind the character's every move echo from the screen. His efforts prove all the more stark against the also-wonderful Gainsbourg, in a far smaller part. Unsurprisingly, Alice is anything but dispassionate, with her brother's subterfuge, selfishness and utter lack of care for everyone he's affecting earning her increasing exasperation. For Franco, forgoing nuance means staring head-on at the tales he's telling, the people within them and the statements about humanity that are being made — and Belgian cinematographer Yves Cape, who has a number of the filmmaker's pictures to his name (plus entrancing 2019 French film Zombi Child as well), eagerly obliges. Roving your eyes over Sundown's patient frames is an exercise in careful observation, sometimes peering so closely that you can almost count Roth's pores, but usually with a sense of distance that mirrors the space that Neil cultivates around himself. Watching this ruminative feature also requires confronting existential woes — and pondering existence — both compellingly and unsettlingly so. Franco has never had any fondness for privilege, or much for human nature; with his latest penetrating film, he's as unforgiving as always, but also as committed to unpacking what it means to define your own path.
Warm, cosy, rosy, charming, feel-good: typically when a film spins its story during The Troubles in Northern Ireland, none of these words apply. But with Belfast, Kenneth Branagh has made a movie set in its eponymous city when the Protestant-versus-Catholic violence was a constant sight, and also helmed a feature that's about a childhood spent with that conflict as a backdrop. It's an approach that only works because Branagh draws from his own experiences — the film isn't a play-by-play memoir, but it's also clearly personal. Here, it's 1969, when the actor-turned-filmmaker would've been nine years old. The movie's protagonist, Buddy (first-timer Jude Hill), is that exact age, in fact. And with the beginnings of a three-decade-long sectarian fracas bubbling and boiling around him, he navigates the usual age-appropriate antics, such as school, crushes, doting grandparents with ailing health and a potential big move. The Troubles are a constant sight in the largely monochrome-hued film, too, and the reason Buddy's that parents are contemplating relocating to England, something they wouldn't have dreamed of otherwise. Pa (Jamie Dornan, The Tourist) already spends most of his time working there as a joiner, leaving Ma (Caitríona Balfe, Outlander) at home with Buddy and his elder brother Will (Lewis McAskie, Here Before) — with assistance from the boys' Granny (Judi Dench, Six Minutes to Midnight) and Pop (Ciarán Hinds, The Man in the Hat) — and he's been offered a new job that comes with a house. The violence swirling through Belfast has already made it to the family's street, to their hounded Catholic neighbours and, when Pa refuses to join the fray, put them on their fellow Protestants' hit list. Shifting to London (or perhaps further, to Sydney or Vancouver) would provide a new start and a safer future, but leaving all they've ever known isn't a simple decision. Belfast's adult characters are only known as Buddy would know them, such is Branagh's commitment to seeing this story, time and place through a child's eyes as he once did. And, while there's much debate to be had between Pa and Ma about whether to go or stay, the film is filled with its young lead's joys and worries — with the prospect of never again seeing the Catholic classmate he swoons over high among the boy's concerns. Belfast isn't short on context, however, though there's zero chance that it could be mistaken for a meaty interrogation of The Troubles. Branagh weaves in examples of how the push-and-pull of the conflict that's inescapable in his neighbourhood every day, Molotov cocktails, broken windows, blazes, riots and all, puts Buddy and his family in the middle. Still, a magical view of childhood remains, including when Buddy gets thrust into the thick of the fray — where, after he returns home with looted supermarket wares, his mother marches him back to return the stolen products amid the chaos. Branagh also indulges in an origin story, perhaps inspired by his stint in the Marvel Cinematic Universe directing the first Thor film back in 2011 (Buddy is even seen reading a Thor comic). Escaping The Troubles as much as anyone can in Belfast, the writer/director's on-screen surrogate adores seeing Chitty Chitty Bang Bang, and A Christmas Carol also features — scenes that come to life in colour, unlike the bulk of the picture around them. In the process, Branagh helps trace the early steps of his own desire to become a thespian and filmmaker, which has led to everything from Shakespeare adaptations such as Much Ado About Nothing and Hamlet, to doing double duty in front of and behind the lens with Hercule Poirot duo Murder on the Orient Express and Death on the Nile. He's played Harry Potter and the Chamber of Secrets' Gilderoy Lockhart, helmed Disney's live-action Cinderella, gotten villainous in Tenet, and of course, enjoyed an applauded on-stage career as well, all stemming from those first rapturous experiences watching when he was growing up. You could also call Belfast Branagh's Roma moment, after Alfonso Cuarón also gave cinema a black-and-white vision drawn from his own childhood, although that comparison fades quickly — even with Oscar love likely to come this film's way, in nominations at least, as it did for its predecessor. Here, the Dutch angles have it, with one of Branagh's go-to stylistic moves visually reinforcing Belfast's skewed perspective. Everything that viewers see is gorgeously lensed by his regular cinematographer Haris Zambarloukos (a mainstay on everything except All Is True since 2007's Sleuth), and also fondly nostalgic as cherished memories of formative years always are, with the lean firmly towards Buddy and his subjective view. As often set to a Van Morrison soundtrack, there's no doubting that this is a portrait of the big and small moments remembered and given a tender glow far more than it's about matters of politics and religion. As carefully and sentimentally conjured up and constructed as it is, Belfast's message remains timely as it gazes five-plus decades back. Horror and conflict stalk Buddy's working-class turf, his routine and life are shaken and upended, but hope — and the reality that life does go on — shines through. The opposing forces of comfort and change jostle around him, and this boy and his loved ones endeavour to make their way through it. Indeed, it should come as no surprise that this was Branagh's pandemic project, or that he peers back with such affection. In one of the movie's least successful touches, he even finds a way to convey that process on-screen, starting with a glossy shot of Ireland today, then literally peeking beyond a wall to venture into the past. Branagh's best choice: his magnificent cast, although an actor who also directs guiding marvellous performances out of his key players also doesn't surprise. What's especially glorious about Hill, Dornan, Balfe, Dench and Hinds is how much their portrayals tell us about their characters in the beats between dialogue, with wide-eyed enthusiasm radiating from wonderful newcomer Hill, and Dench and Hinds perfecting Granny and Pop's world-wise lived-in dynamic, for instance. Dornan and Balfe are also exceptional; whether bickering heatedly about tax debts and far-off places or taking to the dance floor — or, in Dornan's case, belting out a big-hearted rendition of 'Everlasting Love' to give his Barb and Star Go to Vista Del Mar crooning a companion — they're a picture of that unceasing emotion that Branagh infuses into every element of the film. Yes, as its showcase number trumpets, that's love, which leads to a sweet, neat and light but still vivid and soulful snapshot of growing up amid swelling uncertainty. Image: Rob Youngson / Focus Features.
It's the American cable TV network everyone knows by name in Australia, even though it doesn't air here. We all know its famed television static intro clip, too. That'd be HBO, which keeps carving out a place in TV lovers' hearts because it just keeps delivering must-see television programs. We've all just finished streaming our way through The White Lotus, after all — and next comes Scenes From a Marriage. As its name makes plain, Scenes From a Marriage steps inside a relationship, and finds that it's hardly a picture of domestic bliss. It stars two supremely watchable leads: Oscar Isaac and Jessica Chastain. The former was last seen on our screens saving the galaxy and fighting evil in Star Wars: Episode IX — The Rise of Skywalker, and will also show up in Dune when it finally hits cinemas. The latter last popped up in IT: Chapter Two and the straight-to-digital Ava. And if pairing them up sounds familiar, that's because they've already navigated a complex and fraying marriage in 2014's A Most Violent Year. Given that their last collaboration turned out phenomenally, seeing Isaac and Chastain team up again looks to be a treat. And if you know your classic Swedish TV, you'll know they're following in footsteps other than their own, too. If that doesn't apply to you, this miniseries is adapted from an iconic work by one of the best Swedish filmmakers ever — the late, great Ingmar Bergman. Chastain plays Mira, a tech executive who is unhappy in her marriage to Isaac's Jonathan. He's keen to save their relationship, but marital troubles are never that straight forward — as this series promises to explore through the couple's private conversations. HBO is positioning its version of Scenes From a Marriage as a "re-imagining", which means that it shouldn't fastidiously stick to the original's beats, and it'll also jump to contemporary times. It'll still explore love, hatred, desire, monogamy, marriage and divorce, though. As the just-dropped full trailer shows, it's obviously going to get emotional. Writer/director Hagai Levi (In Treatment, The Affair) does the honours behind the lens — and you'll be able to watch and stream the full series via Foxtel in Australia from Monday, September 13, with new episodes airing weekly And yes, thanks to not just The White Lotus, but to everything from Watchmen, Chernobyl and The Undoing to I Know This Much Is True and Mare of Easttown, HBO has had a particularly great run with its miniseries recently. Obviously, that's yet another reason to be excited about Scenes From a Marriage, too. Check out the trailer below: Scenes From a Marriage will screen on and stream via Foxtel in Australia from Monday, September 13.
Bacon and bourbon have been lifelong drinking buddies, dredging up wild west frontier images in their smoky, smoky team-up. But the porch-lovin' pair usually remain on plate and glass, woefully separated from realising their true fusion potential. However, things are changing for bacon and bourbon romances, as well as their steadfast fans. While US company Old Major have already teamed the two in their own infused spirit, we're looking for something a little closer to home. From the Speakeasy team behind Eau De Vie and The Roosevelt Bar and Diner, brand new Australian spirit venture The Experimental Spirits Co. is launching their own smoked bacon bourbon. Coinciding with the latest unofficial hashtag on the Australian calendar, Australian Bacon Week, the smoky, smoky spirit marks the first endeavour for the brand new company — plus, they're crowdfunding it. "I had an idea to create a unique boutique spirits company some time ago, when I ran my own consultancy outfit (Behind Bars), but due to various conflicts of interests I was unable to do so," owner, founder and renowned spirit guru Sven Almenning says. "Having now untangled myself from that, I am very excited to be launching the Experimental Spirits Co. We developed this great little whisky when we were working on our Eau De Vie Small Batch Cocktails — currently available through Vintage Cellars — and we thought it was too good not to share with the world in a more familiar format." So how do you actually infuse bourbon with bacon? The key to the whole shebang is what's known as a 'fat washing' process, allowing the smoked bacon flavour to be soaked into the whiskey. Then it's filtering time (ten times over) before the alchemy is bottled and wax sealed. It's a handmade labour of love for the Experimental Spirits Co. "It’s quite a laborious process," admits Almenning. "But that’s the nature of the products we want to produce." While you'll only initially be able to enjoy the Smoked Bacon Bourbon in the Speakeasy Group venues (both Eau De Vie venues in Sydney and Melbourne, Sydney's recently opened Eau De Vie Apothecary plus The Roosevelt Bar & Diner) plus a handful of specially-picked bars, the team are making their infused bourbon a special edition crowdfunding perk of its own — $80 donations will get you a bottle of the bourbon to swill at your own leisure. So with $25,000 as the target, where's the money going? "Primarily the funds will go towards purchasing whiskey and the down payments on all the equipment that is required for creating the product," say the team. "We hope that this campaign will assist us in covering some of the costs for new production equipment such as more high-volume filtration systems as well as the rental of a small ‘lab’ where we can base our work and the new business." With the smoked bacon bourbon up and running, the Experimental Spirit Co. intend to launch a salted coconut spiced rum and a 'new-age' gin with a twist later in the year. For now, its all about bringing home the crowdfunded bacon. Throw your sweet cashola at it over here.
One of Fortitude Valley's iconic buildings is getting a revamp behind its heritage-listed facade. After giving the Gold Coast a rooftop beach club, as well as a variety of other venues around the city, Artesian Hospitality is heading north to take over Fortitude Valley's GPO Hotel. Artesian's Cali Beach Club has unsurprisingly proved a hit on the coast, welcoming in over half a million patrons since it opened nearly a year ago — in both its summer and winter guises. The hospitality group also has Surfers Pavilion, White Rhino, Saké Sisters and Havana RnB to its name, and makes a move into Brisbane to give the Fortitude Valley General Post Office building on Ann Street a hefty makeover. [caption id="attachment_866367" align="alignnone" width="1920"] Kgbo via Wikimedia Commons[/caption] "We couldn't pass up the opportunity restore this building and bring to life a variety of new and iconic Brisbane venues," said Artesian Hospitality's Founder and Managing Partner Matthew Keegan. "Our vision for the historical 2000-square-metre, multi-building site in the thriving Fortitude Valley is to deliver a variety of unique experiential venues that patrons love to visit again and again." As for exactly what that'll mean for Brisbanites, that hasn't been revealed as yet — other than adding the building and its spots to eat, drink and hang out to your trips to the Valley. "We're remaining tight-lipped as to what exactly that will entail right now, but it won't be long before we release that information," continued Keegan. [caption id="attachment_866375" align="alignnone" width="1920"] Kgbo via Wikimedia Commons[/caption] Artesian's Brisbane debut is just one upcoming project on its slate. The group is also planning to turn the Surfers Paradise site that's home to Cali Beach into a multi-venue precinct, as well as its corporate headquarters. The building will be renamed Artesian House, too. With its Brissie plans at the the Valley GPO , Artesian is setting up shop in a spot that dates back to 1887, and is one of the most eye-catching spots in the inner-city suburb. [caption id="attachment_824728" align="alignnone" width="1920"] Cali Beach Club[/caption] The Fortitude Valley General Post Office building is located at 740 Ann Street, Fortitude Valley. We'll update you when Artesian Hospitality announces a new launch date, and further details.
As every horror fan knows, some things just won't die. In countless scary movie sagas, that statement applies to determined heroes and heroines facing off against insidious killers and creepy forces, to those fear-inducing evil-doers, and to plenty of ominous entities lingering around and wreaking havoc well after their time has expired. As many a long-running series has also shown (think: Halloween, Saw, The Grudge, The Ring and Child's Play, just to name a few), it also proves accurate when it comes to the franchises themselves. Add Scream to the pile of horror series that just keep kicking on — including, come January 2022, with a fifth film. An instant classic ever since the first movie smartly blended slasher scares and self-aware laughs back in 1996, the franchise has served up three sequels so far, as well as a TV spinoff. Now, it's returning with a flick that's being badged a 'relaunch', but will also include a heap of familiar faces. As 2018's excellent Halloween demonstrated, bringing back original cast members can turn out rather nicely for horror sagas — so the new Scream has enlisted Courteney Cox, David Arquette and none other than Neve Campbell. They'll all reprise their roles as reporter Gale Weathers, deputy-turned-sheriff Dewey Riley, and initial Ghostface target Sidney Prescott, respectively. Yes, this series has always had a thing for Sid, and it still does. Cox, Arquette and Campbell will co-star alongside The Boys' Jack Quaid, In the Heights' Melissa Barrera and You's Jenna Ortea. Behind the lens, with filmmaker Wes Craven — who directed all four original Scream films — passing away in 2015, Ready or Not's Matt Bettinelli-Olpin and Tyler Gillett will take the helm. And, story-wise, expect everyone to head back to the original setting of Woodsboro, California — where more scream-inducing incidents are clearly going to take place. If you're keen to rewatch your way through the franchise to-date, Scream, 1997's Scream 2 and 2000's Scream 3 are all available to stream in Australia on Stan (with 1 and 3 on Amazon Prime Video, too), with Scream 4 on Google Play and YouTube Movies, and Scream: The TV Series on Netflix. In New Zealand, Scream and Scream 3 are available on Amazon Prime Video, Scream 2 is on Google Play and YouTube Movies, Scream 4 is on Neon and Scream: The TV Series is on Netflix. Or, you can revisit the original Scream's trailer below: https://www.youtube.com/watch?v=AWm_mkbdpCA The new Scream movie will hit cinemas Down Under on January 13, 2020.
When you need a gift for that hard-to-buy-for friend. Or, when you want your look to make a bold statement. Or, when you love Vegemite so much you just want to wear it. Whatever the occasion, you need Thousand Island Dressing. Although this shop has been a much-loved fixture in the boutique shopping scene in Paddington for years, the constant is that the merchandise will always surprise you. Inside, you'll unearth a collection of eclectic, limited-edition and designer jewellery, scarves, bags, homewares and accessories in bright colours and tempting textures. It stocks an ever-changing range of stylish jewellery from independent makers and artists: Busy Head Designs, Cheeky Little Monkey, PollyLaLu, Concrete Jellyfis, and many more. It's jewellery that makes a statement and is worth getting excited about. Show some Queensland pride with Debra Hood brooches of iconic Queenslander houses or upgrade your earrings with pop culture icons. Lean into childhood nostalgia with your very own Very Hungry Caterpillars. For all things Australiana, it has wearable treasures featuring magpies, Tim Tams and tiny tinnies. Or, you can stand out at your next event with tasseled, glittery or sequined jewellery feature pieces. Why settle for the ordinary, when you can wear something unique? Image: Kiel Wode
It kicked off more than four decades ago with one of the best horror movies ever made; however the Halloween franchise has been through quite a few ups and downs over the years. Clocking up ten follow-ups and 11 movies in total so far, the slasher series has delivered excellent and terrible sequels, veered into remake territory, both killed off and brought back its heroine, and completely erased parts of its own past several times. But, like its mask-wearing villain Michael Myers, it always finds a way to go on. Since 2018's Halloween, that's been especially great news — with the Jamie Lee Curtis-starring, Jason Blum-produced 11th flick in the franchise proving a smart, thrilling horror delight, and ranking second only to the movie that started it all. Indeed, the movie was such a success that two more sequels are set to come from the same team (aka Blum, writer/director David Gordon Green and co-scribe Danny McBride): Halloween Kills and Halloween Ends. Originally, Halloween Kills was due to hit screens his year, in October — when else? — but, as announced this week by franchise creator John Carpenter, it's now moving back its release to October 2021. As the iconic filmmaker explained via social media, "if we release it in October this year as planned, we have to face the reality that the film would be consumed in a compromised theatrical experience. After weighing our options, we have chosen to push the film's theatrical release by one year". Fans will now need to postpone their return trip to Haddonfield and their next encounter with Curtis' spirited Laurie Strode and her lifelong nemesis — but, if you're wondering what's in store, Carpenter also unveiled Halloween Kills' first teaser trailer. As the 30-second clip shows, the sequel is picking up where the last movie left off. Cue the iconic, Carpenter-composed theme music, obviously. Carpenter also noted that the new film has "lined up a cast of legacy characters... alongside some new faces, [and] we aggressively made the second chapter of our Halloween trilogy. It unfolded into an experience that was a creative playground and we feel confident that our misfit pleasures will be seen as an unexpected entry into this franchise". Check out the Halloween Kills teaser trailer below: https://www.youtube.com/watch?v=rHhZDYVoV7w Halloween Kills will release in Australian cinemas on October 15, 2021.
Coworking spaces offer the chance to break free from the daily office grind and work in an environment that fosters flexibility and community. Whether you're just starting out or looking to expand, Christie Spaces has you covered with top-notch facilities designed to elevate your business and help you succeed. And, because life shouldn't be all about work, there are plenty of opportunities to create and collaborate, too — from professional networking events to yoga classes and art workshops. We sat down with Christie Spaces CEO Robert Christie to get the lowdown on everything on offer at the dynamic coworking spaces located across Sydney, Melbourne and Brisbane. So, if you've been thinking about making the transition from a passé office cubical to an invigorating shared space, read on — we've got all your curly questions covered. WHAT KIND OF FACILITIES DO COWORKING SPACES HAVE? One of the best things about coworking spaces is that they reflect the dynamism of modern working life. Whether you're running your own business, slogging away at a start-up or simply freelancing, Christie Spaces allows you to focus on your business in a slick environment with all the mod cons. Depending on the size of your team, you can choose between open workspaces and private offices, which can comfortably accommodate 100 people. As there's no life without wifi, all spaces are equipped with top-notch connections. CEO Robert Christie says that much thought has gone into creating a space that meets the needs of all types of businesses. "For creatives, we have photo studios, podcast booths and high-quality printing," says Christie. "We also have project pitching rooms and Skype in our meeting rooms, and we're even looking at installing relaxation rooms in our new spaces as we really understand the need to switch off from everything," Because life isn't paper-free just yet, there are printing facilities located on each floor, too. And, maybe best of all, there's also a dedicated coordinator on site to answer any questions and provide support. HOW IS IT DIFFERENT TO WORKING IN A TRADITIONAL OFFICE? Coworking spaces are the perfect antidote to the drudgery of 9-to-5 office life. The team at Christie Spaces understands that good results don't come from sitting behind a screen all day, so there are plenty of opportunities for creativity that extend beyond the desk. When it's time for a reset, head to the chill-out room to take a load off and recharge. Or, give your brain a break and stretch the rest of your body downward dog-style in the yoga space. If you'd rather flex your creative muscles instead, partake in a daytime art workshop and get the synapses firing — who knows, you might even create something worth pinning on the fridge. In addition to these activities, there are regular networking and community events, which provide an opportunity to meet like-minded people and might even lead to a new professional relationship. "Coworking spaces are hubs of collaboration and creativity," says Christie. "I've heard of so many people meeting their business partners in coworking spaces," And, despite it not being a traditional office space, Friday night drinks are still celebrated at the Christie Spaces. Cheers to that. WHAT'S IT LIKE WORKING SOLO IN A COWORKING SPACE? As anyone who's ever tried to "work from home" knows, the term is just a euphemism for sitting on the couch in your pyjamas and watching Netflix all day. Never fear, though, if you're a party of one needing to get work done, Christie Spaces is the ideal place to set yourself up for solo success. Hot desking offers the freedom of a flexible work environment while still being connected to all the equipment and facilities you might need. Although you may not be working directly with others, surrounding yourself with people on the same level will help to motivate you (and shame you out of that mid-afternoon nap). Christie believes the versatile nature of Christie Spaces is perfect for those working solo. "What's great about a coworking space is that if you want to collaborate you can, and you're celebrated for that. But if you also want to work solo in an inspiring place, that's fine, too. There's no pressure," Christie explains. MOST IMPORTANTLY, ARE COWORKING SPACES DOG FRIENDLY? Even though a dog can't hold a stapler, a furry office companion is far superior to a human one. That's why pooches are welcome at the Sydney and Melbourne Christie Spaces and the business is currently looking into options for pet-friendly spaces within the Brisbane offices, too. Just imagine, instead of closing the door on your best mate in the morning or making excuses to head home early just to pet them, they can be at work with you. Dogs don't just make good looking coworkers, they're also known stress relievers. When you've got a deadline bearing down on you or a mountain of emails piling up, they're more sympathetic to your needs than any colleague could ever be. And, if you're not lucky enough to have a pup of your own, you can always creep out on someone else's doggo. HOW MUCH DOES IT COST TO JOIN A COWORKING SPACE? When it comes to running a business, cost is always important. Fortunately, Christie Spaces' impressive facilities and networking opportunities don't cost a fortune — for a base membership, you're looking at around $450 a month, which includes internet, maintenance and all the other perks. At the moment, you can set yourself up in Christie Spaces in three major cities. Sydney has three offices — two in North Sydney and one in the CBD — Brisbane has two offices in the city centre, and Melbourne has one office in the heart of the CBD. Plans are afoot to expand to Adelaide, the Gold Coast, Perth and regional locations such as Newcastle and the Central Coast, too. Christie Spaces is located in Sydney, Melbourne and Brisbane. To find your office space and start hustlin' head to christiespaces.com.au.
Returning for the first time since 2019, Falls Festival has one clear thing to say about its 2022 events: it bets you'll look good on the fest's dance floors. It wants you to get on your dancing shoes, too, and make the most of spending a couple of days immersed in live tunes — from Arctic Monkeys, for starters, as well as from fellow big-name acts Lil Nas X, Peggy Gou, Chvrches and Jamie xx. Your destinations this time around: Pennyroyal Plains, Colac in Victoria from Thursday, December 29–Saturday, December 31; North Byron Parklands, Yelgun in New South Wales from Saturday, December 31–Monday, January 2; and Fremantle Park, Fremantle in Western Australia from Saturday, January 7–Sunday, January 8. That's where and when the fest will hit to either see out 2022, kickstart 2023 or both — after revealing back in 2021 that it was saying goodbye to its usual Tasmanian leg in Marion Bay after 17 years, and also moving from Lorne in Victoria after a 27-year stint. As always, Falls has delivered one helluva lineup — one that's exciting, broad, hops between international stars and homegrown hits, and is certain to draw crowds. Also making appearances: Aminé, Ocean Alley, Camelphat and Spacey Jane, plus DMA's, G Flip, Pinkpantheress, Rico Nasty, Amyl and the Sniffers, Mall Grab and Ben Böhmer. And yes, that's just a taste of the bill. The tunes will be backed by a colourful curation of art events, performances, pop-ups, markets, wellness sessions and gourmet eats — because that's the Falls Festival way. Think: morning yoga, hammocks, swimming pools, three-legged races, backyard cricket, non-alcoholic beer pong and pinot-and-paint sessions, plus burgers, Korean chicken, woodfired pizza and ramen on the food lineup. Drinks-wise, everything from margaritas to hard seltzers (and beers and bubbles) will be on offer. Camping options include renting a tent or glamping in both NSW and Victoria. And yes, if it feels a little early for a Falls lineup, there's a reason for that. Pre-pandemic, the fest usually unveiled its bill in August; however, we all know how the world has changed in the past couple of years — and that we're all planning much further ahead than usual. Anyway, here's what you're here for — the lineup as it currently stands, with more to be announced. FALLS FESTIVAL 2022 LINEUP: Arctic Monkeys Lil Nas X Peggy Gou Chvrches Jamie xx Aminé Ocean Alley Camelphat Spacey Jane DMA's G Flip Pinkpantheress Rico Nasty Amyl and the Sniffers Mall Grab Ben Böhmer DJ Seinfeld Genesis Owusu TSHA CC:DISCO! Young Franco Anna Lunoe Luude Lastlings MAY-A Choomba The Vanns King Stingray Peach PRC Beddy Rays Jean Dawson Telenovela Biscits Barry Can't Swim Elkka Floodlights Wongo Yng Martyr 1300 Moktar Magdalena Bay Dameeeela Ebony Boadu Rona. Elsy Wamayo Juno Mamba and more FALLS FESTIVAL 2022 DATES: Pennyroyal Plains, Colac, VIC — Thursday, December 29–Saturday, December 31 North Byron Parklands, Yelgun, NSW — Saturday, December 31–Monday, January 2 Fremantle Park, Fremantle, WA — Saturday, January 7–Sunday, January 8 Falls Festival 2022 will take place in December 2022 and January 2023 in Victoria, New South Wales and Western Australia. Pre-sale tickets are available from 9am (local time) on Monday, May 9, with general sales kicking off at 9am on Thursday, May 12. For more info and to buy tickets, visit the festival's website.
Almost three decades ago, Spiderbait made Australian music history when they won Triple J's 1996 Hottest 100 with 'Buy Me a Pony'. They were the first local act to top the countdown. Now, that catchy track has a chance to again notch up a huge feat: taking out Triple J's new Hottest 100 of Australian Songs. Aussie tunes have emerged victorious in the station's annual countdown plenty of times since, of course. So, it isn't just 'Buy Me a Pony' that's in the running to be a two-time winner. That feat mightn't be achieved at all anyway — because there's no shortage of excellent Australian tracks that haven't topped a Hottest 100 before but might just come out in the number-one spot in the Aussie-only poll. Whichever song that you're certain should be named Australia's best, voting is open as at 8am AEST on Tuesday, June 17. You've got a month to pick your favourites — until 5pm AEST on Thursday, July 17, 2025. The results will then be broadcast from 10am AEST on Saturday, July 26, 2025 on not only Triple J, but also Double J, Triple J Unearthed and its dedicated Triple J Hottest station. Although no one needs a reason to celebrate Aussie music, Triple J has one: 2025 marks its 50th birthday. That fact ties into one big caveat when you're voting, you do need to choose a track that was released before the station hit that milestone on Sunday, January 19, 2025. [caption id="attachment_854346" align="alignnone" width="1920"] M Drummond[/caption] The Triple J and Double J voices that'll be counting down your picks include Ash McGregor, Dave Woodhead, Dylan Lewis, Yumi Stynes, Abby Butler, Tyrone Pynor, Concetta Caristo, Luka Muller, Zan Rowe and Lucy Smith. And if you're curious about which other tunes, aside from 'Buy Me a Pony', could score the double win, 'No Aphrodisiac' by The Whitlams, 'These Days' and 'My Happiness' from Powderfinger, 'Amazing' by Alex Lloyd, 'Are You Gonna Be My Girl?' from Jet, 'Wish You Well' by Bernard Fanning, 'One Crowded Hour' from Augie March, and 'Big Jet Plane' by Angus and Julia Stone are also in the running, for starters. Gotye's 'Somebody That I Used to Know', Vance Joy's 'Riptide', Chet Faker's 'Talk Is Cheap', The Rubens' 'Hoops', Flume's 'Never Be Like You' and 'Say Nothing', Ocean Alley's 'Confidence' and The Wiggles' 'Elephant' have also all topped the yearly poll before. Tame Impala's 'The Less I Know the Better' won the 2010s-centric countdown, while DMA's 'Believe' did the same for the Like a Version poll. Triple J's Hottest 100 of Australian Songs will broadcast from 10am AEST on Saturday, July 26, 2025 — with voting open between 8am AEST on Tuesday, June 17–5pm AEST on Thursday, July 17, 2025. Head to the Triple J website for further details. Top image: Ocean Alley, Neegzistuoja via Wikimedia Commons.
Lorde is back. After five years away from music and touring, the New Zealand pop sensation has returned with the first taste of her next album and dates for a massive tour of Australia and New Zealand. The tour will run from Saturday, February 26 through until Saturday, March 19. Australians are scoring four dates across Brisbane, Sydney, Melbourne and Perth, while New Zealanders can choose from six shows. Accompanying the tour news is an announcement that Lorde's third studio album Solar Power will be unveiled to the world on Friday, August 20. The album comes five years after her critically acclaimed sophomore release Melodrama and is "a celebration of the natural world, an attempt at immortalising the deep, transcendent feelings I have when I'm outdoors," Lorde says. The Australian and New Zealand tour will begin at Christchurch's Electric Avenue on Saturday, February 26. From there the 'Royals' singer will make her way around New Zealand throughout late February and early March, and arrive in Australia on Thursday, March 10 for a show at the Brisbane Riverstage. Australia's east coast will be treated to two more shows at Melbourne's Sidney Myer Music Bowl and the ICC's Aware Super Theatre in Sydney before the tour wraps up at Perth's Belvoir Amphitheatre on Saturday, March 19. The last time either country was treated to Lorde's live show was her headline set at Splendour in the Grass 2018, a full circle moment for the singer as she returned to the stage of one of her first ever performances as a last-minute replacement for Frank Ocean back in 2013. A year prior, in 2017, Lorde also toured some of Australia's largest and most iconic outdoor venues including the Sydney Opera House Forecourt. Tickets to The Solar Power Tour are sure to be snatched up quickly and there are a few ways to get your hands on them if you're looking to belt out all the words to 'Ribs' or 'Green Light' early next year. Telstra customers will receive first dibs as part of a Telstra Plus pre-sale on Monday, June 28. If you sign up to be a Frontier Member you'll receive pre-sale access on Wednesday, June 30, before general public ticket sales begin on Monday, July 5 at noon. Head to the Frontier website for all the details. Lorde The Solar Power Tour Saturday, February 26 – Electric Avenue, Christchurch Saturday, February 27 – Neudorf Vineyards, Upper Moutere Tuesday, March 1 – Days Bay, Lower Hutt Wednesday, March 2 – Black Barn Vineyards, Havelock North Friday, March 4 – TSB Bowl of Brooklands, New Plymouth Saturday, March 5 – Outer Fields Western Springs, Auckland Thursday, March 10– Riverstage, Brisbane Saturday, March 12 – Sidney Myer Music Bowl, Melbourne Tuesday, March 15 – Aware Super Theatre, Sydney Saturday, March 19 – Belvoir Amphitheatre, Perth Lorde's The Solar Power Tour will take place between Saturday, February 26 and Saturday, March 19. Head to the Frontier website for all info on tickets. Top image: The Come Up Show
Add screaming to the ever-growing list of things that Sydney Sweeney can do spectacularly well. Indeed, thanks to Immaculate, which gets the Euphoria and The White Lotus star putting her pipes to stellar bellowing use, the horror genre has a brand-new queen; long may she reign if this is what audiences have to look forward to. This film about a nun who moves to a convent in the Italian countryside, then mysteriously becomes pregnant without having had sex, isn't just a job for Sweeney. She auditioned for the movie a decade back, it didn't come to fruition, but she strove to make it happen now. She stars. She produces. She enlisted Michael Mohan, who she worked with on Everything Sucks! and The Voyeurs, as its director. The passion that drove her quest to bring Immaculate to viewers is just as apparent in her formidable performance, too, including echoing with feeling — and blistering intensity— when she's shrieking. No one should just be realising now how versatile an actor that Sweeney is. Her portrayal of Sister Cecilia, who found her way to becoming a bride of Christ after a traumatic near-death incident in her younger years, is exactly what the film's title suggests: immaculate. It's also a showcase of a role that requires her to be sweet, dutiful, faithful, ferocious, indefatigable, vengeful and desperate to survive all in the same flick — and she kills it — but adaptability, resourcefulness and displaying a multitude of skills has been her on-screen wheelhouse beyond just one movie. Take Sweeney's last four cinema releases, for instance, all of which hail from 2023–24. Reality, Anyone But You, Madame Web and Immaculate couldn't be more dissimilar to each other, and neither could the actor's parts in them. Throw in her Saturday Night Live hosting stint, and she's firmly at the "is there anything that she isn't capable of?" stage of her career. When the virginal Sister Cecilia arrives in Europe from Detroit, it's on Father Sal Tedeschi's (Álvaro Morte, The Wheel of Time) behest after her home parish closed down. He's patronising in his attitude in-person, however. Before that, customs share the same demeanour when they stop her for not having a return ticket, commenting about whether she looks like a nun. Prior to that, though, Mohan opens Immaculate with another sister (Simona Tabasco, from season two of The White Lotus) having an unholy time of it at My Lady of Sorrows. She attempts to flee, which ends badly. Even her fellow devotees aren't a help. That something sinister awaits Cecilia is hardly a shock, then — and while the setup might seem like nunsploitation 101, or even just the basis of much in the sizeable religious-themed horror canon, Mohan and screenwriter Andrew Lobel (Mysteries Unknown) possess the same willingness to commit that their star beams with from within her tunic and wimple. Their novice's introduction to the abbey flutters through donning the requisite apparel, getting shown around, taking her vows, literally kissing the ring of the bishop overseeing the proceedings and endeavouring to settle into a life of piety where tending to older sisters entering their final days is the main task. In the also-twentysomething Sister Gwen (Benedetta Porcaroli, The Hummingbird), Cecilia finds a friend, luckily, as well as someone who isn't willing to meekly take whatever rules and restrictions are thrust her way. But any sense of routine is short-lived. Carrying a child wasn't Cecilia's plan, obviously. Neither was being grilled about it, then worshipped for it, then controlled because of it, all while sparking envy among some of her fellow nuns. Cecilia is as surprised as anyone, with that jolt evolving from astonishment to distress the more that her belly expands, the convent exerts its sway, and the expecting nun begins both investigating and fighting back. Awash in red hues — in blood, costuming and lighting alike — alongside darkness and shadows, while constantly subverting religious iconography and whipping up a claustrophobic air, Immaculate delivers not only bumps and jumps, but a deeply visceral viewing experience. No one is shy about brutal or gory body horror. Sudden cuts are no stranger, either, but do such a feverish job of plunging the audience into Cecilia's mindset that they prove far more than mere easy scares. Reteaming with familiar talents off-screen, too — such as cinematographer Elisha Christian (The Night House), editor Christian Masini and composer Will Bates (Dumb Money), all veterans of at least The Voyeurs — Mohan fashions the film around sharing his protagonist's inner state in every stylistic touch. With its church setting visibly opulent, yet winding through secret laboratories and dusty catacombs similarly in the plot, production designer Adam Reamer (another The Voyeurs alum, who also has Insidious: The Red Door on his resume) achieves the same feat: My Lady of Sorrows is meant to be the ultimate refuge for Cecilia, but it becomes creepier, more terrifying and more of a trap at every turn. When a movie is this detailed with its aesthetics, and so finely tuned to disturb, it keeps drawing out an instinctive response again and again. As it digs into the power that religion, especially Catholicism, can hold over its adherents — plus the treatment of women and their bodies, including the lack of agency, that theology can inspire — Immaculate also unsettles thematically. These trains of thought aren't new, of course. In the 60s and 70s, the likes of Rosemary's Baby, The Devils and The Exorcist were paving the way for Sweeney and Mohan's third collaboration. Giallo, Italy's brand of lush horror-thrillers that came to prominence at the same time, is clearly and expectedly an influence, and not just via Suspiria. More recently, 2021 nunsploitation Benedetta also says hello. Pivotally, this is a feature made with affection and respect for what precedes it, though, without trying to be anything's second coming. On the lengthy lineup of elements that work stunningly in Immaculate, such as its handling of suspense despite viewers knowing that something wicked is afoot from the get-go, its seductive atmosphere, its bold and wild leaps, and its willingness to get surreal, the film's lead casting is miraculous. It's no wonder that Mohan and Christian adore relaying this tale by staring at Sweeney, and by seeing Cecilia's reactions in her eyes — again, what a range that she can convey. She doesn't solely shine in big moments, of which there's plenty. The tiniest glimmer of fear can say everything when it's written across her peepers. The first burst of life-or-death resolve does the same. And there's nothing more haunting than Immaculate's last two minutes, which demonstrate that rich, raw and riveting performances aren't just a habit for Sweeney — they're a calling.
What goes into the perfect gin and tonic? Quality gin, for one. Tonic water — ideally from a glass bottle. A fruit garnish (lime or cucumber, depending on the gin) and a tower of ice cubes. All necessary components in a balanced, four-part harmony. A plastic straw, placed triumphantly into the glass by your bartender? Or one you've fished out of a dusty pint glass on the corner of the bar? Not necessary. While the plastic straw has always seemed like the final puzzle piece, recent times have seen a move away from these often arbitrary additions to our drinks. And it's becoming ever more prevalent that this arbitrary addition is having a global impact. While there's no exact figure for Australia, it's estimated that 500 million plastic straws are used and discarded every day in the US — that's enough to fill 125 school buses. With this in mind, venues across Australia are beginning to acknowledge the impact this plastic waste is having on our oceans and ecosystems, and many have begun phasing out non-reusable straws and offering eco-friendly alternatives. Brisbane's Crowbar began phasing out single-use plastic straws in 2016, stating publicly on social media, "we are conscious of the environmental impact of plastic and are taking steps to reduce our footprint". Sydney's Dead Ringer announced late last year that it had eliminated plastic straws in favour of reusable metal straws and Pink Moon Saloon in Adelaide has a sign hanging above the bar stating, "save a turtle, don't use a plastic straw". The Last Straw, an initiative aiming to end the use of plastic straws in Australia, keeps an extensive list of venues committed to the cause. In Melbourne, many bars have followed suit, including Dr Morse in Abbotsford, which announced its intention to go plastic-straw free in the winter of 2017. Bar manager Jac Morgan says, "there was a bit of customer backlash when we decided to go completely straw free, but since we've brought in alternatives most customers don't even notice the difference". The bar replaced all plastic straws with paper straws (that are fully recyclable) and a bamboo resin alternative, which only takes three months to break down. To put this in perspective, the plastic straw you picked up on a whim winds up in a landfill site and takes up to 500 years to degrade (some scientists say it never fully degrades). If not in landfill, then the ocean — lodging itself in a turtle's nose or being ingested by an animal and steadily making its way up the food chain. It's understood that by 2050, plastic will outweigh fish in our oceans. Morgan says that the phasing out of plastic straws is a trend sweeping the hospitality industry, "there's definitely movement happening; a lot of venues have been trialling alternatives to plastics, even major venues and nightclubs". And customers are recognising and taking part in the shift, too. "We have a high turnover of clientele and we've noticed a lot of people saying no to straws altogether," says Morgan. "When we were using plastic straws, we'd easily get through 2500 a week. Nowadays, with the bamboo alternative positioned behind the bar, usage has dropped to around 2500 a month." Out of sight, out of mind. Countries around the world are acknowledging the threat of non-degradable plastics to our ecosystem. Canada and the UK have banned the use of microbeads in cosmetics and personal care products, with New Zealand and Ireland expected to follow suit. In 2016, France enacted a ban on plastic cups, plates and cutlery, which will come into effect in 2020. South Australia banned the use of single-use plastic bags back in 2009 — with ACT following suit in 2010, NT in 2011, Tasmania in 2012 and Queensland this year — establishing itself as a frontrunner in Australia's war against waste. It's clear that a small change can have a huge impact. So next time you're out and about, consider partying without the plastic. International Straw Free Day is on Saturday February 3, 2018. For more information on ways you can encourage venues to ditch the plastic, visit The Last Straw.
When is a brewery about more than just beer? When its pizzas are so in demand that it launches its own pizzeria, too. That's the story at Newstead's Range Brewing, which opened its doors on Byres Street in 2018, expanded to Melbourne in 2020 and now has its own onsite slice-slinging eatery at its OG Brisbane venue. Jacopo's Pizza isn't the only new addition joining Range's range in 2023, either. Roman-style pizza has been on the menu at Range since the beginning, with the brewery priding itself on having some of the thinnest bases around. A big driving force: the Newstead site's original Roman-born chef Jacopo, who has since moved back to Italy but still lends the company his name for this new venture. "It's a little ode to him and his dough recipe – which has been tweaked a little bit since then, but is very much still the base of our recipe," Range's co-founder Matt McIver tells Concrete Playground. "We've also added on some really fun, interesting sides as well — Italian-inspired eats that people can enjoy casually with friends. And we think it works really well with the space and with the beers we have to offer." At Jacopo's, which sits inside Range Brewing itself and operates from Wednesday–Sunday, 24-hour slow-rise sourdough bases are the star. They're made with a cold-fermentation process that allows the dough more time to whip up its flavour and texture, which is also how they also get so thin. Seven different combinations of toppings are available, including the vegetarian-friendly Aunty Marg; the Pied Piper, which comes with fermented chilli, honey, salami and pickled peppers; a vegan number called The Spice Rack, as made on a pumpkin base, then packed with twice-roasted chickpeas and spiced eggplant; and the House Arrest, aka ham and pineapple. Another option pops house-made 'nduja meatballs on top, or you can get them with focaccia as a snack. Jacopo's also does cacio e pepe rice balls, fried chicken with ranch sauce every Thursday and a dessert of the week — which might have you tucking into peanut butter cheesecake, for instance. And, if you don't have time to drop by for a bite and brew, the pizzeria does takeaways. Open since March, Jacopo's is scoring some new company from Saturday, May 13, when Range Brewing's second addition for the year starts welcoming Brisbanites in. Meet The Bethnal, a barrel room next door to the Newstead taproom that's been in the works since late 2022, and is all about giving Range a space for events. Fancy getting married at the brewery? This is where you can tie the knot and celebrate afterwards. Hosting 120 people cocktail-style and 80 folks sitting down, The Bethnal also owes its name to Range's beginnings. When McIver and fellow co-founders Gerard Martin planned their jump into owning their own brewery years back, they did so at a pub in Bethnal Green in the United Kingdom. "Bethnal Green is where Gerard and myself lived when we came up with Range the concept, Range the brewery and Range the name. We planned most of the brewery while we were still living in London, and came home to get it off the ground," advises McIver "Bethnal Green holds a very firm place in our hearts. We actually struggled for a really long time to name that venue. This was something that I came up with which links to the brewery and our story." Given that The Bethnal is a barrel room, those oak cylinders line the walls atop polished concrete floors and beneath an exposed ceiling. The vibe is dark and industrial yet also warm; in other words, it's purposefully dramatic. The floor-to-ceiling barrels also house Range's wild-fermented beers and barrel-aged stouts, but the venue's own custom-built private bar will pour its own in-house red and white wines as well. Made in partnership with LATTA Vino from Victoria's Coghills Creek, you'll only find them at Range's own premises. View this post on Instagram A post shared by Range Brewing (@rangebrewing) Soon, that'll include a third newcomer: Patio, which is headed to Rosalie in Paddington by the end of May or beginning of June. "Patio is going to be a neighbourhood craft beer, wine and cocktail bar. It's something that we've wanted to do for a little while, which is have more of a suburban presence in Brisbane, and really latch onto another community that we think a space like that will work in," McIver explains. Find Jacopo's Pizza and The Bethnal at Range Brewing, 4 Byres Street, Newstead — with Jacopo's open now and The Bethnal launching on Saturday, May 13.
First, one piece of good news: Christmas is almost upon us. Now, another: because the season is getting into full swing, it's time to hit up every festive market you can find. One way to indulge your yuletide yearnings: the Surfers Paradise Beachfront Markets Christmas Twilight Market. And, while more than a few similar events will be jingling bells and popping up wreaths between now and December 25, this one also happens to be by the beach. Head on down to The Esplanade from 4–9pm on Saturday, December 14 to shop, soak in the scenic setting, listen to festive tunes and be jolly — all underneath twinkling lights. There'll be a heap of stalls selling everything from handmade goods and fashion items to pet accessories and sweet treats, as well as roving entertainment to help spread the Xmas mood as far along the beachside as possible.
New Zealand's golden child of coffee roasting serves up some of the best coffee in Brisbane. The beautiful light-filled and peaceful space is found on Wellington Road, a fitting location for the Queensland Allpress flagship and the cafe is a must-visit destination for coffee lovers and sandwich aficionados alike. Our pick is the tuna, egg and olive sandwich for a comforting lunchtime feed.
Maybe it's a budget thing. Perhaps you can't get time off work. Your diary just mightn't be able to spare a whole three days in Byron Bay, plus travelling there and back. Can't make it to Splendour in the Grass in 2023? There are plenty of reasons why that might be the case, but the festival's official sideshows are here to help cure your FOMO. This year, everyone from Yeah Yeah Yeahs and Lewis Capaldi to Little Simz and Tove Lo are hitting stages around Australia outside of their Splendour sets — and Loyle Carner, Rainbow Kitten Surprise and Noah Cyrus as well. Keen to see your favourite act do their own show? They might be on this list, albeit with the usual Sydney- and Melbourne-heavy focus. As is almost always the case with sideshows to Byron-based fests, Brisbane doesn't get a look in. If you're located in the Sunshine State and you're keen, Splendour or a trip to the New South Wales and Victorian capitals is in your future. Sam Fender's only sideshow is in Perth, however, and Lewis Capaldi's already on-sale sideshows only have tickets remaining for his Perth stopover. For folks in Adelaide, Loyle Carner is coming to South Australia, and Capaldi as well, but his solo gig is already sold out. That said, Secret Sounds, the crew behind Splendour, is also bringing its winter festival Spin Off back to the City of Churches, complete with SiTG acts Hilltop Hoods, Pnau, Tove Lo, BENEE, iann dior and Noah Cyrus. Yeah Yeah Yeah's sideshows come after the band was meant to make the trip to Australia for 2022's Splendour, complete with their own concerts, but had to drop out. Lizzo's Australian arena tour isn't on this list given that it was announced before Splendour, but that's another way to see the fest's talent without a trip to Byron. SPLENDOUR IN THE GRASS 2023 OFFICIAL SIDESHOWS: YEAH YEAH YEAHS With Automatic Thursday, July 20 — MCA, Melbourne Monday, July 24 — Hordern Pavilion, Sydney SAM FENDER Thursday, July 20 — HBF Stadium, Perth LITTLE SIMZ Wednesday, July 19 — MCA, Melbourne Friday, July 21 — Hordern Pavilion, Sydney TOVE LO With Blusher Wednesday, July 19 — Forum, Melbourne Tuesday, July 25 — Roundhouse, Sydney LOYLE CARNER Saturday, July 22 — Enmore Theatre, Sydney Tuesday, July 25 — Hindley Street Music Hall, Adelaide Thursday, July 27 — Palais Theatre, Melbourne IANN DIOR Wednesday, July 19 — 170 Russell, Melbourne Saturday, July 22 — Metro Theatre, Sydney RAINBOW KITTEN SURPRISE Thursday, July 20 — Metro Theatre, Sydney Friday, July 21 — 170 Russell, Melbourne NOAH CYRUS With PJ Harding Sunday, July 9 — Metro Theatre, Sydney Sunday, July 16 — 170 Russell, Melbourne SUDAN ARCHIVES Saturday, July 22 — Liberty Hall, Sydney Tuesday, July 25 — 170 Russell, Melbourne DEL WATER GAO Friday, July 21 — Howler, Melbourne Saturday, July 22 — Oxford Arts Factory, Sydney LEWIS CAPALDI (on sale now) With Noah Cyrus Friday, July 7–Saturday, July 8 — Qudos Bank Arena, Sydney — SOLD OUT Tuesday, July 11 — RAC Arena, Perth Thursday, July 13 — Adelaide Entertainment Centre, Adelaide — SOLD OUT Friday, July 14–Saturday, July 15 — Rod Laver Arena, Melbourne — SOLD OUT Splendour in the Grass will take over North Byron Bay Parklands from Friday, July 21–Sunday, July 23, 2023. The festival's sideshows are popping up across Australia in July, with tickets on sale from 9am, Tuesday, May 9 — and presales from Monday, May 8.
Talk about hole-in-the-wall — Bunker Coffee is a blink-and-you'll-miss-it coffee hub (located in an real WWII bunker!) serving up espresso, filter coffee, iced coffees and authentic hot chocolate. Open from Monday to Friday and located a hop, skip and a jump from Milton Train Station, Bunker is a hit with weekday commuters. Bunker's brother, John Mills Himself, has also recently opened in Brisbane's CBD. Images: Kiel Wode
Have you ever really looked at your keyboard? Are there some key placements that actually make no sense to you at all? We all learn the key positions by rote when we learn how to Internet, but Apple — along with a lil Aussie company — are about to potentially change that forever. The tech giant (who just launched their new MacBook Pro yesterday) have been working with Sydney-based startup Sonder Design to incorporate their dynamic keyboard technology into the laptops you know and love. They announced that, from 2018, their laptops will feature dynamic e-ink keyboards. What the heck is an e-ink keyboard, you ask? It's a keyboard that changes the content on its keys according to what you're doing on your device. It's designed to customise your shortcuts, allow you to type in multiple languages, prioritise the peach emoji for lightning-quick butt references and generally make the keyboard work for you (as it should — c'mon people, its 2016). Why hasn't anyone thought of this before? Well, QWERTY currently has a stranglehold on the marketplace. There's a lot of conflicting stories regarding the QWERTY keyboard's rise to prominence. Some people believe Christopher Sholes designed it to slow keyboard typists down so their typewriters wouldn't jam (they say it's designed to alternate letter between each hand). Others claim it was designed with the help of telegram transcribers and has only once since been challenged in efficiency, by the Dvorak keyboard. Most likely however, it's a perfect example of a human invention that was in the right place at the right time. QWERTY was popular at the time Remington and Sons began to mass produce typewriters. And once typists knew one system, retraining them was a big waste of time. But this preamble about the history of keyboard is to give some context to what Sonder are doing with their new keyboard. Thanks to ~technology~ we've moved way beyond the restrictions of the typewriter — theirs is supposedly the "world's first" keyboard to use e-ink to make it dynamic. It's a big win for the Aussie tech company and, frankly, any technology that brings us closer to emojis is a win for us. Via The Wall Street Journal.
First there was payWave, then there was Cardless Cash (thank you, Commonwealth), and also PayPal Here, which allows you to pay for coffee and things via Bluetooth from your PayPal account. These got us closer to the minimalist, tech-driven dream — a cashless, cardless (and, effectively, wallet-less) society — but not quite there. That's all set to change though, with Apple switching on their mobile payment system, Apple Pay. Launching today with payments provider eWAY, Apple Pay will make poor buying decisions even more effortless, with one-touch payments online, within apps and IRL — if you have an iPhone and use AMEX, that is. At the moment, Apple Pay can only be used on the Apple Watch or iPhone 6 and above, by those with a directly-issued American Express credit card. Which would seemingly rule out most people under 50. But I digress. Already in use in the US and the UK, the Australian launch comes in a rather inevitable move towards doing everything on that little pocket-sized piece of machinery you call your iPhone. For the moment, Apple Pay is accepted at around 21,000 retailers, including David Jones, Coles, Woolworths and Zara. You can even pay for your Uber ride with it and, most deliciously, your late-night pad Thai deliveries from Eat Now. To use Apple Pay, you'll need to add your card to the Wallet app. Then, just use the iPhone's Touch ID to make in-app purchases, or hold your phone near the contactless reader in-store. If Australia is to follow suit of the US, Visa and MasterCard should be accepted by Apple Pay in the near future. At least, let’s hope so. That extra bit of plastic in your pocket is weighing you down.
When Maniax set up shop in Brisbane last year, it became the second hatchet-hurling space to open in the city in 2018, after West End's Lumber Punks. Given that the axe-throwing chain actually started the Australian trend by launching its original Sydney venue five years ago, it's usually ahead of the curve — and with its latest Brisbane addition, it's no longer playing catch-up. While slinging sharp blades is typically a strictly alcohol-free affair at Maniax, its Newstead digs have become Australia's first licensed cleaver-chucking joint. The brand's Sydney and Melbourne spaces are still sans booze, but Brisbanites can now enjoy tipples from Green Beacon Brewing Co. and Newstead Brewing Co, with the Doggett Street spot flinging its support at the local breweries. It's also serving Adelaide Hills Apple Cider, should any axe-throwing punters feel like a break from beer. If you thought that tossing weapons at a target sounded like a good way to blow off steam, and you feel the same about sinking a few craft brews, then combining the two might just be your idea of an ace night out. If you're understandably skeptical about the safety of mixing heavy cutting implements with intoxicating refreshments, there is a drink limit — each customer is only allowed three alcoholic beverages, and BYO is still prohibited. Whether or not you're pairing blade-hurtling activities with booze, Maniax offers both solo and small group sessions, axe-throwing events for larger parties, date night options (because the couple that hurls hatchets together stays together, clearly) and even a competitive league. The different events all run for at least two hours, but take place on different nights. Wednesdays are dedicated to league comps, every Friday evening is all about couples, while solo and small group sessions are held on Thursdays and Sundays. Bookings for all of the above events are essential, but if you do want to stroll in and take part spontaneously, Maniax Brisbane also runs walk-in sessions five days a week. As for how it all works, it's comparable to darts. Basically, you chuck axes at a board and try to hit a bullseye. Don't even know the first thing about picking up a hatchet? That's completely to be expected, with lessons included in every session, as well as in the league competition. Axe-throwing experts will also be on hand to help even when you think you've mastered the basics. The venue also features safety barriers to protect everyone, and you can buy soft drinks, water and snacks like chips and chocolate bars onsite. And if you suddenly become an axe-throwing fanatic, Maniax also has its own line of merchandise. Find Maniax at 52a Doggett Street, Newstead. Visit the venue's website for further details and to make a booking.
The Unbearable Weight of Massive Talent was purely fictionalised and definitely not a documentary. Still, has Nicolas Cage ever been more relatable than when he was gushing over Paddington 2 in the 2022 action-comedy? No, probably not. Here's something else for fans of everyone's favourite bear to adore like a certain animal loves marmalade sandwiches: the first trailer for Paddington in Peru. The third film in the Ben Whishaw (Bad Behaviour)-voiced big-screen franchise that started with 2014's Paddington spells out its main point of difference from its predecessors in its title: instead of an entire picture filled with more of the coat- and hat-wearing talking bear's exploits in London, the flick is taking him and the Brown family to South America. In the sneak peek, the namesake country awaits, and the Amazon rainforest as well — after the chaos of getting a passport photo taken, of course — as Paddington decides to visit his Aunt Lucy (Imelda Staunton, Chicken Run: Dawn of the Nugget) at the Home for Retired Bears. "I'm afraid she's set off on some sort of quest deep in the jungle, and we have no idea where she is," advises The Reverend Mother, the guitar-playing nun that adds Olivia Colman (Wicked Little Letters) to the Paddington realm, when Paddington arrives. Also joining the cast this time as the page-to-screen bear first created by Michael Bond goes off on his own search: Antonio Banderas (Indiana Jones and the Dial of Destiny) as an adventurer and Emily Mortimer (The New Look) as Mrs Brown. The latter replaces Sally Hawkins (Wonka), who played the part in the initial two features. Hugh Bonneville (The Completely Made-Up Adventures of Dick Turpin) is back as Mr Brown, however, and so are Samuel Joslin (Houdini and Doyle) as Jonathan Brown and Madeleine Harris (Man Down) as Judy Brown. Behind the camera, feature first-timer Dougal Wilson is in the director's chair, following on from Paddington and Paddington 2's Paul King (Wonka). With fellow Paddington 2 alum Simon Farnaby (The Phantom of the Open) and Paddington in Peru co-screenwriter Mark Burton (Shaun the Sheep Movie: Farmageddon), King still has a story credit, though. Viewers Down Under will be starting off 2025 with the latest Paddington movie, which will hit local cinemas on Wednesday, January 1, after releasing in the UK in early November 2024. Check out the first trailer for Paddington in Peru below: Paddington in Peru releases in Australian and New Zealand cinemas on Wednesday, January 1, 2025.
There's a pretty decent chance that you've spent a hefty chunk of time indoors over the past few months. So, with vitamin D levels plummeting, and laptops getting showered with crumbs, there's no better time to move your lunch plans from al desko to al fresco. But, there's a little hiccup. You don't own a fancy picnic set, do you? Unless you're planning on staging an impromptu photoshoot, you really don't need an extravagant set of outdoor accessories to enjoy your leisurely meal. Just toddle off to your nearest park with a blanket (even a beach towel will do), and let DoorDash do the rest. All of these meal options are designed to be super portable, so that you have a free hand to pat any dogs that might cross your path. See? Innovation at its absolute finest.
Enjoying a brew on the beach is a tradition Australians understandably savour, but with the joy of knocking back a few cold ones on the sand comes the responsibility of not acting like an idiot. It's simple, really. With adhering to the latter part of the bargain proving too difficult in St Kilda over Christmas, the local city council has responded by contemplating a ban on beachside boozing. Approximately 5000 people gathered at the popular St Kilda foreshore on Christmas day, resulting in unruly behaviour through the afternoon and evening, 29 tonnes of rubbish and a clean-up bill of around $23,000, according to a statement released by the City of Port Phillip. As Mayor Bernadene Voss stated, "the sheer number of intoxicated people milling around in the area also resulted in Council having to close some roads, creating a traffic nightmare for residents returning home from visiting friends and relatives on Christmas Day." A ban planned over the New Year's Eve period had already been extended prior to the incident, running from December 26 to January 4, and was subsequently increased to continue until February 15. The area affected spans from Marina Reserve to West Beach, including the site of the Christmas day party. The council will next meet on February 7 to consider extending the ban further. "We will be looking at factors such as volumes of broken glass and feedback from groups including residents, visitors, traders and police to help us decide whether an alcohol ban is useful in helping us tackle the challenge of managing such a popular destination which attracts all age groups," explained Voss. Until a further decision is reached, visitors will still be able to enjoy a drink on other Port Phillip beaches — although drinking is prohibited in all public places in the council's region over NYE until 9am on January 2, and again from 5 pm on January 26 to 9 am on January 28. Via ABC.
A future path of degeneration seems set: first you reduce your social life to interacting with Little Robot Friends instead of humans, and then inevitably, you start drinking with robots. Hopefully one-night stands with robots don't follow, but a yearly event in San Francisco doesn't seem too worried about this outcome. BarBot, a fundraiser hosted by the Robotics Society of America (launched all the way back in 1978 when robots were considerably less adept at shaking Martinis) takes its cues from Austrian cocktail-robot event Roboexotica. Inventors bring their mechanised bartenders to the event, demonstrating the many weird ways a robot can create and present an alcoholic beverage. Nerds still know how to party, y'all. It's a natural marriage when you think about it: cocktails require a very precise measure of different ingredients, and robots can be programmed to carry this out flawlessly. A robot-mixed drink might lack the flair of human interpretation, but chances are it'll be pretty good, and why shouldn't cocktails be automatically dispensed from a robot like coffee from a coffee machine? Monday morning would never be the same. Now in its seventh year, the two-day BarBot is growing in popularity, with 3000 drinks mixed for up to 2000 human attendees over the course of each evening. So who makes the barbots? Everyone from IBM top research brass to engineering students, and the diversity of entrants is reflected in the different ways their machines work, with spinning transparent cylinders of liquid, flashing lights and clever ornamentation. This year some bots were upwardly-mobile, touring the floor to tantalise guests with their offerings, while others utilised touch screens and one even took drink order specifications via dance moves on a DDR mat. Sense of humour is key: there was a requisite R2D2 and a steampunk barbot, and in the video you will see delightful classical statues pee out bespoke booze for one very lucky punter. Through this kind of fun interaction between people and technology, the RSA hopes to foster education and enthusiasm for the development of robotics. Via Gizmodo.
At the Ohana Cider House and Tropical Winery you'll discover some delightful drinks that wouldn't be out of place at any big-city bar. Having taken a holiday to Hawaii in 2014 and fallen in love with the tropical climate, founders Zoe Young and Josh Phillips left behind their desk jobs in Perth to buy a piece of Queensland land, where they established their much-loved tropical winery. They then relocated their to Bundaberg in 2018 and expanded into cider, too. Since then, they've gone on to release ciders ranging from dry apple to pineapple and strawberry, as well as produce some of the region's top vino using fresh fruit grown on the orchard or by local farmers. Snag a tasting paddle to try six of the best for $18. On Fridays, Saturdays and Sundays at 1.30pm, you can join a one-hour to see how the cider is made — it costs a tenner and includes tastings of the flagship ciders. Image: Paul Beutel
When Brisbane's new Queen's Wharf precinct starts welcoming in patrons from the end of August, a culinary feast will await. They're not all opening upon launch, but this new riverside hub will feature restaurants serving up Indochine, Japanese, Italian, noodle, lamb, steak and seafood dishes — and that's just a taste of the eateries that'll call the site home. Add French fare to the list as well, courtesy of the just-announced Pompette. Escargot? Tick. Champagne? Tick. Oysters? Tick again. Classic French menu items will be on offer at this restaurant and champagne bar, but with two guiding principles in mind. Firstly, Pompette's dishes are set to give traditional meals a modern spin. Secondly, if sending your tastebuds to Paris normally gets you thinking about extravagant fine-dining, this spot is aiming to be more accessible. Tassis Group is bringing Pompette to fruition, with the hospitality group now boasting not one but two Queen's Wharf venues after the lamb-heroing Dark Shepherd. Both are set to open in September, the month after the precinct initially begins launching. For Pompette, you'll be heading to The Terrace on level four of The Star Brisbane. Michael Tassis, Tassis Group's owner, sees the site as "the perfect opportunity to experiment with a fun and fresh venue concept." He continued: "we're so excited to expand on our offerings and bring a slice of France to Brisbane. French cuisine is renowned for its rich flavours and textures — but many people find it intimidating. The concept of Pompette is to make that French dining experience a little more approachable". The restaurant will be located at at the end of the Neville Bonner pedestrian bridge, not only giving it views of the Brisbane River out over to South Bank, but continuing another trend for the hospitality company. Before 2025 hits, it'll add to its growing array of Brisbane restaurants — which also includes Longwang and Fatcow on James Street, both of which also opened in 2024, plus Yamas Greek + Drink, Opa Bar + Mezze, Massimo Restaurant & Bar, Rich & Rare and Fosh Bar & Restaurant — with two new venues as part of Kangaroo Point's green bridge. At Pompette, regular Tassis collaborators Clui Design are responsible for the look and feel, too — taking inspiration from Paris here, of course. As for what else the eatery will serve up under Head Chef Jean-Luc Morcellet, most menu details are still under wraps, other than the aforementioned escargot, oysters and champagne. You can start looking forward to steak au poivre — aka pepper steak — however, and all-day dining will be a big drawcard. Find Pompette at The Star Brisbane, Queen's Wharf Road, Brisbane from sometime in September 2024 — we'll update you with an exact opening date when it is announced. Head to the restaurant's website for more details in the interim. Food images: Markus Ravik.
The name says it all really. A chain that has been happily serving up Melburnians and Sydneysiders’ ribs and burgers since 2011 has finally landed in Brisbane, bringing with it meat of epic proportions and serious flavour. Disclaimer: this is not first date food. Let's start with the ribs. Giant, Flintstonian racks of meat come flowing from the open kitchen and are served on beautiful grain-swirled wooden chopping boards (which is handy considering you almost need a carving knife to divvy the glistening BBQ glazed meat into portions manageable for a human being). The racks are so large they cover the generous portion of seasoned chips underneath, which soak up the smokey flavours of the ribs and find that perfect slightly soggy, slightly crunchy balance. The meat (pork is highly recommended) is tender and juicy and tears off the bone. Utensils are useless so dive in with your hands and be prepared to end up with sauce all over your face and quite possibly down your front before you're halfway through. Finger-licking goodness The burgers are equally as impressive — towering high with a lofty bun and massive patties sandwiched in the middle — and are tasty, fresh and sure to satisfy. The wagyu burger with crispy fried onions and pink sauce (like a tangy tomato-mayo) is the bees knees, but regular beef, chicken, lamb, veggie and salmon options are also available. Sides such as cabbage slaw and the green butcher's salad are there to provide some leafy salvation from the meat-fest, but if you’re going for it, then opt for the giant onion rings or a side of crispy chicken wings. Ribs & Burgers is also licensed, which makes it the perfect venue for a chilled Sunday lunch and beer or as a pre-movie meal with vino. Just remember: steer clear on a first date.
For the folks at Albion's Fonzie Abbott, nothing stands in the way of a great coffee — not even Brisbane's recent bout of horrific weather. The caffeine fiends' Fox Street headquarters was affected by the floods, but it's still brewing up cuppas in a van outside. And, it has also set up a pop-up retail shop so that you can pick up some merchandise, too. Drink the coffee, then buy the shirt, cap or other merch — or pick up some beans, other bites, or something from Fonzie Abbott's range of beer and spirits to take home with you. Whichever you choose, you'll be doing a local business that's been impacted by the past week's chaos a huge solid. Fonzie Abbot and its famous lightning-strike logo have been a part of Brissie's coffee scene for more than a decade now, so every Brisbanite who likes caffeine has drunk its brews at least once. Also, its Albion base is a roastery, brewery and distillery in one — so pop it on your must-visit list again once it's back up and running. View this post on Instagram A post shared by Fonzie Abbott (@fonzieabbott) Top image: Atlanta Bell.
What's better than indulging in a sweet treat? Indulging in one that gives back — and that's exactly what you can do with this exciting new collaboration. Social enterprise Two Good Co. is teaming up with Gelato Messina on an exclusive, Australian-inspired dessert range, the proceeds of which will be donated to aid women and children facing domestic violence and homelessness. From Monday, October 9, the Sydney-based food brands have launched a joint chocolate bar and a festive Christmas cracker, available nationally on the Two Good website and in-store at Messina outposts. Then, from Saturday, November 25, a limited-edition gelato flavour to pair with the chocolate bar will also be available alongside a bunch of gelato cart pop-ups across the country. This particular dessert will aim to raise awareness of a 16-day global initiative called the 16 Days of Activism Campaign, whose mission is to eliminate gender-based violence. "For this year's festive release, we wanted to create a truly immersive experience that enhances your holiday celebrations and leaves a lasting impact — for both our customers and our community," said Rob Caslick, Founder of Two Good Co. The epic collaboration will feature three enticing desserts, including an indulgent milk chocolate bar crafted by Messina chocolatiers — featuring dark chocolate and wattleseed brownie pieces and sea salt flakes throughout — alongside a Christmas cracker containing a voucher for a free Messina scoop and a limited edition milk chocolate gelato flavour aptly named Two Good to Miss, which also features the additions of sea salt with dark chocolate and wattleseed brownie pieces. The Two Good Foundation will power its missions to aid those in need, with 50 percent of the chocolate bar profits being reinvested into its core programs, while each Christmas cracker purchase will provide a much-needed meal to women and children in need. Every scoop of the 'Two Good to Miss' flavour will also contribute to the mission, as each scoop purchased will provide a free serving to women's refuge shelters. "It's not just about serving gelato; it's about serving love, support and hope to women and children in need. For every scoop sold, it's our way of wrapping them in love and letting them know they are not alone," says Messina's Siân Bishop. "[We want] to inspire our customers to engage in small acts of kindness during a time when some people need it most." Plus, there will be the aforementioned gelato cart pop-ups, called Scoops for Good, serving the limited-time gelato at Charter Hall office towers throughout Australia, as well as any participating Charter Hall retailers. But be sure to get in quick — the limited edition treats are only available online, in stores and at the pop-up gelato carts while stocks last. Head to the Two Good Co. website for more information on the social enterprise's collaboration with Gelato Messina.
"Know thyself" is an oft-repeated mantra, but how much do you really need to know? Thanks to advances in technology, people can now generate a whole heap of data about themselves that would have been unthinkable not long ago. If you've got a smart phone, you can already get apps to track your activity and sleep; and heart-rate monitors are just as likely to be worn by joggers as those in a hospital bed. Nike and Apple have already combined to offer Nike+ to the data-hungry running community, but the quantified self crowd will probably want more than distances and times. The yet-to-be-released data-tracking-bracelet from Jawbone (best known for wearable tech in the form of bluetooth headsets) is already causing quite a buzz. Up is more than just a sensor-packed piece of wrist-wear to catch all your data, it can send the numbers to your phone to be crunched, and come back with helpful health tips based on your recent activity. But be careful what you do with all that data! Some fitbit users have been sharing a little too much information — logs of their sexual activity have accidentally been showing up online. [via PSFK]
It's that time of year, Brisbanites — time to say goodbye to winter, cold weather and gloomy moods, and to offer up a big hello spring, sunshine and blossoming flowers. If the change of season has you feeling not only extra chipper, but also eager to get outside and make the most of it, Roma Street Parklands has just the event for you, too: its returning Blooms and Tunes event. For 2022, Blooms and Tunes is taking place from 11.30am–5pm on Saturday, September 10 and Sunday, September 11 — and combining live music, an immensely picnic-worthy spot and the Parklands' already impressive greenery. You'll sit, listen to music and have a bite to eat, and you'll also be able to check out the flowers blooming around the site's Celebration Lawn. [caption id="attachment_784308" align="aligncenter" width="1920"] Brisbane Marketing[/caption] Tunes-wise, the lineup includes THUMP, The Dillion James Band and King River Rising on Saturday, with Bullhorn, Jason Daniels Band, The Lyrical and HEAVY WAX doing the honours on Sunday. You can bring your own snacks along, or order a hamper from The Garden Room Cafe. Also, the Celebration Lawn is licensed from 10am–8pm as long as you're having a substantial meal.
What's this, a good, old-fashioned fairytale — and one that doesn't rely upon shadowing a classic story in darkness, looking at it from a different angle or adding a twist? That'd be the latest version of Cinderella, one so close to the animated effort everyone grew up with, it's uncanny. Swap cartoons for live action, and you've got the gist. Thankfully, this new take on a decades-old movie and a centuries-old tale doesn’t just lovingly revisit our collective childhoods, as enjoyably nostalgic an exercise as that is. This retelling stays faithful to the story as well as its spirit, spinning an account of transformation driven by kindness and free from modern-day cynicism. Before she earned her nickname for sleeping too close to the fire, Ella was a ten-year-old (Eloise Webb) mourning for her mother (Hayley Atwell), and then a young woman (Lily James) witnessing the remarriage of her father (Ben Chaplin). Next, she's an orphan forced to cook and clean for her nasty stepmother (Cate Blanchett) and two shallow stepsisters (Sophie McShera and Holliday Grainger), while wanting nothing more than a break from the drudgery to attend a ball hosted by a handsome prince (Richard Madden). Where this is going is hardly a surprise, yet here familiarity is by no means a flaw. Though director Kenneth Branagh and screenwriter Chris Weitz have films like Jack Ryan: Shadow Recruit and The Twilight Saga: New Moon on their respective resumes, they both show that they know a thing or two about fleshing out well-known worlds, particularly through casting and revelling in the details. Any movie that boasts both Blanchett and Helena Bonham Carter is already making wishes come true; however, using them to toy with audience expectations is a masterstroke. The immaculately styled Blanchett breaks bad with aplomb, and Bonham Carter is a breezy delight at the fairy godmother. While everyone else is more than fine, the charming pair of James and Madden included, the two great actresses playing against type are the real drawcards. Well, them and the gorgeous surroundings they all find themselves in, with Cinderella a visual treat. For the character, the decadence of pumpkin carriages and gorgeous gowns may vanish at the stroke of midnight; for the film, the splendour continues regardless of the hour. It's not just Cinders herself who's as pretty as a picture, but the picture itself. If you really were to dream of a traditional fairytale world of grand ballrooms and sprawling forests, it would look like this. That timeless approach may also extend to a heroine who largely waits rather than acts — patiently and purposefully, rather than as a damsel in distress looking for a man to save her — but never does the treatment of the tale feel regressive. Indeed, it's a funny state of affairs when retaining the essence of a classic can be seen as a welcome breath of fresh air. With Cinderella, its old-fashioned elegance is the glass slipper that fits the film just perfectly.
Wandering around a market while the sun shines is all well and good, but there's something extra appealing about the nighttime variety. Happening every Friday and Saturday night in Brisbane's north — and back for 2022, too — BITE Markets fits the bill. And, it serves up plenty of food, because that's what every night market attendee really wants. Created by caterer Tom Burke, the twice-weekly setup boasts more than 20 'flavour makers' on its lineup, all trying to keep your hunger in check. Fancy a big heap of pasta? Sweet treats in the form of chocolates, doughnuts, gelato, shakes and poffertjes? Bao, bubble tea, baked spuds, German sausages and wings? They're all on the menu, with the likes of Doin' Donuts, It's a Wing Thing, Shakes and Bakes, Slide Wayz and Wurst-Meister coming to North Harbour to sling their wares. A shipping container setup like Hamilton's Eat Street — complete with landscaping and a dining precinct — BITE Markets showcases local talents, so prepare to feast on meals whipped up by the best producers, food creators and artisans in the area. Running from 4–10pm each Friday and Saturday, the huge foodie gathering calls a patch of Nolan Drive in Morayfield home. Entry costs $3 for adults, dogs are welcome — and for those driving north, there's more than 600 car parks onsite.
Nothing in pop culture every truly dies, and that includes teen-oriented late 80s and early 90s-era sitcoms about high schoolers. Yes, more than three decades since it first hit the air, Saved by the Bell is returning to screens. Sure, you're now past the point of being able to watch it after school each day — but if you want to stream it when you get home from work, that'd be fitting. After initially running from 1989–1993, Saved by the Bell has actually popped up in several guises since. Two spinoffs arrived shortly after the original show, thanks to 1993–94's Saved by the Bell: The College Years and 1993–2000's Saved by the Bell: The New Class. And, it also gave rise to two TV movies: 1992's Saved by the Bell: Hawaiian Style and 1994's Saved by the Bell: Wedding in Las Vegas. Now comes a new series that's simply called Saved by the Bell, and also features some of the show's original cast members. That makes it a revival and a sequel, rather than a reboot or remake — although there's a new bunch of teens navigating high school, obviously. And while the likes of Elizabeth Berkley Lauren, Mario Lopez, Mark-Paul Gosselaar and Tiffani Thiessen all reprise their characters, they're either the parents or teachers of the series' new kids. Comedy veteran John Michael Higgins also features as Principal Toddman and, if you saw his last sitcom appearance, that's particular good news. Actually, it's a reunion with his Great News costar and that show's creator Tracey Wigfield, who is also doing the latter on the resurrected Saved by the Bell. Check out the trailer below: https://www.youtube.com/watch?v=O0uCr5-5p5Q&feature=emb_title Saved by the Bell starts streaming via Stan in Australia from Thursday, November 26. Details for New Zealand are still to be announced.
