If you've ever wanted to get dressed in the spirit of Marilyn Monroe — not the costume version, but the lace-and-confidence version — Kat the Label has just made that very easy. The Melbourne-founded lingerie brand has launched an exclusive 12-piece capsule collection in collaboration with Marilyn Monroe's official estate, timed to what would have been the icon's 100th birthday on 1 June 2026. "We were so honoured to be approached by Marilyn Monroe's estate to bring this collaboration to life," says Kat the Label founder Kate Nixon. "Marilyn embodied a kind of confidence and femininity that is completely timeless and this collection is a true celebration of her legacy." The capsule earns that description. Soft silhouettes, delicate lace and organza sit alongside playful polka dots and structured corsetry — all punctuated by strategic pops of red that nod to Marilyn's signature lip. Nothing leans into pastiche. It's the kind of collection that references an icon without cosplaying one. Among the standout pieces: the Norma Set — named for Norma Jeane, the woman behind the myth — rendered in polka dot satin with white floral lace, and the Marilyn Corset, a structured lace-up silhouette with a detail that stops you cold: embroidered along the boning is Monroe's own words, "I just want to be wonderful." That quote, more than any of the design choices, captures what Nixon and her team were reaching for. Marilyn Monroe's legacy is complicated and vast, but at its core is something quietly radical — a woman insisting on her own depth while the world tried to flatten her into a symbol. Putting those words on a corset, literally close to the body, feels like the right way to honour that. The Marilyn Monroe x Kat the Label collection is available now online at katthelabel.com and in-store at the Armadale flagship, 1096 High Street. Images: supplied
The Sunshine Coast's biggest foodie festival is on its way back to your calendar. While the region is undeniably a top spot for surfing and swimming, the hero of this culinary celebration is the land, not the sea — where rainforests, riverlands and farmlands are responsible for some of the most diverse flavour profiles in the country. Curated Plate has been celebrating the growers and makers behind them since 2019, and returns this year from Friday, July 24 to Sunday, August 2. An early ticket release last month saw strong demand, with highlight events selling out or nearly selling out in a heartbeat. General entry tickets are on sale now for the full program, so you might have to be prompt if you want to reserve your seat at the table(s). This year's ten-day program stars chefs, curators, growers, brewers, hospo legends and makers from across the Sunshine Coast's hinterland, coastline, rainforests, farms, restaurants, bars and breweries. Some of the highlight entries include a one-day-only fine dining experience onboard a bus parked at Caloundra's Happy Valley, an immersive vegetarian feast inside one of Australia's largest buddhist temples, a fingerlime picnic with themed drinks inside an orchard of the native citrus trees and an outdoor three-course event surrounded by woodfires at Kenilworth Showgrounds. [caption id="attachment_883200" align="aligncenter" width="1920"] Tourism & Events Queensland[/caption] Other newcomers include an Indigenous-inspired Bush Harvest Morning Tea at Fairhill Native Botanical Gardens, a New Orleans-style long lunch (with live jazz), and a five-course seafood menu stocked entirely by vessels from Mooloolaba's fishing fleet. There's a number of returning events as well, including the Sunshine Coast Asian Food Festival at Spicers Tamarind, the Bluey and Bingo-starring Picnic on Kings and Mooloolaba's Seafood Market Day. Revealing the program, Festival Culinary Director Peter Kuruvita said, "What makes The Curated Plate special is that every event offers a different way to experience the Sunshine Coast. You might find yourself dining on freshly caught seafood by the marina, learning from local producers on a working farm, enjoying a cultural feast under the stars or discovering flavours from around the world - all while celebrating local ingredients." Tickets to The Curated Plate are on sale now. Visit the website for more information. Images: supplied
When things supposedly go bump and jump in the night, Professor Philip Goodman (Andy Nyman) calls bullshit. But then his childhood hero (Leonard Byrne) comes calling, asking the professional paranormal debunker to investigate three cases — and warning that they just might challenge his long-held scepticism. That's the crux of British horror film Ghost Stories, which understands two important truths. Firstly, there's a little bit of wonder buried in every cynic, even if they won't or can't admit it. Secondly, the only thing that's more thrilling than a spooky tale told well is a number of them strung together. Goodman's trio of supernatural incidents all involve strange and downright disturbing sightings, which he works through one by one. Employed in a deserted former asylum for women, nightwatchman Tony (Paul Whitehouse) just thinks that the power is flickering one evening, but that's soon the least of his worries. Driving through woodland in the thick of night with no one else in sight, the jumpy Simon (Alex Lawther) is involved in a hit and run with an unusual victim. As for wealthy banker Mike (Martin Freeman), who takes Goodman walking around his countryside property, he spins an account of personal woe and potential ghosts — all set in his sprawling mansion as his wife is about to give birth to their first child. At first, these three vignettes all seem quite slight and standard, of the type that you might share around a crackling fire with marshmallows and a happy suspension of disbelief. That's by design, with the horror genre frequently drawing its power from appearing simplistic when the reality proves otherwise. Adapting their 2010 stage production of the same name for the screen, writing and directing duo Nyman and Jeremy Dyson keep the superficial details purposefully straightforward, while having fun playing with tropes and littering clues within each narrative within the narrative. This is an unnerving anthology that perfects the nuts and bolts of haunted storytelling, and yet also subverts expectations, offers enjoyable nods to horror greats gone by, and builds towards a big finale. Where it eventually lands is a little silly and obvious, but each individual segment — and its bookending framework — is staged in an impeccable and stirring manner. The idea that Ghost Stories is 'staged' has multiple meanings, some that are best discovered by watching. Even if you're unfamiliar with the production in its original form — that is, literally on the stage — it's easy to see how it would work in the theatre. Crucially, however, this isn't a talky work that feels out-of-place on the screen. Rather, it's a broodingly gothic affair that's just as disquieting when it's toying with darkness, shadows and startling sounds as when it's giving its supernatural forces more concrete shape and form. Moving the tale to the cinema gives Nyman and Dyson plenty of room to revel in the movie's mood and imagery, creating a gloriously rich spookhouse — think bleak Yorkshire exteriors and thoroughly creepy interiors. Ghost Stories is also a well-acted scarefest, with Nyman and Freeman the clear standouts. One plays a devout rationalist with conviction, the other rattles chains (albeit verbally, not physically) — and if you notice that the film is dominated by men with secrets, that's on purpose also. Being assaulted by the inexplicable is unsettling, as is being expected to just grin and bear life's ills, a trait that the movie's characters all share. The notion of hiding from pain provides thematic texture, deepens this entertaining take on the familiar, and helps Ghost Stories achieve what all anthology efforts strive for: leaving the audience wanting more. https://www.youtube.com/watch?v=uh9KCVdx33I
The Valley's about to get pretty damn loud. Celebrating its second year, The Blurst of Times festival has released their first lineup announcement, with the likes of DZ Deathrays, Dick Diver and Hard-Ons set to create some bonafide chaos in Brisbane this October. Sporting a kickass Simpsons-lovin' title, the returning festival will see 28 bands take over three venues in the Valley for Saturday, October 18. Releasing the first idea of the lineup today, The Blurst of Times lineup sees Brisbane's thrash pop favourites DZ Deathrays at the top, with Sydney punk rock legends Hard-Ons and beloved Melbourne indie foursome Dick Diver. Brisbane's Blank Realm, Orphans Orphans, Major Leagues, Babaganouj and Rolls Bayce will also throw down sets alongside Canberra's TV Colours, Sydney's Day Ravies and Melbourne’s The UV Race and High Tension. Celebrating its second year of tomfoolery this October, The Blurst of Times has already cemented itself as a surefire Good Time on the Brissy calendar. The 2013 edition took over Alhambra Lounge, Coniston Lane and Black Bear Lodge with Violent Soho, Velociraptor, Scott and Charlene's Wedding, Drunk Mums and The Cairos among a solid lineup. This year, the festival will make The Brightside home, as well as the Brightside carpark and The Zoo. The Blurst of Times 2014 Lineup (first announcement): DZ Deathrays Hard-Ons Dick Diver Blank Realm Orphans Orphans The UV Race Major Leagues TV Colours High Tension Babaganouj Rolls Bayce Day Ravies High-Tails I, A Man Dollar Bar Roku Music The Good Sports The Upskirts Born Lion Salvadarlings The second Blurst of Times lineup announcement is due on September 8, with eight more bands to be revealed. Tickets are on sale now via Oztix. Via FasterLouder.
It's taken a heck of a long time — 12 years, to be exact — but, having become a permanent fixture on the summer events calendar for Fremantle, Launceston, Melbourne, Sydney and Perth, BeerFest is finally hitting Brisbane in 2020. The festival is set to descend on Victoria Park on Saturday, March 14, in a heady blaze of music, comedy, food and, of course, beer. For its frothy Brisbane debut, BeerFest will round up over 40 artisanal breweries and deliver hundreds of craft drops, all alongside a stack of great ciders, cocktails and wines. You'll kick off the season with tastings, food and beer matchings, and free, brewer-led masterclasses showcasing one-off creations. While the brewer list is yet to be announced, previous events interstate have featured Melbourne's Henry Street Brewhouse and Urban Alley Brewing, Sydney's Young Henrys and Sauce Brewing Co, and the ACT's BentSpoke. What's more, this little shindig also packs a serious punch in the entertainment department — and while it's yet to drop the full bill there as well, Art vs Science will be headlining the whole thing. They'll also team up with Burnley Brewing and CryerMalt to create their own one-off beer, which you'll obviously be able to drink at the festival. There'll be plenty of laughs to be had, too, all thanks to the BeerFest Brisbane comedy stage. The on-sale date for tickets is yet to be announced; however expect entry to the festival to range between $20–50.
The humble selfie is the subject for celebration at the ‘Oh! You Pretty Things’ exhibition, hosted by the Bird Gallery & Studio. Mixed media portraits, from photographs and illustrations, through to impressionist collages and even the computed designs will find their place in this exhibit, giving focus to talents both locally and internationally. While artists abroad will be focussed on in this event, it is also a fantastic opportunity to reflect on the growing impact and influence that Brisbane has achieved on the global stage. The ever-expanding cultural outputs - fine art and fashion, photography, literature, music and performance - are always proud reminders of the talents of this great city, and how their works are often too big to be restricted by geography. Come and celebrate the always changing face of Brisbane at the opening night - the bar will be open, the talents widely varied and exciting, and the possibility of spotting the odd local celebrity at its all-time high. Be sure to check out the gallery while you can - the exhibition will run February 21-28.
Paniyiri Greek Festival is back for another year, with the weekend of all things Greek food, dance and celebration taking place on May 24-25 at Musgrave Park. It is the longest running cultural festival of its kind in Australia, and once you’ve been, you’ll know why. Over 30 food stalls of meats and sweets and everything in between will leave no craving unsatisfied, and traditional music and dancing will entertain and enlighten you throughout the day. Grape stomping, honeypuff eating competitions, Zorba ‘til you drop, cooking demonstrations, surprise guests; it’ll all be Greek to you. Prepare yourself for an afternoon (or a double feature?) of al fresco dining, the smells and smashing plates, the sounds of the bouzouki and the lira, among some 50,000 Greeks and honorary Greeks. Opa! Children under 13 enter free, and tickets can be purchased online or at the gate. Opa!
Fat Stories is a photo-documentary that seeks to question and challenge stereotypes, misconceptions and moral judgements that surround being fat. It looks at media representations that perpetuate stigmas and discriminatory perceptions of obesity by following the lives of 6 of Australia’s ‘fat activists’. The photographs offer alternative representations of what it is to be fat that will question how the greater society looks at sizism, and how we look at, talk about and represent those who are obese. Fat Stories is a collaborative project for two Griffith University representatives. Isaac Brown, a Brisbane photographer, has done work with the Artworkers Alliance and Frankie Magazine. He often explores relationships between the photographer and the subject. He is joined by marketing academic Lauren Gurrieri whose research looks at the cultural aspects of consumption and consumer identity construction. Together, their wealth of knowledge and skill promises a series of work that will ask the hard questions.
“It’s 1965 and everything is just about to happen. The German/British collective Gob Squad invites you to take the hand of the King of Pop Art himself, Andy Warhol, and step back into the underground cinemas of New York City, where it all began.” Gob Squad (Germany/UK) present Kitchen, Andy Warhol's classic film reconstructed live on stage. The work promises to illuminate the past for a new generation as well as to peer deeper into the shiny surfaces of the modern world we live in. Time Out New York said it was "a deftly orchestrated and very funny layering of reality, fiction, historicity and futurity.” To catch the Australian premier of this hotly anticipated show, book your tickets now on the Powerhouse website. Discounts are available for groups of three or more people, as well as for those who see three or more shows.
Nothing is scarier than outer space. Think about it for just a moment: On one hand: your stock horror movie assemblage of psycho killers, poltergeists, zombies and monsters. On the other hand: the void of space, black holes, supernovas, the certainty of tissue-crushing death just beyond your vessel, aloneness with zero human life for infinity, ohmigod infinity. So it's strange that while we've seen a number of dramas that play off this setting (not least 2001: A Space Odyssey), we haven't seen a major film directly about it. Enter Gravity, an extremely visceral, sensorial journey into our shared fear of drifting into outer space. Apparently director and co-writer Alfonso Cuarón (the consistently solid genre-hopper behind Children of Men, Harry Potter and the Prisoner of Azkaban and Y Tu Mama Tambien) wanted to be an astronaut as a child, though there's no trace of idealised fantasy here. Gravity stars Sandra Bullock and George Clooney as two astronauts making repairs to the Hubble Telescope that orbits Earth. Clooney's Matt Kowalski is an extroverted veteran, casually whizzing around on an untethered space walk by way of a thruster pack. Bullock's Dr Ryan Stone is a reticent newbie just trying not to throw up from extreme motion sickness. They haven't been at the Hubble coalface for long when their suddenly grim colleagues at Mission Control warn them of an incoming wave of debris from a Russian anti-satellite test. Sure enough, it strikes soon and strikes ferociously, leaving Bullock and Clooney floating in space with no incoming communication from Earth. Before seeing Gravity, I would've assumed this was the end of the line. As it turns out, there are a number of measures open to a resourceful, fast-thinking survivalist in the great emptiness of the heavens — and faced with rotten bad luck, they're going to have to try a great number of them. Gravity, however, is more about experience than plot. It is the single most stressful two hours you can have in a movie theatre — in the best possible way — as it puts you in the position of the stranded astronauts. Long shots subtly convince you that the subjects are not surrounded by a crew of cameramen, while the view from inside their helmets is frighteningly limiting and disorientating. While there is music (composed by Steven Price), Cuaron also exploits the soundlessness of space to great effect, with sound carried through vibration coming across tinny and foreign and Bullock's fluctuating breathing your faithful guide throughout. The incomparably stunning visuals alone are enough reason to see this film, a milestone in 'grown-up 3D'. At the same time, Bullock's performance is deeply compelling. Even when Gravity's relentless series of obstacles seem to become ludicrous (and there is a point), you're so invested in her survival that it's forgiven. Gravity is an unforgettable ride that will make you appreciate the feeling of the ground beneath your feet. https://youtube.com/watch?v=OiTiKOy59o4
For a movie this bad, a standard review is more than it deserves, so instead we’re giving it the treatment of something less dignified. Here are ten reasons why The Hobbit: The Battle of the Five Armies fails in every possible respect. Despite fierce deliberation, our pros list stands at zero. The prequel tension vaccuum Gandalf, Bilbo Baggins, Legolas, Galadriel, Elrond and Saruman: they're all familiar characters from Lord of the Rings that feature heavily in this film. Why is this relevant? Because as a prequel to LOTR, it means we know every single one of them survives. Not even a war involving five armies can inject tension into scenes involving any of these characters because they’re cinematically invulnerable. Fifteen Minutes of Freeman It doesn't seem entirely unreasonable to think that a film (a) about the hobbit, and (b) called 'The Hobbit', would at some point feature the hobbit. Well get ready for unreasonable, because Martin Freeman’s Bilbo Baggins (just about the only thing that held these films together), is given so little screen time, this should simply be called: 'The Battle of the Five Armies And Nothing Else, Okay? So Just Shut Up'. Smaug Remember the climactic cliffhanger ending of The Hobbit: The Desolation of Smaug, in which Smaug took to the skies headed for Lake Town to finally do some desolating? Well… he dies. Like, right away. He’s Steven Segal in Executive Decision, that’s how quick it is. Lisa Needs Braces ‘The Last Exit To Springfield’ is regarded by many as the greatest Simpsons episode of all time, featuring the iconic, echoey memory montage of voices in Homer's head screaming: “Lisa needs braces / Dental Plan!” The same thing happens in The Hobbit: The Battle of the Five Armies, and it’s hilarious, but it’s certainly not meant to be. Alfrid the Pointless In Tolkien’s novel, the character of Alfrid Lickspittle is unnamed and rates little more than a cursory mention. In The Hobbit: The Battle of the Five Armies, Jackson has made him a significant secondary character despite him having no point whatsoever. To call him 'this film’s Jar Jar Binks' would almost be unfair to Jar Jar. We’ll give you a moment to let that sink in. Five Armies Is Three Too Many Speaking of The Phantom Menace (something few people ever do), remember that clusterfuck of a final battle involving cloned robots, Jedi, Sith, human space pilots and Gungans? It was confusing, distracting and largely irrelevant to the overall… I wanna say ‘plot’? So too the battle in this film. Tolkien gave it only slightly more attention than those unnamed characters, yet Jackson's done an entire film about it. Its scale is impressive, but inherently it requires most of its thousands of combatants to be computer generated and, as such, is about as emotionally engaging as a screensaver. Fuck You, Sir Isaac Newton Legolas runs up a series of falling bricks as they tumble down a gaping ravine. It’s strange to talk about ridiculous implausibility in a movie featuring orcs, necromancers and invisibility rings, but this was just one crumbling-step too far. Like Sands through the Hourglass What do you get if you combine the hackneyed writing of a daytime soap with the protracted, intense stares and closeups of a daytime soap? Clue: it's The Hobbit: The Battle of the Five Armies. In fact, one exchange through a hole in a wall between Thorin and Bard the Bowman ends with a head turn of such unbelievably contrived drama, the entire cinema laughed. On The 8th Day, Jackson Created Tauriel In order to stretch a 19-chapter book into almost nine hours of cinema, you need to embellish, and in this trilogy Peter Jackson invented the character of Tauriel (played by Evangeline Lilly). Setting aside her redundancy, the fearsome warrior with complicated romance issues was actually fun to watch, so it’s mystifying why she’s given about as much screen time as Bilbo. On the upside, Jackson will probably give Tauriel her own trilogy in a year or two. Ultra High Def As we’ve noted previously, the astounding clarity of 4K HD film makes the world of Middle Earth an absolute joy to behold, and is pretty much the only format of 3D that doesn’t exhaust your eyes. But it also makes films shot in this format feel entirely un-cinematic and more like live community theatre. Coupled with the terrible writing and hammy acting, The Hobbit: The Battle of the Five Armies is a perfect Christmas movie in that it’s basically a pantomime.
When the weather warms up, soaking up the great outdoors starts moving toward the top of our to-do lists. And when we can enjoy the sprawling parklands of Brisbane while supporting a great cause, it takes prime position at the very top. On Friday, October 28, you and your crew can get involved in The MS Moonlight Walk to help raise money for MS Queensland — an organisation that provides critical support to people living with multiple sclerosis and other neurological conditions. The annual after-dark event will kick off its pre-walk festivities at 4pm at South Bank Piazza, with the walk itself commencing from 6pm. There'll be live entertainment, loads of lanterns lighting the way (free with your registration), a competition for best dressed and endless opportunities to connect with the local community. All you have to do is decide if you want to tackle the 3-, 5- or 10-kilometre course. Keen to get involved and to show your support? The MS Moonlight Walk will kick off from 4pm Friday, October 28 at South Bank Piazza. For more information and to register, visit the website.
When a filmmaker keeps chiselling away at the same niche, they're called repetitive. When they swap what they know for something new, they're accused of straying past their limits. The supposed ideal seems to sit somewhere in the middle, with directors expected to remain unwaveringly reliable while also serving up constant surprises — even if that very concept defies basic human nature. So what's an acclaimed auteur to do when he appears to be settling into a well-worn groove, as his underwhelming last picture made plain? In Asghar Farhadi's case, he explores the contradiction of trying to be the same yet different, baking the notion into his latest release. With the Spanish-language Everybody Knows, one truth is immediately evident: you can take the Oscar-winner out of his native Iran, but you can't take the familiarity out of his work. The man behind About Elly, A Separation, The Past and The Salesman delights in delving into disharmony in close quarters — into relationships, friendships and family situations where what's left unspoken is as important as what's said, and where complication reigns supreme. The scenarios, characters and narratives vary, and occasionally the countries that his films are set in do as well, however the writer-director's deep dive into complex interactions continues. All of the above proves accurate in this recognisable domestic drama, which is dressed up as a kidnap thriller while shot in sunny hues and scenic locales. If that last sentence seems like a clash of contrasts, that's partly the point, with Everybody Knows examining the foolishness of simultaneously wanting things to change and hoping they remain exactly as they always were. Returning to her Spanish village after establishing a life in Argentina, Laura's (Penélope Cruz) homecoming should be a happy one. She's back for her younger sister Ana's (Inma Cuesta) nuptials, she has her teenage daughter Irene (Carla Campra) and adolescent son Diego (Ivan Chavero) in tow, and everyone from her elderly father Antonio (Ramon Barea) to her ex-lover Paco (Javier Bardem) is delighted by her presence. Of course, no one could've anticipated that Irene would disappear during the lively wedding reception, or that a significant ransom demand would set everyone on edge. When Laura's husband Alejandro (Ricardo Darin) belatedly arrives, he steps into a tempest of flaring tempers and fraying emotions as the close-knit group endeavours to work through their darkest hour. With a name like Everybody Knows, Farhadi's eighth film was always going to hinge upon twists and secrets — of the type that, as the title makes plain, aren't all that twisty and secret at all. For viewers of the director's past work, the minutiae borders on routine, as characters argue about past dalliances, long-held grievances, whispered rumours and deep-seated jealousies, plus a contentious land deal that helped Paco become a successful winemaker. But with Laura's desperation growing, Paco committing to assist however he can, and Alejandro becoming quietly envious of their previous relationship, something else fascinates. In thoughtful and insightful fashion, the movie's main players are all caught between a past they've painted in rosy colours, a present that's fraught with pain, and an idealised future that may never eventuate. Pondering the ripples caused by previous deeds has become a Farhadi trademark, as has upsetting a comfortable vision of life with a challenging alternative, yet the turmoil is both smartly and aptly handled in Everybody Knows. Still, while there's substance behind Farhadi's story and themes, not to mention purpose behind his usual flourishes, Everybody Knows is rarely more than a striving but standard entry on his resume. What helps lift the movie considerably is another of the filmmaker's regular touches, with Farhadi particularly accomplished at wringing excellent performances out of his actors. In roles written specifically for them, Cruz and Bardem show why they've become the English-language film world's go-to Spanish stars, throwing up surprises in their multi-faceted portrayals long after the narrative has stopped doing so. Elsewhere, the soulful Darin demonstrates why he belongs in their company, and there's no false moves among the rest of the cast either. Alas, even with such stellar assistance and intentions, Farhadi often feels as if he's caught between two impulses — between simply doing what he's always done, and giving his fondness for familiarity extra weight and meaning. https://www.youtube.com/watch?v=NYMBGiWXoUc
It's the kind of thing nightmares are made of. You arrive on day one of your dream job, but everyone is watching — including ever-present cameras. It's also the type of situation good documentaries can be born of, taking the fly-on-the-wall technique to its extreme. Trailing a fresh-faced new arrival in the hope that fireworks follow could be a waste of time, or it could result in something special. Both scenarios met Raf Simons when he commenced his latest post as artistic director for the House of Christian Dior in April 2012. His appointment was huge news in fashion circles, with the Belgian designer better known for his minimalistic ready-to-wear lines for his own label. Taking over the creative reigns of one of the biggest clothing houses in the industry, he had just two months to put together his first-ever haute couture collection. Observing in the atelier, director Frédéric Tcheng captures the chaos of Simons' trial-by-fire — though the dramas are few and the designs are many. From the moment he meets his new colleagues, to his reaction at the star-studded unveiling of eight weeks' worth of hard work, Dior and I charts his journey with an insider's perspective. It's that peek behind the high-pressure scenes that lifts the documentary, looking further than you might expect. Simons is focused on the massive mission at hand and reluctant to share much about his vision or processes, though he's not the only important figure to consider. The many others toiling away night and day, some mainstays in the workroom for decades, are just as crucial — and are treated accordingly. That's not just Tcheng's approach in trying to make a more interesting movie, but reflective of the status quo at Dior, where collaboration is essential. Also influential is that other figure, the legendary Christian Dior himself. The man who started the brand is worked into the film through snippets of his diary read aloud, his presence felt elsewhere in every shot bearing the label's name — and there's plenty — and discussion about its operating philosophy. Despite the title, however, what the documentary offers is an insight into the way those carrying on his legacy handle that task. Here, it's the I that has it. Tcheng is no stranger to the world of fancy frocks, celebrities and catwalks, having worked on Valentino: The Last Emperor and co-directed Diana Vreeland: The Eye Has to Travel, with his affection for the industry evident. It would've just been something to catch a crisply shot glimpse of the hallowed halls responsible for some of the greatest looks of the last 70 years, especially for the already converted — but in his hands, Dior and I delivers more than that. With clear eyes, it shows the mania behind the magic and the team behind the icon. That, folks, really is fashion, beyond the parade of beautiful dresses.
Australia’s most prolific multi-vocalist Tom Thum is set to debut his extraordinary talents at the Brisbane Festival. The frontman of the Tom Tom Crew and incurable beatbox addict has sold out shows from Berlin to New York, performing with the likes of hip-hop legends Afrika Bambaataa and Grandmaster Flash. Thum is now home, bringing with him his show Beating the Habit, direct from London and Edinburgh Fringe. With nothing more than a microphone and inexhaustible talents, the result is an explosion of sound. Tom Thum takes audiences on a ride of countless instruments, impossible beats and faultless sound effects, combined to create an unparalleled musical experience. Tickets will sell fast, and there are discounts for groups and concessions. The varying times and prices of the shows can be found on the event website.
Since my experience of ‘great dancing’ is limited to awkward hipster clubs with ironic dance moves made with the support of several dozen beers under the belt, I sometimes forget that the art of dance is a true skill, and the best dancers do it without liquid courage. Remember the ballet? Yeah, that still happens, and it’s still beautiful, leaving you with that ‘oh-my-god-I-will-never-be-half-that-graceful-ever’ feeling as you leave the venue (even though Black Swan did shatter any dreams I’d ever had of being a ballet dancer). Remember swing? That still happens, too, and it’s not limited to rockabillies or your grandparents. Contemporary? Yep, that’s happening as well, and while some would try to justify their late-night-boogying-down-to-Lady-Gaga as ‘contemporary’, it’s not. How does one refine their taste in rhythmic movement, then? Go to the 2011 Australian Dance Awards. Recognising and honouring the best and most outstanding contributions to dance, the Australian Dance Awards are now in its 14th year, celebrating a small, but growing community. There are showcases by some of the country’s leading dance groups, too. Expand your dance peripheral outside of the dark and dirty dancefloor, teach the hipsters something new next time you go out.
TV addicts, sitcom specialists and couch potatoes: listen up. A wonderful opportunity to put your useless knowledge to the test is coming to the Southside Tea Room. Prime Time TV Trivia is a night of reliving the wonder years of television, where golden girls and hardy boys alike can come together to bond over unfashionable haircuts, classic one-liners and the highs and lows of our favourite reruns. As with any great trivia night, you can win prizes, participate in games and drink to the occasion with your host and resident bartender Sam Malone. I mean, Ben McDonald. Southside Tea Room are known for their fine selection of craft beers, moreish snacks and generally relaxed vibe; it’s the perfect place for a low key evening with friends (or a high-paced, action-packed trivia competition, if you are so inclined!). So if you’re mad about your classic TV, you don’t want to miss an opportunity years in the making!
In November of 1976, the Canadian-American rock band known as The Band played what they deemed their farewell concert appearance. Neil Young, Bob Dylan, Joni Mitchell, Neil Diamond, Van Morrison and Eric Clapton joined them on stage, and none other than Martin Scorsese filmed the show. The iconic music documentary The Last Waltz immortalised the occasion. Brisbane musician Danny Widdicombe wasn't even one at the time of the gig, but now, on the eve of turning 40, he considers the soundtrack recording his favourite live album of all time. He's not only using it as a springboard for his first-ever birthday shindig, but as a fitting way to celebrate the not-so-minor the achievement of living with leukaemia for half of his life. Widdicombe will be joined by his own posse of musical pals and collaborators to play the album live in its entirety. With the likes of Bernard Fanning, Jeff Lang, Ian Haug, The Wilson Pickers, The Gin Club, Karl Broadie, Jackie Marshall, McKisko and Luke Daniel Peacock joining the jam session — plus more still to be announced — this promises to be one heck of a party.
Anything the Gold Coast can do, Brisbane can do too, right? Well, maybe not when it comes to beaches — but as far as evening market get-togethers are concerned, we can give it a good try. That's exactly what the Mt Gravatt Marketta is doing when they launch on August 13. A sibling shindig to the beloved Miami Marketta, it'll bring food from Good Food Catering Co, The Frying Piggy Food Truck, Little Havana Food Truck, Barbecue Mafia, Heven-yah Gelato, Little Wahaca, Samba Catering Co and more to Mt Gravatt Showgrounds every Saturday evening, plus drinks and music. And, it's not just the GC that the new event is trying to emulate — it's also a popular hangout on the other side of the river. If wandering around a market, filling your stomach at food stalls, listening to live tunes and grabbing a few beverages sounds a little like Eat Street, that's because it's supposed to.
These days it seems like just about anywhere can be a cinema. Rooftop viewing is all the rage, drive-ins are popping up all over the place, and even local bars is getting in on the action. But that's only the beginning. Come August in Brisbane, film buffs will be getting locked up for their movie fix. No, going to the movies isn't being outlawed. Instead, cult film guru Kristian Fletcher has put together yet another must-attend event. This time, he's hosting a movie night at Boggo Road Gaol. With a "when in Rome" attitude, Fletcher's regular program will serve up prison films in a prison setting – because flicks about roaming free in wide open spaces really wouldn't work, would they? First cab off the rank is Jailhouse Rock on August 12, followed by Chicago and Walk the Line. And if you're wondering why we haven't mentioned The Shawshank Redemption yet, don't worry. Of course it will also grace Boggo Road's big screen. Each movie will start at 7:30pm, although anyone after more than just a film is encouraged to arrive an hour earlier. That way you can take an ex-prisoner tour, browse the markets, and peruse the jail art show. Our tip: BYO Rita Hayworth poster if you think you might want to tunnel out of there during the evening.
What's better than one annual showcase of French movies ? Two, of course. After giving Aussie audiences the best in Gallic cinema once a year for the past 26 years — and building the biggest festival of French films outside of France, too — the folks behind the Alliance Française French Film Festival are doubling their efforts. In fantastic news for anyone who likes diving back into the great flicks of times gone by, the Alliance Française Classic Film Festival will shine a light on a heap of old favourites. It's the second time the fest has done so, but the first time it has toured around the country. Heading to screens in Sydney, Brisbane, Canberra, Perth and Melbourne during September through to November, the fest will unleash classic efforts starring everyone from Brigitte Bardot to Catherine Deneuve to Isabelle Huppert for your viewing pleasure, . Feasting your eyes on the game-changing wonder that is Jean-Luc Godard new wave hit Breathless is a must, whether you're keen for a revisit or you're watching it for the first time. Also check out extravagant French western Viva Maria!, the love triangle-focused Cesar and Rosalie, the Venezuelan-set Lovers Like Us, and black-and-white underworld crime drama Casque d'Or.
Some food combos immediately sound appetising. Others don't quite get your stomach grumbling until you try them. Depending on your specific tastes, indulging in cheese, beer and meat all at the same time could fall into both camps — but the mix of tastes still proves delectable, either way. Don't just take our word for it, of course, particularly when Newstead Brewing, Fromage the Cow and Meat at Billy's are on hand to state their respective and intertwined cases. Their shared event might be called Dank, Dark & Delicious; however it's the latter term you'll be thinking about for days afterwards. Across three courses, you'll savour the flavours that make each of the three key ingredients what they are. And, as fun as eating and drinking is, that's not all, with Tony Launay from Fromage the Cow and Billy Gibney from Meat at on hand to talk through each course.
The French word méconnaissance doesn't get thrown around in everyday conversation all that often (or ever, really), but once you start thinking about it, you might want to change that. Psychoanalyst Jaques Lacan — aka "the most controversial psychoanalyst since Freud," according to some sources — used it to describe our ability to mistakenly recognise our own images and identities. Who can't relate to that? Athene Currie certainly thought it was something worth pondering, given that the term pops up in the title of her solo show. Méconnaissance — New Rites of Passage collates a series of performative videos to explore the concept of discovering one's true self, particularly during the middle of our lives. Yes, this is an exhibition for anyone who has ever tried to find themselves, but don't go in expecting easy answers. Instead, there'll be plenty of food for thought from July 27 to August 14, with Currie performing at the opening night celebrations on August 4. Image: Athene Currie, New Rites of Passage, 2016, video still.
When it comes to family, faith and the inevitable intersection of the two, sometimes you've just got to laugh. That seems to be the mindset behind Bad Jews by Joshua Harmon. When the darkly comic theatre production graced London's stages, however, its posters were banned from the city's underground. Of course, finding humour in matters of religion isn't everyone's cup of tea — even if the smashing success of The Book of Mormon indicates otherwise. For his addition to the satirical fold, the New York playwright draws upon his own conservative upbringing, while pondering what it means to be Jewish in today's society. Championed as "one of the funniest things on the New York stage right now" by the Huffington Post when it debuted back in 2012, the play follows three cousins as they each try to claim a treasured family heirloom with religious significance after the passing of their beloved grandfather. Expect plenty of bickering — and expect plenty of bite, too. There's a reason that Bad Jews enjoyed a sellout season and a return encore run in Melbourne earlier in the year, after all.
"For some reason, everything has become a metaphor," newly widowed investment banker Davis Mitchell (Jake Gyllenhaal) writes in a letter to a vending machine company. Uttered in voiceover partway into Demolition, it's not just a cringe-worthy piece of dialogue designed to provide an insight into his grieving mindset. It's also a dangerous sentiment for a character in a film to express — particularly in a feature that dedicates the bulk of its running time to becoming the movie equivalent of this statement. Davis' life has been torn apart by a car accident that claimed his wife (Heather Lind), though he managed to escape without a scratch. Barely shaken by the tragic turn of events — and clearly not visibly upset enough to satisfy his father-in-law and boss, Phil (Chris Cooper) — Davis begins to see everything around him as a reflection of his predicament. When he's not pouring his thoughts onto the page, initially trying to obtain compensation for a packet of undispensed peanut M&Ms but really just looking to share his lack of pain, he takes to dismantling the physical objects around him. A phone call from pot-smoking customer service representative Karen (Naomi Watts) proves similarly disruptive. Director Jean-Marc Vallée might be known more for his style than his subtlety, but the aptly titled Demolition takes blatant expressions of emotional states to a new level. Gone is the evocative earnestness and thematic texture that made the Quebecois filmmaker's French-language fare such as C.R.A.Z.Y. and Café de Flore work so well, even when they veered into heavy-handed territory. Instead, it's the contemplative simplicity of his most recent English-language efforts — AIDS drama Dallas Buyers Club and soul-searcher Wild — that's on display, coupled with a fondness for obviousness. Accordingly, Demolition proves an elegantly shot and deftly edited but ultimately empty series of scenes depicting its titular process in various forms: the initial crash, the destructive manner in which Davis behaves in the aftermath, and more than a few instances of both items and relationships being smashed to pieces, often in slow motion. While there's truth behind the broader observations Vallée is keen to stress, there are few new insights on offer. That screenwriter Bryan Sipe also penned the script for this year's Nicholas Sparks' adaptation The Choice gives an indication of the level of depth — or absence thereof. Alas, Demolition isn't a film that can be saved by its cast either. Gyllenhaal is solid and convincingly imparts some much-needed levity, but demonstrates exactly the amount of nuance he's asked to. While it shouldn't be surprising that yet another movie about a man's attempt to find himself wastes its female talent, Watts' nothing part is still disappointing. Playing Karen's teenage son, it's actually relative newcomer Judah Lewis (TV's Game of Silence) that fares best. His story arc might be designed to increase drama, but he conveys his character's journey without resorting to the movie's favourite tool, on-screen and off: a sledgehammer.
If you're a Brisbanite with a healthy appetite, there's only one place to be this weekend. Take your rumbling stomach and its yearning for something scrumptious down to James Street, and fill it with tasty treats. From July 30 to 31, the New Farm precinct becomes a foodie wonderland for the fifth year running, once again highlighting the gastronomic delights of the area. That includes devouring delicious dishes and drinks, of course, regardless of what kind of food, beverage or event takes your fancy. And, for the first time ever, part of the road will even be closed off for the occasion. Whether you want to feast on Hong Kong or Greek-style meals, sip on wine or liqueurs, or indulge in a mix of beers, burgers and beats, all your culinary dreams are catered for. You an also sample the street's signature concoctions, enjoy a gourmet take on the good ol' sausage sizzle, or get into the swing of things at one of several after parties. If you like your epicurean fun on the chilled side, then head to the urban picnic's array of offerings. Just because it's a food and wine trail doesn't mean you have to get caught up in the hustle and bustle. In fact, we recommend the same approach to eating, drinking and being merry: savouring the moment.
Everyone likes to spend their Sunday arvo kicking back with an ice-cold beverage in their hand. In fact, the only way to improve on this simple pleasure is to throw a few slabs of meat into the mix and then serve them up on burgers. It's that very combination of both elements and mouth-watering dishes that CrowBBQ is all about, after all. Fancy a beef brisket cheeseburger with your beer? Or a lamb shoulder and feta burger? Or both of the above, plus pulled pork and slaw and jalapeño and cheddar doused in Jameson whisky barbecue sauce, all in slider form? As anyone who has previously frequented Fortitude Valley's Crowbar, enjoyed low and slow-cooked food made by Barbecue Mafia or indulged in a Young Henrys' brew knows, this feast of food, booze and fun is the only logical result when these three groups come together. Add a few live smokey ballads courtesy of Rick Fredricks and some swampy blues by Dead Weight Express' Sonny, and it's the ultimate end-of-week sesh.
These days, it doesn't take much to throw together a pretty ace shindig. All a venue needs to do is invite a few food trucks around, gather up some of the city's best talent and have plenty of drinks available. That's exactly what La Boite Theatre has done for La Truck Stop Food Truck Fair, aka the combination good food and great entertainment that you didn't know you needed. If it's the former that you're particularly interested in, then let The Bun Mobile, The Bone Lorry, Little Back and Juan More Taco take care of your hunger. And if it's the later, keep reading. With the Kelvin Grove establishment hosting their HWY festival this week, La Truck Stop is the event's informal meeting of the creative minds — and feeding of the ravenous stomachs. Expect buskers playing live music, plus a creative panel discussion and a theatre showing as part of the fest's fun. Expect more than a few lively chats about the state of the performing arts over burgers and beers as well.
If you're going to celebrate an occasion such as July 4, you'd best do it in the right way. And we're not just talking about honouring traditions, either. Our minds — and our taste buds — are focused on something much tastier. How about 12 American beers that you've probably never tasted before, for example? Don't worry, you won't find Budweiser, Coors or Bud on Brewski's Rare as F**k USA list. On June 30 and July 2, their taps will be flowing with the good, obscure and downright impossible-to-find stuff. That includes tipples from Firestone Walker, Dogfish Head, Victory, Lost Abbey, Clown Shoes, Six Point and Boulevard — aka a lineup Brewski themselves are calling "the liquid equivalent of rocking horse poop". In fact, you'll probably never come across a beer selection like this again. If that's not as good a reason as ever to head along, then we don't know what is.
Potty about Potter? With the incredible amount of Harry Potter related events that happen around town, it seems all of Brisbane is — and that includes the folks at ImproMafia. For their addition to the Brisbane Comedy Festival fold for 2017, they're indulging everyone's love of a certain boy wizard and the enchanting world he comes from. And filling some gaps in his story too. If you ever thought that there had to be more to Hogwarts, wondered it wizards really do stay secret from muggles, or stopped to think about the many, many characters that must spend their time summoning butterbeers, you can indulge your fan fantasies and help come up with the details. At Potter Unplotted, anything can happen. Now that's magic.
Summer might be over, but, for what seems like 360-ish days of the year, Brisbanites are still willing and ready for a pool party. The event happening at Musgrave Park swimming pool on March 5 isn't any old splashfest, though. It's all about celebrating several good causes. Here's what's on the agenda at the Body Positive Pool Party: having a dip, having some fun, and reclaiming a space and a pastime in that have traditionally caused plenty of stress about beauty standards and gender norms. So, grab your togs and cannonball into action. On second thoughts, maybe scrap the last part. No one wants to be that person. So, there'll be swimming, obviously. There'll also be live music, food, thematically linked art and market stalls. As for where the other worthy causes come in, that's thanks to the two beneficiaries of your entry fee — which starts at $5 and maxes out at $25, depending on what you can afford. All proceeds will go to local radio legends 4ZZZ and community outreach organisation Sisters Inside.
Getting attached to your favourite musical festival isn't the best idea — even the best ones come and go. In sad news for fans of tunes on the heavier side of the spectrum, Soundwave joined the long line of fests in the latter category after their 2015 event. That doesn't mean you can't gather in a great spot and remember the good times, though. Sabowave is the closest thing to the now-defunct real Soundwave as you're probably going to get, as well as a chance to do what Brisbanites seem to do best these days: reminisce. For the second year, Sabotage Social is leading the charge and serving up all of the necessary ingredients. That means punk, rock, metal and thrash sets, good vibes, some food, and plenty of fun. Turn up from midday on February 5 for a backyard barbecue, then knock back the drink you'll wish you'd thought of: Zooper Dooper cocktails. There'll also be beers from Rocks Brewing Company, and plenty of fellow Soundwave lovers recalling the fest that was. If you want to go for a memorial walk up to the RNA afterwards, that's up to you. Image: Michael_Spencer.
If you like live music in Brisbane — and frequenting an Ann Street mainstay for your local gig fix, in particular — then it has been a long six weeks. Back in December, The Zoo closed its doors to undertake some renovations, but now they're back. You know the drill; it's going to bigger, better and downright massive, really. Don't just take our word for it, though. Checking it out, and some ace Queensland talent, is on the agenda from 8pm on February 4. Think of the appropriately named The New Zoo as the type of housewarming party you have when your old place feels like new again. The relaunch will feature Gold Coast garage rockers Bleeding Knees Club, plus local folks Good Boy, Bugs and Black Sun. Sure, christening the revamped space is quite the responsibility; however, whether you like guitar riffs, indie refrains, noisy punk pop or all of the above, this lot are up to it.
Handball isn't just something kids play in the schoolyard. Well, it is for the most part, but that doesn't mean running around a slab of concrete while attempting to slap a tennis ball with your hand isn't something anyone at any age can't enjoy. In fact, if you haven't outgrown the game that filled many of your youthful lunchtimes — or if you want to relive those past glories — then the New Farm Bouncing Back Handball Festival is the event for you. The free all-ages event invites everyone to have some fun in the sun while competing in their favourite childhood pastime. When the festival was held back in 2012, 500 people took part. Last year, so did just as many. The New Farm Neighbourhood Centre is guiding the show, which means it's a community affair complete with food and drinks for those working up an appetite and a thirst. Bringing the suburb together is of its aims, as is promoting a positive mindset, with the event running as part of Mental Health Week.
How do you celebrate your birthday? Everyone has their own style. Throw the biggest party you can? Ignore it so that you can forget that you're getting older? Consume too much of your favourite edible and drinkable items? Or, maybe you just add bacon to everything? It sounds like a pretty great birthday treat to us. The folks at Statler & Waldorf clearly agree, because that's just how they're marking the occasion of turning three: with free bacon on everything. Okay, okay, so they'll also be offering up all their usual meals and antics, aka a Caxton Street hideaway perfect for having a few Friday evening beverages, playing a game of giant Jenga on a Saturday arvo, or tucking into a hearty roast for Sunday lunch. It's just that from October 14 to 16, they're doing all that with added bacon. Magical animal-loving Homer Simpson would be proud.
On October 11, The Red Room and Man v Bear are going back... to one of the best films of the '80s, and best time travel films in general, that is. Put on your best puffy vest and self-lacing shoes, jump on your hoverboard and slide into their Back to the Future trivia night. And if you don't have a wheel-free floating skateboard, a Delorean will do. It's enough to make you exclaim "Great Scott!", which is actually something you'll probably be doing once you're there. It's not just Doc Brown's go-to phrase — it can be yours, too. Get a question right? "Great Scott!". Surprised that another team has sped past you at 88 miles per hour? "Great Scott!". Can't remember which Jaws sequel is playing in BTTF's sequel? "Great Scott!" to that, too. Basically, it's the quiz most of us have been in training for our entire lives, even if we didn't know it. And if you don't emerge victorious like Marty McFly, maybe you can slip back through the gull-winged doors and into another time? We've heard 1985, 1955, 2015 and 1855 are worth visiting.
Festivals dedicated to all things Greek and French have been part of Brisbane's culture for years now — but what about Mexico? That's what a bunch of handy folks were wondering, so back in 2015 they did something about it. After a successful first year last year, the second-ever Brisbane Mexican Festival is once again the result of their handiwork. For one day only, the fiesta will take over Roma Street Parklands to celebrate one of the most fascinating cultures worldwide. Think live entertainment, food and folklore that's designed to showcase the mix of strong native legends and artistic expressions so pivotal to the country's identity. That means authentic Mexican food and drinks, of course, plus a whole range of on-theme activities. Spend the day dancing to a salsa band, watching Mexican wrestling, listening to the lively guitar strumming of the mariachi and breaking piñatas — and don't forget to bring your amigos.
With its iconic steps sequence and distinctive use of montage, 1925 Soviet-made movie Battleship Potemkin changed the way the world thought about film. Making enduring efforts such as Solaris and Stalker, Russian director Andrei Tarkovsky also achieved the same feat during the '60s and '70s. And in 2003, roaming historical drama Russian Ark did too courtesy of a single 96-minute take. Yep, this was more than a decade before Birdman tried something similar. They're just some of the highlights of Russian film history, and there's more where they came from. In fact, that's the domain of the Russian Resurrection Film Festival, which brings future classics and beloved greats alike to Australian cinema screens for an annual celebration of Russian movie making. In its thirteenth year, the fest has curated a collection of twenty efforts that showcase just what makes the country's film output so stellar. Whether you're keen on diving into a duelling epic, going swashbuckling with a beloved animated pirate, or catching a glimpse of uncompleted relics from the past, you'll find plenty to watch here — plus our five must-see picks, of course.
Dr. Röt Fifer is the guy that keeps on giving — or the beer, to be precise. The character is a one-off collaboration between Young Henrys and legendary Melbourne artist Doug Holgate (Regular Show, Red Sonja), and adorns the limited-release lager that bears his name. So far, he's popped up at Oz Comic-Con and at The Scratch's comic challenge art exhibition in September. Next stop: another Brissie bar, and another display of creativity. At Dr. Röt Fifer vs Bad Teeth Comics at Saccharomyces Beer Cafe, Holgate's work will be jazzing up the place alongside Bad Teeth. Select pieces from both will deck the walls throughout November and December; however the showcase's opening weekend (aka November 11 to 13) is extra special. As well as pouring the brew that started it all, if you purchase a pint or a meal you can win a Dr. Röt Fifer prize pack.
It's the coastal place everyone from Australia's southern states always wants to visit, as well as the beachy city just down the highway from Brissie that locals don't head to all that often. Yep, it's none other than the Gold Coast, and it really is a treasure trove. Whether that's good (as Goldie), bad or a combo of the two is up to you. For Burleigh Heads-based artist Rebecca Ross, the Goldie isn't just the place she calls home, but a source of inspiration. As her new exhibition at Boxcopy demonstrates, that includes elements both expected and not-so. Photos of dolphins frolicking in the blue, blue ocean sit alongside collages featuring photos of a Sizzler sign, a pre-reno Pacific Fair, the pale brick buildings that are oh-so-common, and a glistening shot of Gold Coast Suns footy player Gary Ablett. With a name like Dream Sea Movie Water, theme parks also pop up; however, given current events, they're sure to take on a much more sombre tone. We said there'd be highlights and lowlights, didn't we? There'll also be an array of works that explore images of leisure, culture, fashion and architecture on the Coast, and all that that entails. Image: Rebecca Ross, Miami Long Time.
This Friday night, two things you haven't seen before will occur. Firstly, Jenny Wynter will perform her new, fully improvised cabaret show. And, she'll unleash her quick-thinking singing not on one of the usual stages around town, but at Woolloongabba vintage store and lounge bar Can You Keep A Secret? An on-the-spot show in this eastside treasure — yep, it's a duo of firsts, all right. As for what else is in store at Fully Made Up! An Improvised Cabaret, expect Viking Mama's Wynter to play a veteran cabaret performer crooning her greatest hits and sharing stories, all of which will stem from audience suggestions. Expect intimate and interactive too, plus a glass of wine upon arrival included in your $20 ticket, because everyone will want to get their creative juices flowing. Attendees are asked to help get into the mood by dressing for the occasion. Wearing something vintage that you've never donned before, and just deciding in the moment, really would be keeping with the spirit of the show.
By 1976, David Bowie had achieved many things. He'd pondered whether there's life on Mars, transformed into both Ziggy Stardust and the Thin White Duke, and rocketed up both the singles and album charts. So, he tried something different: a new place, a new sound, and a creative time that would result in three distinctive records. Spanning until 1979, it's what's now known as his Berlin period. This is when the idea that we could be heroes — even just for one day — was born. And when Bowie wrote one of his most famous songs in the shadow of a wall. It's this that Bowie in Berlin pays tribute to, obviously, with a selection of works from the great artist's Low, Heroes and Lodger albums. With this January marking Bowie's 70th birthday — as well as the 40th anniversary of Low's release — when better for musical director Mick Harvey to corral vocalists Kylie Auldist, Dave Graney, Ron Peno, Kim Salmon and Max Sharam into honouring one of most fruitful creative periods? There'll be sound and vision on this fantastic voyage, plus beauties and beasts, as the boys keep swinging and no one looks back in anger.
You don't call an exhibition The Dark Hour without delving into moody and gloomy topics. Like death, for example — and the way everything from the grim reaper to serial killers have been considered, depicted and dissected throughout history and across popular culture. Sure, it's a subject most of us don't like to think about, but it's actually one that pops up in films, novels, on the news and on social media much, much more than you probably realise. It's also perfect fodder for a showcase of works, found items and projections that proves both dark by name and dark by nature. Expect rusty saw blades, faded gothic novels and other items and images that will trouble your subconscious as local artist James Bourbon takes audiences on a macabre journey. Be warned: with symbols, the occult, black metal, xeroxed posters, horror movies and all forms of dark matter providing inspiration, this one-night-only experience isn't for the faint-hearted.
While we've seen plenty of films set amidst the heat of battle, very few explore what happens next. Opening in West Germany in 1958, Labyrinth of Lies endeavours to understand how a divided nation attempted to recover from the atrocities of the Second World War, why many of its citizens tried to disregard their history, and the efforts required to bring war criminals to justice. Though it might surprise modern audiences, some Germans in the wake of WWII claimed not to have heard of Auschwitz concentration camp. Others decided not to speak about it, or the war in general. Prosecutor Johann Radmann (Alexander Fehling) learns of his compatriots' willing ignorance when journalist Thomas Gneilka (Andre Szymanski) brings a man to his attention: a former camp commander, responsible for overseeing countless deaths, who now works as a schoolteacher. Unlike those around him, the eager young Radmann can't overlook the past — even as his investigation is met with apprehension and derision, deemed almost impossible, and impeded by mountains of paperwork. "This is a labyrinth. Don't lose yourself in it," Radmann is warned early in his search for answers. That line of dialogue may sound obvious and clunky, but it's thankfully the only time (unnecessarily romance aside) that the film is guilty of those charges. As evident in the movie's stately pace, muted tones and solemn mood, writer-director Giulio Ricciarelli and co-scribe/researcher Elisabeth Bartel take a measured approach to telling an important tale. Blending fact and fiction (Labyrinth of Lies' protagonist is fictitious, but based on several real-life figures), their first feature proves as subtle as it is significant. The duo perfects the delicate balance of bringing attention to the lesser-known Frankfurt Auschwitz trials, while avoiding following too closely in the footsteps of fellow war films. Consider their approach to a crucial part of Radmann's quest: interviewing Auschwitz survivors. Knowing that the details are already a matter of record, the film presents a montage of images, but emphasises mournful music rather than the content of the conversations. Instead of letting viewers hear harrowing specifics, it forces them to focus on the faces of those doing the re-telling, as well as the shocked expressions of those discovering the truth for the first time. Given that the movie is as much about the inherently human preference to sidestep tough memories and topics as it is about Germany after WWII, it's not just a stylish way of structuring a pivotal scene, but a savvy and effective one as well. Amidst the drama, Fehling weathers Radmann's journey, making the character a figure of determination and defiance. Best known outside of Germany for appearing in Inglourious Basterds and TV's Homeland, his is a complex portrayal, as befitting a rich and layered film. With his character finding out about much of the Nazi's Auschwitz activities for the first time, he's not quite an audience surrogate, but his voyage of discovery is never less than believable. You won't just see his horror — you'll feel it, directed towards not only the realities of war, but the ways people try to forget it.
How do you celebrate the 90th birthday of one of cinema's true shining stars? With a screening of one of their most famous films, of course — and an accompanying pre-movie party. When it comes to marking the occasion, and making sure birthday gal Marilyn Monroe gets the shindig she deserves, trust the dynamic duo that is Kristian Fletcher and New Farm Cinemas to be involved. They're not just bringing Billy Wilder's iconic Some Like It Hot back to the big screen for one afternoon, and showcasing Monroe and her co-stars Jack Lemmon and Tony Curtis, too. They're also kicking off the revelry with '20s-style jazz music and performances. That's the decade that gave birth to the woman once known as Norma Jeane, after all. As always, donning your best period outfit is wholeheartedly encouraged, as is arriving a little early to soak in the entertainment.
If watching An makes you feel hungry, that's completely understandable. Named after a type of Japanese red bean paste, the film is set in a small bakery that specialises in delicacies known as dorayaki, and when it's characters aren't making them, they're wolfing them down. Chief among these folk is unhappy store owner Sentaro (Masatoshi Nagase), who makes the pancake sandwich-like desserts, which are stuffed with the titular paste. When the elderly Tokue (Kirin Kiki) answers his advertisement for an assistant, he's initially reluctant, but changes his mind after sampling her delicious version of the necessary filling. Cue two predictable elements: an array of scenes depicting the careful preparation and loving production of the tasty treat in question, and a narrative that charts the unlikely bond that blooms between the two colleagues. Both play out largely as expected, although that doesn't mean that An can't provide a few pleasant surprises. Just as the students who frequent Sentaro's shop find delight in his new and improved recipe, so too will audiences find delight in the film's earnest take on a recognisable formula. The film's biggest asset is the endearing Kiki, who brings texture and depth to a tale that is both bittersweet and hopeful. Her efforts are instrumental in elevating the movie beyond its well-worn plot. Indeed, filmmaker Naomi Kawase can hardly bear to tear the camera away from her leading lady, which could be why scenes focusing on Sentaro's troubled background, or teenaged customer Wakana (Kyara Uchida), don't feel quite as engaging. With the writer-director employing her trademark slow pace and lingering visuals, it's Kiki who gives the proceedings a noticeable burst of energy. Alas, while the film's star and style both serve it well, other aspects aren't quite as successful. Only some of the plot developments work, with the film assured in its patient first half yet less convincing when it becomes concerned with dramatic revelations. As Kawase tries to work in bigger and broader themes, including passing wisdom between generations and ignoring social conventions in general, her material veers further into sentimental territory. And then there's the accompanying score, which fires up the piano a little too mournfully at obvious moments. Of course, not just finding but perfecting the right balance of ingredients is as difficult for filmmakers as it is for pastry chefs. Though An marks Kawase's 24th film in 23 years, she's clearly still tinkering with her recipe book. Still, she does more than enough right to make her latest concoction appetising.
Everyone loves a food truck, but chasing your favourite source of meals on wheels around town can be more than a little time consuming. Thankfully, the legends at Pizzantica have come up with another solution. Their bricks-and-mortar Hawthorne store might still be in the works, albeit with a few delays; however that's not the place they'll be setting up shop. For the next year, they're parking their VW Kombi at 276 Edward Street in the CBD. Whether you're fond of their Margherita pizza with tomato pizza sauce, mozzarella and fresh basil, or their spicy salami-topped Diavola, they'll be serving up fresh-cooked, made-to-order slices of Napoli-style deliciousness from 11am to 6pm every day of the week. Yep, that's your lunch covered for the foreseeable future — and your takeaway dinner as well. And soon, you won't even have to line up to get your dough, tomato, cheese and topping fix, with SMS and email ordering in the works. Now that's convenient and tasty.
Seeing a cult film on a big screen isn't too difficult these days — but that doesn't mean that all retro movie nights are created equal. Some play all the usual suspects. Others burst onto the scene by busting out 16-year-old flicks about weapon-wielding, junk food-devouring, human-sized talking reptiles. That's right, cinema-loving dudes: it's time to revisit a true film classic. The Milk Factory isn't just kicking off their brand new cult movie series, as run and curated by Kristian Fletcher. They're also doing so in crime-fighting, pizza-eating style. Well, we're just going to assume that pizza will be on offer, given that the 1990 version of Teenage Mutant Ninja Turtles is the first film to grace the South Brisbane bar's pop-up cinema. And yes, that's just a taste of the monthly program. We'll say cowabunga to that, and to more great nostalgic delights to come.
A great glass of whiskey doesn't just dance across your tastebuds, warm your stomach and add an extra spring to your step — it also makes you feel like you've been transported to another place. Who hasn't sipped on some of Scotland's finest and dreamed about grassy hills? Of course, that's not the only country a good glass of amber-tinted liquid can take you to. If wetting your whistle with a taste of Jack Daniels, Wild Turkey or Maker's Mark takes your fancy, then your humble beverage can also whisk you off to the good ol' USA. Just ask the folks at Sabotage Social. They're so fond of the sensation that they've dedicated an entire evening to it. That'd be Double Denim — A Celebration of American Whiskey, and yes, the dress code and the drink of choice are all there in the name. Enjoy cocktails, platters and samples, strut your stuff to the rockabilly cowpunk sounds of Death Rides a Horse, and wear as much denim as you can. You won't just get into the American spirit in more ways than one; you might also win a prize for best outfit for your troubles.
Questionable reality television programs might try to claim otherwise; however beauties and geeks aren't mutually exclusive. In fact, at the latest exhibition to grace The Block at Queensland University of Technology's Creative Industries Precinct, they're the same thing. Geek Girls pays tribute to the lovely ladies at the forefront of art, technology, new media and anything else that could earn the nerdy tag. With a lineup that includes Antoinette J. Citizen, Meagan Streader, Michaela Gleave, Tega Brain, Georgie Roxby Smith, Lauren McCarthy, Soda Jerk, Sarah van Sonsbeeck and Chicks on Speed's Alexandra Murray-Leslie, the showcase's savvy bunch of female creative practitioners are certain to bust all stereotypes and labels. Their experimental and cutting-edge works don't just show off more than a few exciting and inventive individual pieces — they highlight the integral role women play in innovative and artistic endeavours, too. If you thought being called a "geek" was an insult, you'll change your mind here. That's what girl power combined with smart thinking does, after all. Image: Michaela Gleave, Eclipse Machine (Retrograde Motion), 2015, projection lamp, motors, prisms, timber, stand, 70 x 70 x 140cm.
