With hard-hitting dramas, imaginative comedies and a retrospective tribute to one of the all-time greats, the latest edition of the Alliance Francaise French Film Festival doesn't disappoint. Lighting up the screen from March 2-24 in Brisbane, the 2016 program features a diverse mix of titles showcasing the very best the French film industry has to offer. Cannes winners are set to be a highlight, with Rust and Bone director Jacques Audiard tackling the issue of asylum seekers in his new offering Dheepan, and Philippe Garrel's masterful romantic drama In the Shadow of Women. Legendary French filmmaker Michel Gondry's new film Microbe & Gasoline will also feature in the festival — which will be closed by Jean Luc-Godard's 1963 film Contempt.
Which festival brings acting legend and Romeo + Juliet star Miriam Margolyes to Brisbane, showcases an applauded harpsichord virtuoso, and offers the Australian premiere of an iconic opera — and allows you pretend you've stepped back several centuries in the process? Don't worry if you don't immediately know the answer. The Brisbane Baroque Festival is a relatively new addition to the city's cultural calendar, but it won't stay that way for much longer. Indeed, the event's triumphant return after its successful 2015 debut proves that everyone really does want to party like it's 1699. For those who haven't brushed up on their art history lately, the baroque period spanned 1600 to 1750, and was characterised by exaggerated motion, as well as feelings of drama, tension, exuberance and grandeur. Primarily based at QPAC, but also popping up Griffith University, City Hall and a couple of the city's finest cathedrals from April 8 t0 16, the 2016 program features a gala celebration of Bach, an admired Aussie early music ensemble and a free battle of the organs as well. Basically, if you like your blasts from the past dark, theatrical and classical — or want to try something different — this fest should be your first point of call.
Knocking back a beer these days is an educational experience. No, we're not just trying to rationalise our love of cold, foamy beverages; we're simply appreciative of the many different styles around, as well as the events that celebrate them, with each one enhancing our appreciation and extending our drinking knowledge. Take Newstead Brewing Co's next launch, for their latest Wet Hop Series, for example. If you don't already know what that term refers to, here's your chance to find out. These tipples use straight-off-the-vine hops, which is a rare treat given that they're only harvested once a year, and only remain fresh for 72 hours. See, we told you that you'd learn something. In 2016, Newstead have whipped up two wet hopped brews: the plant, melon, passionfruit and lime pepper-tinted golden ale that is The Mayne Harvest, and bitter, malty, chocolate and coffee-flavoured porter 21 Feet of Harvest. Share in their unveiling, and grab a $10 lunch special to go with it. If anything should tempt you to try to make a Friday brewery meeting part of your schedule, it's this.
In the words of Tyrion Lannister, it's not easy being drunk all the time. Everyone would do it if it were easy. That may be true, but you can certainly give it a go, when Game of Rhones returns for another year. An epic wine tasting event inspired by the grapes of France's Rhone Valley and the works of George R. R. Martin, this year's Game of Rhones will visit all Seven Kingdoms – by which we mean Sydney, Melbourne, Brisbane, Adelaide, Perth, Wellington and Auckland. Each event will welcome more than 40 different winemakers, including Shaw + Smith, Yarra Yering, Tarrawarra Estate, Olivers Taranga and Paxton Biodynamic Wine (although exact producers vary city to city). There'll also be a number of food vendors on hand as well to ensure you don't go hungry. In between goblets, ticketholders will get the chance to chat with sommeliers at the Rhone Bar, vote for their favourite vintages as part of the People's Choice Award, and take part in a blind tasting 'torture chamber' that we promise is more fun than the name makes it sound. It should also go without saying that dressing up as your favourite GoT character is highly encouraged. Zombie John Snow, anyone?
Imagine an informercial, but instead of steak knives and stain-proof trousers, this one's selling nothing less than The Great Society itself. You've got your host, Michael Moore, waddling his way from one set piece to the next and reacting with staged incredulity to every deal and reveal ("you get HOW MUCH annual leave in Italy!?") Then there are the interviews, not strictly scripted, but painstakingly selected to ensure they provide every piece of tantalising information without any of the fine print or shortcomings. And, finally, the offer: "Act NOW to adopt the Norwegian penitentiary system and we'll throw in Finnish tertiary studies ABSOLUTELY FREE!" The thing is, unlike so many of those late night absurdities, this one's genuinely enticing. The premise of Moore's latest documentary is a simple one: America hasn't won a war since WWII, so he's giving the US Armed Forces a well-earned stand down order and is instead single-handedly invading countries to steal the things America's most desperately in need of, including France's healthy school lunches, Germany's recognition of past national atrocities, and Italy's fair workplace conditions. Yes, Moore is selective in his 'spoils of war', only showing us the instances where such programs work, but as a model for better government, better business…better living, it's a forgivable choice. Unlike many of Moore's previous films such as Bowling for Columbine, Fahrenheit 9/11 and Capitalism: A Love Story, there's a refreshing absence of cynicism in Where To Invade Next. Even with the overarching message, which basically boils down to "look how much better than us the world does these things", the film ends by reminding us how so many of those initiatives were born in America and, with just a little legislative courage, could easily be reintroduced to sudden and sweeping effect. Greed, unsurprisingly, is identified by Moore as the chief source of America's ills, and it's no grand revelation that the privatisation of prisons, schools and healthcare invariably precipitates a clash between value and values. However, as Moore seeks to prove, a healthy and educated society where welfare is considered a strength rather than an embarrassment is, in the long run, both a cheaper and a more productive one. Moore's trademark one-liners, musical gags and, for want of a better term, 'clowning', repeatedly threaten to distract (or even detract) from his message. Thankfully he demonstrates enough reserve throughout to let the compelling facts speak largely for themselves. And they are compelling, speaking directly to many of the same shortcomings here in Australia that few would deny are in need of significant redress. Most notable of these are Norway's humane treatment of incarcerated criminals to combat recidivism, and Iceland's massively increased female representation at the executive level across both business and politics. This is a film that shows you how things can be done better, then compels you to ask why it's not already the case. https://www.youtube.com/watch?v=1KeAZho8TKo
During 1988, the Queensland Art Galley commissioned six photographers to produce a portfolio on the theme of community life in Queensland entitled 'Journeys north'. Last exhibited in January that year, the exhibition has returned to the gallery's walls to inspire a re-examination of how the state has changed in the intervening 28 years since the images were taken. The photographers involved — Graham Burstow, Lin Martin, Robert Mercer, Glen O'Malley, Charles Page and Max Pam — were all long-term residents of Queensland, or boasted strong ties with the area. Each travelled to different regions, where, over the course of about eighteen months, they documented the lifestyles, attitudes and values of Queensland in the late 1980s. What emerged was an unintentional snapshot of Australian communal life. Compared with today, the images probe unwavering attitudes that have long existed in the 'Australian way of life', as well as outdated ideas and differences that may have been forgotten over the past three decades. The fixed theme, barely trivialised by time, is the unique difference and richness of the Australian lifestyle, land and environment. Journeys North exhibits at Queensland Art Gallery until 3 July.
If you're thinking about food as art, you should be thinking about one person. We're not talking about any of the many celebrity chefs that appear on our TV screens, fill food and wine conventions, and spruik supermarkets. We're talking about Elizabeth Willing. The Brisbane artist is known for her creative approach to cuisine, and her merging of the lines between experimentation and gastronomy. In fact, her ongoing Dessert performance series is renowned for not only reimagining the usual relationship that we all have with food, but also creating a multi-sensory experience that plays with the choreography of dining. If that sounds like not only something you'd like to watch, but discover more about, then the hands-on Dessert workshop should be your idea of a satisfying artistic meal. A warning: these participatory culinary exercises are bound to be popular — and places are limited — so bookings are essential. Image: Ice-cream course: Dessert III. 2015. Ceramic bowl. Via Elizabeth Willing.
Imagine a place where disco rules, glitter and sequins may as well be the new form of currency, and dancing the night away is the only thing on anyone's mind. No, this isn't a Studio 54 daydream (but if you're whiling away the hours thinking about Ryan Phillippe and Neve Campbell, we won't judge you). Instead, it's VELVET. Attempting to bring the spirit of the famous New York nightclub to life, this cabaret performance combines disco, dance, burlesque and circus into one electrifying package. Think acrobatics, divas, singing chanteuses and muscly men. Think the kind of show that doesn't feel like you're nestled into QPAC's Cremorne Theatre circa 2016 — it feels like you're visiting the '70s in a time machine. Of course, that's the whole point of the hedonistic experience, which was voted Pick of the Fringe and Best of the Fringe at the Adelaide Fringe Festival. With singer/songwriter Brendan Maclean as your guide and the legendary Marcia Hines among the cast, you'll be wrapped up in a boogie wonderland in no time.
There might seem like there's a dedicated night for every kind of music — and there probably is — however don't let that keep you away from The Foundry's latest regular series. That'd be Brisbabes, the evening that not only has an awesome name, but also shines a light on the fantastic females enlivening the city's live music scene. Two women-centric celebrations have already rocked The Foundry, with the event proving such a hit that it's back for another outing. This time Romy, Cheers G'day, Inigo, Post-Dusk and Deena will take the stage. How's that for a lineup of lovely ladies? They'll bring a dash of indie folk, some post-synth pop, and a little nu R'n'B to the talent showcase, with one aim in mind: making sure Brisbabes #3 is bigger and better than its predecessors. They'll also champion a spirit of inclusivity, because while the fairer sex's music antics might be the main attraction, everyone is welcome.
Some say it's blasphemy. Others have branded it the funniest film of all time. When it was being made, the original backers were so worried about potential controversy that George Harrison — yes, The Beatles' George Harrison — had to step in and stump up the cash. Of course, we're talking about none other than Monty Python's Life of Brian — aka the tale of the man mistaken for the messiah, even though his mother says that he's just a very naughty boy. Nothing says Easter like viewing this comedy classic under the stars at the Eat Street Drive-In, no matter how many times you might've seen it before. They're screening it at 7.30pm on Thursday, March 24. The remainder of the Easter weekend will see a short run of Deadpool, playing on Good Friday, Easter Saturday and Easter Sunday.
If you want to test out your Beyonce moves but aren't so keen on doing so out in the open, then a dark bar may be just the space you've been looking for. Woolly Mammoth is hosting a dance class led by kween Amrita Hepi. She'll be teaching the moves to Yonce's newest slam dunk of a single 'Formation' in a shame-free dance zone. Beginners are welcome, no experience needed, hot sauce in bag optional. There will be six sessions (starting at 6pm, 7.15pm and 8.30pm) over two nights (March 23-24) Tickets cost $19 online, and you'd best get in quick as they're selling like hot cakes.
Amy Commins presents a collection of her new work in FAKE Estate's latest exhibition, Landshapes. Using light, motion and video to explore the idea of landscapes, Commins delves into a form of vastness that exists in the everyday. Her work weaves notions of nature and digital practices to create unique re-imaginings of representational images. Amy Commins is a Brisbane visual artist who works across a variety of media, including painting, installation and video. She shows particular interest in exploring the distinction between 'representation' and 'reality' — a theme that come across strongly in this exhibition. Commins has presented throughout Brisbane as part of group exhibitions, and Landshapes is her second solo exhibition since her 2014 effort, Make Me Feel Some Type of Way. Landshapes is a one night only event, kicking off at 6pm this Saturday.
Brisbane movie buffs, prepare to spend even more time at the movies, because the 2016 film festival season is about to officially commence. Brisbane Queer Film Festival is one of the first cabs off the rank, and they've unleashed an 11-day program brimming with cinematic excitement. It is their 17th year, after all. BQFF 2016 gets things started with not one but two high-profile retrospective screenings, because film festivals are about looking back at those great movies from times gone by just as much as showcasing new cinema treats from around the world. Leading the lineup is opening night's '70s-set disco wonder 54: The Director's Cut — aka the Ryan Phillippe, Neve Campbell, Salma Hayek and Mike Myers movie done the way filmmaker Mark Christopher originally intended. And as a sneak peek of the program the day before the official kick-off, the fest is showcasing Fred Schepisi's controversial The Devil's Playground to commemorate its 40th anniversary, complete with star Simon Burke in attendance. On the fresh flicks front, BQFF boasts local and international festival faves such as the Lily Tomlin-starring comedy Grandma, Sundance 2015 best director winner The Summer of Sangaile, Aussie surf fare Drown and Peter Greenaway's Eisenstein in Guanajuato. Everyone who was moved to tears by Holding the Man should bring tissues to documentary Remembering the Man, which similarly revisits the heart-wrenching tale of Tim Conigrave and John Caleo. The rest of the packed lineup includes everything from Berlinale Teddy award-winning doco The New Man to Swedish supernatural body swap effort Girls Lost. Yes, it's all shaping up to be yet another great of queer cinema; however not everything at BQFF 2016 adheres to the business-as-usual model. This year, the film-focused companion event to Brisbane Powerhouse's MELT continues its game of musical chairs, having moved from Brisbane Powerhouse to Palace Centro in 2015, and now taking place at New Farm Cinemas. That's not really all that surprising; in the last six months, the Brunswick Street theatre has played host to the Queensland Film Festival, the Iranian Film Festival Australia, the Indian International Film Festival of Queensland, the Jewish International Film Festival and the Brisbane Asia Pacific Film Festival, among others, with the Brisbane Underground Film Festival also due to call the venue home this February. Brisbane Queer Film Festival 2016 runs from February 18 – 28 at New Farm Cinemas. For more information, visit their website.
What will Brisbane look like in the near future? The many cranes currently littering the city's skyline will soon be replaced by new buildings — and what will they add to our architectural footprint? Sure, you can simply wonder about the end result, or you can head to the Museum of Brisbane's latest exhibition for a sneak peek. Using models, plans and 3D renderings, Living in the city: New architecture from Brisbane and the Asia-Pacific provides a preview of the still-being-constructed places you're certain to frequent. If you're keen on an early glimpse of Coorparoo Square, the James Street Hotel or the Queensland State Velodrome — or luxurious private homes, too — here's your chance. There's another part to the show's title, however, with grand designs from Brisbane's nine sister cities also featured. By casting its eyes over new developments in Auckland, Abu Dhabi and more, the architectural collection doesn't just ponder the south-east Queensland of tomorrow, but offers an insight into the emerging look of the Asia-Pacific region as well. Image: Richard Kirk Architect, Courtyard Residence 2015, architectural illustration.
Want to know what the future of art and design looks like? Just look to the present. No, don’t worry, we don’t think that times won’t change. What we do think is that today’s students are tomorrow’s innovators — because they are. QUT’s aptly titled annual SHAPE of Things to Come exhibition clearly thinks so too, showcasing the university’s most recent graduating class. The Creative Industries Faculty’s newly minted breed of artists, designers and other imaginative folks show their best work, and there’s plenty of it. Spanning acting, fashion, architecture, interactive and visual design, and visual arts, 2015’s batch of people with a fresh bachelor’s degree know their stuff. This year, an anniversary is in the spotlight, with the annual event making it to the big one-zero. That means the future isn't the only topic of contemplation, but the past. Yes, the latest cohort of creatives will be on display; however they'll be sharing space with SHAPE alumni to give a well-rounded look at how the past ten years of artistry just might influence things to come.
It's the stuff live music fans' dreams of made of: four gigs at four of Brisbane's best venues, all within two blocks of each other, and all on the same day. Oh, and did we mention that they're all free? No, we're not making this up. The event that should have everyone salivating is none other than the Mountain Goat Valley Crawl, which is exactly what it sounds like. On February 27, you're invited to trek between The Zoo, The Brightside, The Foundry and Black Bear Lodge, take in a jam-packed lineup of local bands (and a couple of Sydneysiders too), plus devour plenty of frosty, refreshing beers. The epic day of entertainment is sponsored by a brewery, after all. On the rockin' sounds side of things, a whopping 20 bands will take to the four stages, spanning everything from grunge to surf punk to abstract R&B. We'd name our highlights, but with such a chock-a-block roster of talent, it really is easier just to list them all: Ayla Babaganoüj BANFF Baskervillain Bryce Schneider Bugs DELUSO FLOWERTRUCK Forever Ends Here FOREVR Good Boy Hound Jeremy Neale Machine Age MKO Sun Shifting Sands Stateside Tempura Nights The Creases Twin Haus Details of the who plays at which venue variety are yet to be announced; however the whole shindig will kick off at 5pm. Given we know the what, where and when of it all in a general sense, the only thing left for you to do is clear your calendar for an ace day of tunes, brews and hopping around the Valley. The Mountain Goat Valley Crawl takes place at The Zoo, The Brightside, The Foundry and Black Bear Lodge on February 27. For more information, check out the event's Facebook page.
Every format, medium and type of technology has its day. Some persist, but many pass by in blink-or-you'll-miss-it fashion. If you've got a landline handset clogging up your cupboard or an old cathode ray tube television in your spare room, then you know what we're talking about. Others enjoy a revival years after their initial heyday, or are adapted for a new purpose. Take the risograph, for example. The '80s high-speed digital machine was designed and marketed as a cheaper photocopier, then received a second lease on life when it became the duplication and printing method of choice of zine publishers and artists. If it sounds like the type of format quite a few of the folks who line Junky Comics' shelves would use, well, that's because it is. In fact, the West End store is paying tribute to the humble riso with Junky, Murdoch, Niqui Toldi, Phoebe Paradise, Sam McKenzie, Stef Roselli and Philip Dearest's interpretations of and experimentations with dying media. The exhibition isn't called Dead Format for no reason.
They're the business with one of the best names we've come across — and they're one of Brisbane's favourite market stalls as well. Now, from January 21 to 24, they're the reason you should mosey on over to Portside Wharf. Yes, we're talking about The Cheese Pleaser, those purveyors of a certain dairy product. If you've bought any of their sharp or creamy wares before, you'll know that they well and truly live up to their moniker. At Portside, they're not just showcasing artisan cheeses, although they'll be doing plenty of that, don't worry. They'll also be highlighting wine and craft beer, all set to the sounds of some rocking live Aussie music. It's the kind of event that you'll want to bring a picnic blanket to, then settle in for an afternoon of drinks, tunes and $12 platters. That's right, this pop-up won't just be yum — it'll be fun, too.
It's the event that was always bound to happen. Even decade-long music polls have their detractors, or those who'd just rather listen to something else — and they're the folks The New Globe is catering for. Their "F!#* The Hottest 100" Australia Day Party offers an alternative to the triple j countdown, including a lineup of bands you're not likely to hear on national radio. Here, you can listen to Love Hate Rebellion, Lunar Seasons, Deadbeat Society, FriendlyFire, Dr Peppernickle's Orphanarium of Obese Aristocrats, Buttermilk, The Moongrinders, The MontalRoys, Thirteen Seventy and more to be announced, and think about your new favourite acts instead of last year's hits.
The photography of Charlotte Tegan is not so distant from what one might label as 'happy snaps'. That is, her photographs foster a sense of familiarity and comfort in anyone who's looking at them. Tegan focuses on identifiable places, everyday scenarios and playful, light scenes that you could probably pull from your old family photo albums. It's in her latest exhibition Superimposition, that the full spectrum and force of Tegan's analogue film photography comes together, acting as a vehicle for personal memory and recollection. Tegan's work has a habit of breaking scene —and in turn, viewer's recollections — through her sharp and angular imagery, and use of inversion, repetition and superimposition. Each of her pieces is like a gem, mirroring each another and cutting through whatever sense of nostalgia it might stir. The result is something quite confusing and uncomfortable. While the subject matter is quite innocent, it results in a sense of disquiet and anxiety that places the audience in doubt of their own mind, and provides a window into the fragility of human memory. Charlotte Tegan's Superimposition shows at Bakery Lane's This Must Be The Place until February 12. Opening night is January 22 6pm to 9pm.
Assuming you haven't been hiding away from the internet for the better part of 2015, you should be well aware of the work of Jon Ronson. Prior to this year, the Welsh journalist, author, filmmaker and radio presenter was perhaps best known for writing the book The Psychopath Test and co-writing the film Frank partly based on his own experiences. Then his latest publication, So, You've Been Publicly Shamed, was released, shedding light on the insidious side of our online behaviour. Seeing him chat, in the flesh, about his three years spent researching the worst of social media-facilitated public humiliation is a rare occasion — and if you want more pearls of Ronson wisdom, then check out his Brisbane Writers Festival 2015 opening address and discussion on the state of 21st-century investigative journalism.
“Can you play 'Drunk in Love'?” is the question that keeps hounding 23-year-old Cole Carter (Zac Efron) when he DJs at nightclubs and parties. Sometimes he says no, and sometimes he finds a way to politely sidestep the request, but he's never really pleased about being asked. That obvious unhappiness stems from his main aim — not just to make it big doing what he loves but to do so with authenticity. Pressing play on the hot song of the moment isn't what he's into. Instead, Cole believes that he can have an impact on more than people's feet, and that all he needs is a laptop, some talent and one new track that resonates on the dance floor to see his dreams become a reality. With his fellow San Fernando Valley-dwelling friends Mason (Jonny Weston), Ollie (Shiloh Fernandez) and Squirrel (Alex Shaffer), he promotes parties, scrounges for gigs and tries to do just that. Working for a shady real estate mogul (Jon Bernthal) helps him make cash to keep afloat. Becoming friends with one of his idols, James (Wes Bentley), also assists in moving him in the right direction; however, falling for James's assistant and girlfriend, Sophie (Emily Ratajkowski), doesn't. Every generation — or every couple of years, really — a film comes along that makes an effort to reflect the teenage and twenty-something lifestyles of the day, touch upon their hopes and aspirations, and wrap it all into a heavily stylised, soundtrack-focused party movie. Prominently featuring the 2006 Justice vs Simian song that gives the feature its title, We Are Your Friends is the latest formulaic attempt, though it is founded upon good intentions. Mia Hansen-Love’s similarly themed Eden from earlier this year aside, a film about the electronic dance music scene might seem an unlikely candidate to provide a soul-searching look at forging a creative career and remaining true to yourself in the process, but that's what Catfish TV series co-host and cameraman turned first-time feature writer/director Max Joseph, with co-scribe Meaghan Oppenheimer, endeavour to do. Cole's struggle to find his sound and his way feels genuine, even if everything around it — distancing himself from his mates, the romantic subplot, a crisis of conscience and the incursion of tragedy — feels much too calculated and convenient in following the typical coming-of-age format. Efron, still toiling valiantly to parlay his High School Musical fame into meaty film roles, also comes across as earnest in an effort that is sleek and superficial otherwise. The underrated actor might always look the stereotypical part, complete with headphones hanging around his neck and the requisite shirtless scene, but he's the force that makes the story matter without ever really seeming like he's trying to. Alas, he is stranded in an overly flashy music video aesthetic that grates against any real sentiments the film attempts to conjure — large text on screen, an overuse of slow motion and ample shots of pretty young things included. Indeed, the disconnect between the film's emotion and its method of delivery just can't be shaken, nor can its template, even if the pulsating beat tries to offer a distraction.
She’s been everyone from a magazine editor in The Devil Wears Prada to Margaret Thatcher in The Iron Lady, and now she’s an aspiring musician. She’s the inimitable, ever-chameleonic Meryl Streep, of course, and in Ricki and the Flash, she’s channelling her inner rock goddess. She’s also belting out everything from Tom Petty and the Heartbreakers’ 'American Girl' to Lady Gaga’s 'Bad Romance'. And yes, she's actually playing the guitar and singing the tunes herself. As the titular character, Streep plays a wannabe past the point where wanting to be something else is acceptable. With her band — including guitarist and lover Greg (Rick Springfield) — she gigs at a San Fernando Valley pub by night; to make ends meet, she works as a supermarket checkout operator by day. Ricki has been chasing her calling for sometime now but shows no signs of hitting it big. Then a phone call from her ex-husband, Pete (Kevin Kline), thrusts her out of her dreams and back to the children — about-to-be-divorced Julie (Mamie Gummer, Streep’s real-life daughter), and sons Josh (Sebastian Stan) and Adam (Nick Westrate) — she left behind years ago. Returning home and receiving something less than a warm welcome isn’t an uncommon movie narrative, or an uncommon movie-of-the-week one either. While Ricki and the Flash explores family problems from the female perspective, as well as attempting to shine a light on the judgments imposed on women who want to be something other than mothers and homemakers, there’s never any doubt that it covers well-worn territory. Writer Diablo Cody (Juno, Young Adult) and director Jonathan Demme (Rachel Getting Married) have much to do with the fact that the feature that results still offers an all-round pleasant viewing experience, with the script engaging despite its obviousness, and the film a well-framed, highly polished affair that suits its jukebox soundtrack of old hits. That said, that the movie always seems so nice and gentle — and absent any sense of edginess, other than Streep's half-braided hairstyle and black-heavy wardrobe — sometimes feels a bit out of place given its rock 'n' roll packaging. What she's wearing is the least impressive aspect of the star's performance, though, with her Ricki as convincing in her unattained desires as she is in her barely expressed regrets. Streep is not the film's only highlight, however. Gummer does much more than just convey her natural rapport with her mother, and Kline is as wanted a presence as ever on screen as the figure trying to reunite them. Together, they're as amiable as performers playing with a feel-good story steeped in several levels of cookie-cutter dysfunction can be. So is the likeable end product that is Ricki and the Flash itself, even if it doesn't amount to much more than its music and its cast — and even if Springfield doesn't sing his '80s classic 'Jessie's Girl'.
Let's take a moment to celebrate two of the greatest natural wonders on the planet. Without the female flowers of the hop plant — known to you and me as hops — we wouldn't have beer. Without the fruit that blossoms on winding vines, we wouldn't have wine. Actually, let's take a day to show them some love, plus food trucks and Brisbane bands too. At the Hops & Vines Festival at the Shaftson Hotel, drinking, eating and listening to local music is the thing to do. Craft beer brewers including Green Beacon, Stone & Wood and Newstead Brewing will provide the yeasty goodness, while wineries such as Tin Shed, Wirra Wirra and Oyster Bay will serve up their squished grape best. Feast on the Bone Lorry, Gourmet Hotdogz, the Shaftson's own pizza and more mouth-watering delights between beverages, and enjoy the sounds of Tyrone Noonan Band, Ty Fader, Mason Rack, The Haydon Hack Infusion and Willy Angelo as you're digesting all the tastiness. Entry costs $10, and includes two free samples of top tipples, as well as a souvenir wine glass to use throughout the day.
As far as dichotomies go, there are few as powerful — or as simple — as the opposition of dark and light. Californian watercolour artist Rex Brandt once said: “We see light, not dark. But it is in the dark that we feel goblins and ghosts.” This quote is the inspiration behind Out of the Dark — Into the Light, a group exhibition with six artists (Noeline Lee, Claire Goodall, Emily Devine, Domenica Hoare, Nadja Kabriel, and Natasha Weller), whose conversations about this topic have been carried out in their work. Through prints, paintings, sculpture and more, the artists explore both the physical and the metaphorical relationship between light and dark, and the various emotions and fears the two states inspire. Out of the dark — into the Light exhibits at The Hold Artspace from 2 to 6 September, with an opening night event on Friday 4 September.
In an age when most of us carry our entire digital worlds on a device as small as a pack of playing cards, there is no question that technology has become so thoroughly ingrained in our everyday lives that we barely notice it’s there. While technological progress is generally considered beneficial to the majority, our increasing reliance on it is worth examining critically. Through Subvert Systems, multimedia artist Warren Handley raises questions about consumers’ passive acceptance of everyday technologies by altering the intended function of those technologies. He interrupts flatbed scanners, twisting the resulting imagery into visual representations of the theoretical distortions and ‘information holograms’ left when matter passes through black holes. The exhibition will feature the artist’s digital collages and experimental videos. Subvert Systems is the debut exhibition for new gallery This Must be the Place, recently opened in the Bakery Lane development. An opening night event will be held on Friday 25 September, with the exhibition continuing to 23 October. Image: Warren Handley, Magnetic Field Collapse, 2015, Digital collage/manipulation
Just a few decades ago, the concept of technology-enhanced clothing was nothing but a dream. Today, we're tweeting and checking email from our watches — and that's only the beginning of the evolution of fashion and interactivity. What happens next is yet to be determined, but Artisan curators Beck Davis and Rafael Gomez have hazarded a guess. They've corralled a range of artists to help create a vision of the future, as focused on what we'll be wearing. The exhibition, as aptly titled Wear Next_, isn't just about speculation though. The selection of experimental wearable and interactive works by local, national and international artists and designer also contemplate the state of our increasingly technologically dependent lives. You'll not only marvel at how clothing could evolve, but get immersed in the broader debate around wearable technology, our mediated future-selves and human interactions in this future landscape. Yes, it is exactly what it sounds like — fashion for thought. Image: Chan Stacey Lok Heng, Li Tak Doris & Kwok Tsz Lam Lamothy, Without fear – The Umbrella Movement, 2015
When a festival includes a Beyonce dance session, a workshop on printmaking with pasta machines and a heaven and hell themed ball among its lineup, you know it's not your usual kind of event. And when that festival has the word "fringe" in its title, you don't want it to be. In fact, the strange and sublime is what the Brisbane Fringe Festival is all about in its fourth year — and the offbeat and anarchic too. Given that their program includes a curves and claws burlesque show, a mimed love story and hypothetical murals as well, it seems they know what they're doing. Of course, celebrating weird and wonderful art — be it music, comedy, theatre, writing, poetry, circus, cabaret, visual art or creative workshops — is only one part of the Brisbane Fringe Festival equation. Being surprised and entertained is a given; however the event's real aim is to showcase the full extent of Brisbane's diverse and cutting edge artistic community to new audiences. Now, that truly is a festival like no other.
Deep-voiced Sydneysider Kirin J Callinan preludes a massive Europe tour with a few stops on local turf, i.e. a national tour. He and his '80s cricketer hairdo will be rocking Brisbane's The Brightside this Wednesday, September 30. Callinan kicked of his music career as guitarist for Mercy Arms, before going solo with his own unique genre of chaos. His live shows have become infamous, with constant streams of stories from his gigs appearing online. In the words of Clash's Joe Zadah, "these unhinged and confessional sermons are made of savage riffs, self-deprecation and loop pedals." Between his hectic string of live gigs, he's made time to release his album Embracism (out now on XL/Terrible Records), perfect a flamboyant fashionably/unfashionable style and team up with Mark Ronson and Tame Impala as they covered 'I Sat by the Ocean' for Like a Version. Now, Callinan leaves his southern roots to head up north. His Wednesday night show will be supported by Molly Lewis and Emerson Snowe.
Outdoor-loving film fans, prepare for one of the best times of year. As the weather heats up, the act of movie-going heads outside with the return of Ben & Jerry's Openair Cinema for 2015. Every Tuesday to Sunday from until mid November, South Bank's Rainforest Green will host a big screen bustling with new and old favourites. Guy Ritchie's take on The Man from U.N.C.L.E. kicks off the season, followed by the likes of Trainwreck, Straight Outta Compton and Sicario for anyone after some recent fare. Viewers wanting a cinematic trip down memory lane will be rewarded with sing-a-long Grease, anniversary screenings of Thelma and Louise, Clueless and The Rocky Horror Picture Show, plus Edward Scissorhands for Halloween. For those who have earmarked the end of the weekend as their optimal time for outdoor film-watching fun, expect to pair your movie with some music. At the Sundae Sessions, you'll be treated to a live performance by a local band before the feature. Of course, that's not the only way to treat yo'self, given that you can choose your preferred level of luxury any day of the week. Our tip: the 30-seats-per-session section that is Polo Class, which includes beanbag seating, a drink and a tub of ice cream in the price of admission.
There's retro dress shopping, and then there's the kind of trawling for frocks of old that only comes twice a year. The latter is certainly the case at Frock Up Brisbane, Queensland's longest running vintage fashion event. It's not just the array of attire that makes this a must-attend extravaganza, although the stacks and racks of clothing and accessories on offer really do comprise a couture-hunter's dream. And it's not just the mix of dealers travelling from as far as Victoria and local fashionistas refreshing their own wardrobes, either — which you can do if you're that way inclined, too. Both definitely make Frock Up worth the price of admission; however like all good celebrations, the chatter that accompanies the main attraction helps ramp things up another level. That's why you'll find happy shoppers filing into Katie's Sweetheart Vintage Cafe and discussing their love of vintage over homemade cakes — well, when they're not roaming around the stalls chasing a bargain.
Opera and a cocktail party? You can be forgiven for thinking that the two might not mix. Opera Queensland disagrees, however, and they're throwing a second singing soiree to convert you to their way of thinking. At Cloud Song 2 — held within the decadent walls of Cloudland, where else? — the idea of getting a drink and going to a show gets a new twist. Think cocktails and canapés, DJs, pop-up performances, aerial stunts and flamenco, plus extravagant costumes amid indulgent spaces. Given the first event earlier in 2015 was wildly successful — not to mention just plain wild — we're confident this is something no one wants to miss. Other than an abundance of arias, the actual details of the lineup won’t be announced patrons step through the doors, but we do know that there'll be something for everyone — whether you're already an opera aficionado or even if you're a first-timer. And if you're keen to take part in this rare, roaming experience, you'd best plan ahead, as tickets are only on sale until midnight on August 26.
Take a journey back through time with artist Eugenia Lim, in a playful new video piece that explores the history of Chinese immigrants in Australia. Filmed by Lim at Sovereign Hill Historical Park, Yellow Peril depicts a Chinese 'ambassador’ in a shiny gold Mao suit as she roams the rural mining town amidst the height of the Victorian gold rush. Taking its cues from the low key observational comedies of French filmmaker Jacques Tati, the work touches on questions of cultural and national identity, as well as the interwoven socio-economic destinies of Australia and its Asian neighbour. Yellow Peril is the latest of Lim’s works to explore issues of multiculturalism. A second generation Australian of Chinese-Singaporean descent, she has previously exhibited work at the Tate Modern, GOMA, ACMI and HUN Gallery NY. Yellow Peril will be exhibited at Metro Arts from August 19 to September 5.
Another year, another Woody Allen film — because that’s how frequently the writer/director makes and releases movies. Of course, with being prolific comes adhering to a template, particularly concerning his fondness for romantic and moral quandaries. In Irrational Man, womanising college philosophy professor Abe Lucas (Joaquin Phoenix) and precocious student Jill Pollard (Emma Stone) are the intertwined parties, swiftly warming to each other outside of class and soon overstepping the normal bounds of a teacher-pupil relationship. He's also seeing another faculty member (Parker Posey), and she has a boyfriend (Jamie Blackley), yet their intellectual bond can't help veering towards the physical. Anyone familiar with Allen's work will be prepared for the walking, talking and bantering to come, although in this case, the filmmaker prefers duelling narration — voiced by both lead characters, and conveying their innermost thoughts about each other — over dialogue. Anyone familiar with Allen's work will also be prepared for the necessary complications, here manifesting in the fate of a corrupt judge the would-be couple overhear a stranger complaining about. Indeed, once more continuing down the auteur's typical path, an existential crisis sits at the centre of the film. Just like in Blue Jasmine, Midnight in Paris and Whatever Works before it, Irrational Man endeavours to reconcile midlife malaise through amorous entanglements and ethical dilemmas; however, where those features more overtly played with drama, time travel and comedy respectively, this favours mystery. What does it take to reignite someone's zest for the life is the movie's ultimate question. Of course, even playing it straighter and more serious than usual, the answer comes in typical offbeat Allen fashion. It also comes with the filmmaker's repeated penchant for a hefty age difference, though both Phoenix and Stone rank among the film's highlights. Both convey their characters' transitions by playing to their strengths, and add plausibility to a script that doesn't demonstrate it otherwise. Sure, we've seen him both depressed and vibrant before, and her everything from sensible to swept away to cynical too, but familiarity with their performances doesn't breed contempt. That they share a natural rapport that makes the audience happy to spend time in their company also helps. Elsewhere, all the other Allen hallmarks are evident in what proves an enjoyable but expected affair: a jazzy score that adds a light tone to the weighty musings, warm colours that revel in the film's surroundings, and ample shots of the two stars basking in each other's presence. In fact, if Irrational Man feels like a compilation of the writer/director's usual beats, preferences and stories, that's because it is, as even casual viewers of his fare should recognise. Perhaps that's just what comes with crafting 50 films in 50 years. At this stage of his career, Allen is simply making what he wants — and what he wants is to delve into the same territory over and over again.
The Preatures are back for their final national tour for the year. Not content with two critically-acclaimed EPs, the Sydney fivesome released their debut album Blue Planet Eyes late last year to many a raised plastic cup. The Sydneysiders have really been kicking goals as of late. After gaining serious momentum overseas, The Preatures are returning home for one more tour supporting Blue Planet Eyes before holing up and creating their much-anticipated second album. With applauded performances at this years Vivid LIVE and Dark MOFO festivals, The Preatures are taking their last Australian tour of 2015 with no holds barred.
There is no name more synonymous with the term ‘nature photographer’ than Steve Parish. His vivid images of landscapes, wildlife and sealife in Australia have adorned books, calendars, postcards and more for decades. For the first time, As One celebrates his work in a different context — that of a fine art exhibition. Parish is a true naturalist, and it is only through his deep connection to the land — hiking, camping and diving into some of the country’s wildest places — that he has been able to capture such a diverse breadth of flora and fauna. This connection provides the inspiration for his creative work, as well as respite and calm from periods of emotional and mental struggles the photographer has experienced. A portion of proceeds from the exhibition’s sales will go to the Queensland Alliance for Mental Health Inc. to assist others on the same journey. As One exhibits at Brisbane Powerhouse from 8 September to 4 October.
Knowing that you have a day off work is the kind of news that can make you want to dance. The Triffid agree, which is why their event for Ekka holiday eve is designed to make you move, groove and show off your fancy footsteps. At Dance to Guitars, you'll do just that, with the sounds provided by three of Brisbane's best indie rock DJs. Let Black Amex, El Norto and DJ Fluent JB share their record collections for your partying pleasure as you lose yourself in — and shake your stuff to — an eclectic collection of toe-tapping soul, funk, classic rock, beats, hip-hop, pop and indie tracks.
After a career that’ll give you opportunity to help, change and inspire? In a twist on the traditional careers fair, international brewers of ideas and talent Think Education are hosting the Festival of Change on Saturday, August 22. Major drawcards of the day are the keynote speakers: Australian swimming legend and all-round top guy Kieren Perkins, Nova 106.9 radio personality Ange Anderson, and director of digital agency Fresh Adam Penberthy, who started his first business at the ripe old age of 13 (he's grown up now). There’ll be workshops on everything from nutritional medicine to photography, plus experts on hand to answer your questions and give you the lowdown on all the courses on offer at Think Education campuses — across business, health, hospitality and design. Did we mention admission is free, and keynote addresses are just five bucks a pop? Whether you’re a budding entrepreneur with a million and one new app ideas, or you’re flailing and wondering what on earth you’re going to do with the rest of your life (or at least the next few years), this fest has got you covered. Find your passion or not, you're pretty much guaranteed to leave more inspired than you arrived. Register for workshops and other good stuff here.
What would the annual Brisbane Festival be without a visual arts celebration of the city the event calls home? And what would a showcase of all that's great about Brisbane be without input from those who live here and know it? Decking out the shopfront of the Judith Wright Centre of Contemporary Arts as well as select GOA billboards across town, I Am Brisbane hits both marks, after asking the general public to take a portrait reflective of someone they felt best epitomises Brisbane. The top 30 entries — 15 from schools, 15 in the open category — comprise an exhibition that surveys the city, its people and the many perspectives that stem from both.
How do you want to kick off the new year? We're not talking about the awesome party the night before, or the hangover that's certain to haunt you the next morning, but the manner in which you greet the day once it is well and truly underway — and once you've had some sleep. How about a barbecue, complete with food, games, drinks and a blissed-out atmosphere? It sounds pretty great — and it sounds even better when it is taking place at Statler & Waldorf. No, you don't have to do any cooking. Trust Paddington's resident gastropub — and the only such hangout named after Muppets characters — to come up with the perfect January 1st activity, whether eating something grilled and meaty, knocking back a cold beverage or two, or indulging your competitive side takes your fancy. We're not encouraging drinking contests, but we are rather excited about playing jumbo Jenga.
It's as much a part of the end of the year as busy shops, an overdose of all things red and green, family gatherings and determined resolutions. And, it's a whole lot more fun that that, even while you're wading through masses of people, and even when you're covered in mud. Yes, we're talking about the Woodford Folk Festival. The annual six-day frenzy is back once again, complete with a lineup designed to farewell 2015 and welcome 2016 in style. Topping off a massive year, Courtney Barnett helps headline the festival alongside perennial favourite Michael Franti, with more than 2000 performers and 438 events — spanning music, dance, cabaret, circus and comedy, plus workshops, debates, street theatre, films, forums and visual arts — also on the program. Whether you're heading along for a single day or camping for the entire duration, you're in for the kind of fun that only happens at one place at one time of year. 100,000 people will be sharing the action with you, and celebrating a special occasion, too. This isn't just another Woodford Folk Festival, after all, but the event's 30th outing.
We open on a hotel party, all the horrors of the world: a Hawaiian-themed engagement bash. Upstairs in her room, a single woman in her mid-thirties takes a swig of wine, stares into a mirror and convinces herself to join in… only to immediately abort and instead order room service, don her tracksuits pants and settle in to watch Silence of the Lambs. This is Nancy (Lake Bell), a sarcastic, self-deprecating and utterly cynical romantic train wreck. The following day, however, mistaken identity lands her on a blind date with Jack (Simon Pegg), and — against all odds — they hit it off. What follows is a sort of ‘un-romantic comedy’ transpiring entirely over the course of one evening, and while its outcome is formulaic, the journey is novel enough to warrant viewing. To its credit, Man Up dispenses with the ‘will he find out?’ subplot a lot faster than expected, focusing instead on Jack's subsequent outrage as its primary source of tension and drama. It also boasts some of the most realistic family writing in years, with Nancy’s parents, sister and brother-in-law providing a charming mix of laughs and tear-jerkers in practically every one of their scenes. Pegg and Bell hold the lion’s share of screen time, however, and their obvious chemistry keeps everything cracking along at a jolly pace. Man Up offers an amusing and — at times — honest perspective on modern dating, complete with drunken sobbing, burdensome baggage and unforgettable exes. With its “fuck the past!” mantra and enthusiasm for risk taking, the script's none-too-subtle critique of self-help books ultimately ends up proffering a fairly pronounced message of its own — but it’s not a bad one, and neither is the film.
When he's not playing the hero — anti- or otherwise —, Vin Diesel is quite the fan of Dungeons & Dragons. It's worth keeping that tidbit in mind as The Last Witch Hunter unravels, because that's where the film finds its basis. Cory Goodman, one of the movie's three writers, reportedly bonded with Diesel over their shared fondness for the fantasy role-playing game, then wrote a script based upon the actor's witch hunter D&D character. Goodman's love letter to his leading man's favourite pastime has since been filtered through two other scribes (Dracula Untold's Matt Sazama and Burk Sharpless), as well as Sahara and The Crazies director Breck Eisner. But that doesn't stop it from feeling like the indulgent exercise that it is. And while no one is decrying Diesel for wanting to do something on film other than driving fast cars furiously and exchanging lingering glances with The Rock, he's not asked to do much here other than look serious amid some supernatural special effects. As the movie's moniker gives away, Diesel's Kaulder is the final fighter of the bewitching folk who live among humanity, and has been for eight centuries. After he vanquished the Witch Queen in the 13th century, he was cursed with immortality, meaning years of trying to rid the world of the evil and enchanting. As his offsider (Michael Caine) prepares to retire and let a newcomer (Elijah Wood) take his place, a fresh source of wicked sorcery strikes. With his past the key to his present predicament, Kaulder must call upon bar-owning good witch Chloe (Rose Leslie) to help him plunge into his own memories and track down his new foe. That The Last Witch Hunter comes across as Batman-esque isn't just a byproduct of Caine playing a butler-like priest. When a moody, brooding warrior stalks the city streets slaying enemies, motivated by personal losses and a blistering sense of righteousness, it's not hard to find similarities between the two. Alas, the comparison doesn't bode well for the derivative film currently on screens, particularly when there's not much more of a plot to tie it to. Diesel tries his best to make his scowling charm cover up the lack of narrative excitement, but though his efforts are noted, they're not the magic fix the movie needs. Still, other than slick-enough visuals and a few fun touches (a ravenous monster for a prison and a tree bewitched to appear to grow gummy bears, for example), he remains the best element of the surprisingly action-sparse film. He might stand around more than you'd think he should, but you have to admire his dedication to the messiness that surrounds him. Audiences might not be engaged in the occult antics that pad out the film's running time, nor the plodding dialogue that does the same, but at least Diesel is committed — and considerably more so than his seemingly bored co-stars, as doesn't escape attention. Unfortunately, as the later two Riddick films proved, his enthusiasm isn't enough to brighten up the blandness he willingly and affectionately wades into when he's not behind the wheel of a high-octane franchise. https://www.youtube.com/watch?v=xsuG2JUgs_8
Take a love story, add in aliens and a world damaged by intergalactic war, and you have The Motion of Light in Water. No, it's not coming soon to a screen near you — it's what happens when La Boite Indie goes sci-fi. In Elbow Room's imaginative play, two embattled young beings find each other, despite hailing from separate ghettos of a vibrant, violent city. Romeo and Juliet and Westside Story, this isn't, though. Their companionship springs from their shared struggle against the codes of gender, race and economic class. It also jumps from '60s New York to the 22nd century, as The Motion of Light in Water offers a celebration of how we dream the future into being. In this mix of music, language, movement and light, the life and work of Samuel R. Delaney and Marilyn Hacker proves influential — and if you don't know who these American writers are before watching, you'll want to find out afterwards. Image via Lachlan Woods.
In her latest exhibition, Cigdem Aydemir presents a picture of a veiled woman on a beach. The Sydney artist has taken the name of her Boxcopy show, I won't let you out of my sight, from lyrics from the Baywatch theme, after all. And exploring the implications of the veil — as a culturally constructed site and of the veiled woman cipher as a resistant female — recurs in her pieces. Indeed, Aydemir's identity as an Australian Muslim woman with Turkish heritage has continued to influence her work, including her award-winning Bombshell, which won the Redlands Art Prize for playing with Marilyn Monroe's iconic dress scene in The Seven Year Itch. This time, as well as nodding to red-clad television lifeguards, she finds inspiration in the approaching 10th anniversary of the Cronulla riots. Aydemir's exhibition looks at the implications of gender amid rising racial tensions, the war on terror, the role of surveillance and the effect it has on different bodies. It also examines the complicated relationship between feminism and Muslim women. Thanks to I won't let you out of my sight, you won't look at beachside bathers in the same way again.
If koalas are considered among Australia’s national treasures, then a certain cute, cuddly critter must be their king. He’s the one everyone knows by name, even though he’s fictional. He’s graced books since 1933, thanks to author Dorothy Wall. Yes, he’s Blinky Bill. In his second big-screen outing following the 1992 movie that shares his name, Blinky (voiced by Ryan Kwanten) is up to his usual brand of cheeky trouble, though his intentions — like his heart — remain in the right place. When his father, adventurer Bill (Richard Roxburgh), leaves their sanctuary of Green Patch to chase white dragons and hasn’t returned a year later, Blinky decides to search for him. He knows that his mother (Deborah Mailman) will disapprove, but with treacherous goanna Cranklepot (Barry Otto) trying to take over their home, the young koala is certain that wandering the outback is the right thing to do. An animated — in both the colourful cartoon style and the lively antics they depict — escapade awaits in Blinky Bill the Movie, first journeying into a roadside store, and then venturing through several dangerous situations. Along the way, Blinky meets Nutsy (Robin McLeavy), a zoo koala unhappy about the idea of not being in captivity. He also attracts the attention of feral cat (Rufus Sewell) with sinister plans, seeks the assistance of a wandering wombat (Barry Humphries) and a stranded frill-necked lizard (David Wenham), and befriends two emus (Toni Collette) who help him hitch a ride. The celebrity voices, particularly a charming Kwanten boasting his native accent for a change, help enliven a film that’s sweet but standard from start to finish. The feature's primary director, Deane Taylor, is content to stick with cliches when it comes to the story, hence the upbeat goings-on, array of comic sidekicks and fearsome feline. These days, it wouldn’t be an animal-oriented effort without a cranky kitty as a nemesis. Buried underneath a family-friendly caper filled with slapstick sight gags is a slight, brief statement about Australia's treatment of asylum seekers, as seen in Cranklepot's desire to lock off Green Patch from outsiders; however, comic chaos always trounces commentary. The smooth edges you'll see in the computer-generated imagery also extend to the content, it seems, with even the usual environmental message typically included in Blinky Bill efforts absent. What stands out instead, and not always in a good way, is an overdose of Australiana and slang, as often seen in our nation's amusement-oriented, all-ages films. Accordingly, for those who won't just find an anarchic koala fun just for the sake of it, Blinky Bill the Movie works well enough as a piece of nostalgia about an Australian icon. Delving beyond that is less fulfilling, though the film doesn't demand it, given that it really is aimed more at young audiences than the young at heart.
Michael Ware, the lawyer turned Courier-Mail, Time and CNN journalist turned filmmaker, calls Only the Dead a film that wasn't meant to be made. His documentary is cobbled together from hundreds of hours of footage he shot while in Iraq as a reporter, with a movie never part of his plans. Perhaps that's why the trembling handicam images feel immediate and urgent, even in a time where alarming visuals of combat have become commonplace. Only the Dead charts Ware's obsession with Abu Musab al-Zarqawi following the U.S. invasion and occupation of Iraq. Al-Zarqawi wasn't a point of focus for many at the time, but his brutal methods — starting with suicide bombings, then escalating to filmed beheadings of foreign hostages and worse — certainly earned him increasing attention. The faction he founded would become the Islamic State. There's more to Ware and al-Zarqawi's story, just as there's more behind the documentary's existence. Many of the remarkable sights contained within only became possible after Ware forged a connection with the insurgents, who began to feed him discs of their own videos, wanting him to disseminate them to the western media. Becoming an unofficial intermediary, he was placed in a tenuous and tricky position. While Only the Dead doesn't delve into the ethical side of Ware's interactions, it does chart the clear influence the situation had upon his viewpoint. A picture really does speak a thousand words in that regard, although the film isn't short on the latter — filling in the history of the Iraq war, as well as conveying Ware's reflections. Context is helpful, but verbal explanation almost seems unnecessary given how striking the shaky footage proves. And yet, there's something about the combination of distressing visuals and voiceover insights that hits the mark. Ware is the key, starting out "young and dumb enough for war to have its false sense of adventure", but slowly changing as a result of his time chronicling the Iraqi conflict. As his narration makes plain, even as the film depicts violent and bloody events gone by and horrors occurring in a nation far from his own, this strory is overwhelmingly personal. Entertainment, this is not. Cast Homeland, American Sniper or any other screen effort that claim to dissect the war on terror far from your thoughts. Ware's offering — as co-directed with veteran filmmaker Bill Guttentag — walks in the shoes and offers the mindset of someone who's there, and is then lucky enough to be able to look back at what he lived through. It's worth remembering that his account, though released within a world now brimming with YouTube videos and social media posts from those on the ground, predates this now unavoidable phenomenon. You might have seen the likes of Ware's offering before; however prior to this, you've never been brought not just beyond the front lines, but into the complications of his harrowing journey. https://www.youtube.com/watch?v=BWdi8JJG-7U
Everyone in Brisbane knows about the Judith Wright Centre of Contemporary Arts — but how many know about the woman who gives the venue its moniker? Before her passing in 2000, Wright was a famed writer and poet, as well as a conservationist and human rights advocate. She had a way with prose, and campaigned for the environment and the nation's indigenous populace. Yes, she was an inspiring figure all-round, which is why her name now adorns one of Fortitude Valley's favourite creative spots. And, to commemorate the centenary of her birth, she's also the subject of an artistic tribute. Motivated by a great respect for Wright and her legacy, Fiona Rafferty and Frances Smith have worked together to celebrate an influential artist and activist. Paintings, works on paper and ceramic creations pay homage to Wright, her career and impact. Of course, there's only one place that could play host to the end result.
Festival-loving Eastsiders, clear your schedules for the second week of November. Not only is the beloved Bulimba Festival returning after funding issues threatened otherwise, but what was a single day of fun has now turned into a whole week of activities. Running from November 9 to 15, the fifth annual Oxford Street-centric party has moved to later in the year — and that's not the end of the good news. After six days of showcasing what makes living in the riverside suburb so great, the festival will come to an end with the mixture of music and markets that is Lunch on the Lawn, headlined by local indie legends The Grates. Given that the Southside Tea Room and Death Valley — the two Morningside establishments owned by the band's vocalist Patience Hodgson and guitarist John Patterson — are only a stone's throw away from Bulimba, they're the ideal to candidates to cap off what promises to be an exciting revamped event. Lunch on the Lawn also boasts all the browsing regulars know and flock to, plus food options, a licensed area and a VIP bar. Those heading along for the tunes will be treated to a lineup of some of Brisbane’s best burgeoning bands — including Cheap Fakes, Halfway, Avaberee, Eden Mulholland and Greg Chaipello — as brought together by The Triffid. The rest of the festival features everything from a tasting day to showcase the area's best eateries to the suburb's first No Lights No Lycra dance party, plus movies in the park on Friday the 13th and a river regatta. Yes, there really is something for everyone. Yes, that really is how you throw a suburb-wide celebration. The 2015 Bulimba Festival runs from November 9 to 15 at various venues across the suburb. For more information, visit the festival website.
Oysters are the kind of seafood that you either love or hate; maybe their salty taste and slimy texture tantalises your tastebuds, or maybe it doesn't. If you fall into the first category and you happen to be fond of beer, too, then Green Beacon has the event you've been dreaming about. That'd be the annual Green Beacon Oyster Festival, which returns for another round of saltwater clams and some of Brisbane's best brews. The Teneriffe-based bar and brewery will source six varieties of the freshest oysters in Australia, shuck them to order, and offer up an ocean's worth of specials — such as a mixed half dozen and a beer for $20. Bargain. When it comes to washing it all down, you can choose from Green Beacon's usual brews, of course, or you can treat yo'self to something more in line with the occasion. A single keg of Oyster Stout will be running through the taps, should you be feeling adventurous. We say: when at an oyster festival, and all that.
