Brisbanites, it's time to make plans. Sunset Cinema is back for a huge month and a half of movies, and you've got plenty to see. Fancy a romantic evening under the stars with your special someone? A relaxed hangout with the gang? A night of family fun with the littlies? That's the joy of heading to an outdoor cinema — there's truly something for all. Screening at Mt Coot-tha Botanic Gardens from Thursday, February 28 to Saturday, April 13, this year's Sunset Cinema delivers all of the essentials. Those beanbags aren't going to get cosy by themselves — and those bubbles and brews aren't going to drink themselves either. All that's left is for you to pick the right flick and make a stress-free night of it. From all-ages delights to date night picks to films made for watching with friends, here are your next four nights at the movies sorted. https://www.youtube.com/watch?v=ywkF1lj5wyI MATES NIGHT: A STAR IS BORN Just when you thought that Lady Gaga had done everything that she possibly could, she sheds her over-the-top persona and becomes a star — again. Playing a waitress who's thrust into stardom after a chance encounter with Bradley Cooper's booze-soaked rocker, her performance in A Star Is Born remains a revelation. It's not her first stint in front of the camera by any means, but it is her most powerful and affecting. Those two words also describe this tale of love, fame and the cost of both, which marks the fourth time a flick of this name has told this story. As for Cooper, he turns in his best work in years in front of the camera, while also stepping behind it to make his directorial debut. Be prepared to belt out Shallow with your mates for the rest of summer. Showing: Saturday, March 16 and Wednesday, April 3 https://www.youtube.com/watch?v=8VuHV5Pm_ZE FRIEND DATE: CAPTAIN MARVEL It took 21 movies and more than a decade, but the Marvel Cinematic Universe finally has its first flick that solely focuses on a female superhero. Captain Marvel (Brie Larson) has plenty of company in the film that shares her moniker — particularly Samuel L. Jackson as Nick Fury — but this is the popular kick-ass character's time to shine. If you need some backstory, that's what the movie is all about, setting its action in 1995 in a time long before a lot of MCU's antics (and, yes, long before the events of Avengers: Infinity War and its forthcoming sequel). As ex-US Air Force fighter pilot Carol Danvers becomes the titular hero, she just has to casually save the world, as you do, in an all-star affair that also features Jude Law, Annette Bening, existing MCU members Clark Gregg and Lee Pace, and Australia's own Ben Mendelsohn (as a villain, naturally). Showing: Saturday, April 13 https://www.youtube.com/watch?v=JCWHr6AUxwI DATE NIGHT: INSTANT FAMILY Rose Byrne, Mark Wahlberg and a trio of kids. That's Instant Family. When thirty-something couple Ellie and Pete Wagner start taking comments about their childless lives to heart, they also start thinking about helping kids in need — however, becoming a foster parent isn't as easy as it sounds. Drawn from the real life of Daddy's Home director Sean Anders, a foster parent himself, this broad comedy charts the ups and downs of suddenly caring for three tykes — and benefits from being made by someone who's been there and done that. It also lets Aussie star Byrne show off her comedic talents once again, so if you loved her work in Bridesmaids and Bad Neighbours and its sequel, you'll love her here as well. Showing: Saturday, March 9 https://www.youtube.com/watch?v=hMe7hUb3TpI FAMILY NIGHT: MARY POPPINS RETURNS More than five decades ago, a spoonful of sugar helped the medicine go down — and supercalifragilisticexpialidocious was a word to sing about. Now, it's time to trip a little light fantastic and remember that a cover is not the book. Yes, Mary Poppins is back, as played by a pitch-perfect Emily Blunt, and cinema is all the better for it. If you grew up watching the 1964 classic, this is a nostalgic blast from the past that still manages to enchant on its own merits. If you're introducing a whole new generation to the magical nanny who floats in on an umbrella, croons about stuff and nonsense, and teaches engaging life lessons, prepare to watch their faces light up with joy. Showing: Friday, March 15 and Friday, April 12 Sunset Cinema will take over Mt Coot-tha Botanic Gardens from Thursday, February 28 to Saturday, April 13. Check out the full film program and book tickets here.
It was only a matter of time before the ambitious Lost team realised they’d have to go out on a limb to accommodate the massive crowds they’ve been pulling with their recent gigs and events. That's why, with a juicy-as-always lineup, their latest event, Lost Gig #1 takes live performance to a whole new level — secret warehouse style. In a location neatly tucked away in the Valley – you’ll never guess where, Lost Gig #1 will be hosting a tasty selection of bands, beats and artists with a Vietnamese street food stall to please those with an appetite for music and spring rolls. New kids on the block, Skinnie Finches, will be joined by favourites Foxsmith, Seahorse Divorce, Mega Ogre and a few other up and comers all for the price of $10 before 8pm, and $15 after. With a string of Lost Movements gigs, Scribble Slams and funk-fuelled projects under their belt, the team at Lost have made it their duty to keep your ears ringing with the best baked local entertainment – join the mad frenzy for the fresh sounds of Lost Gig #1.
Last year, Brisbane Queer Film Festival came of age, hitting the big one-eight. As everyone who's been there and done that knows, that doesn't make turning 19 any less of an occasion — and, in the case of Brisbane's longest continuously-running local film festival and it's 2018 lineup, it means another round of celebrating lesbian, gay, bi, trans and gender-diverse cinema. From March 8 to 18, that's what's on offer as BQFF settles into New Farm Cinemas once more. Forget trying to catch fleeting glimpses of potentially queer-friendly characters in big budget franchises — this festival is all about films that wear their love for LGBTIQ+ themes, protagonists and stories loudly and proudly, and in efforts big, small, old, new, factual and fictional. With that in mind, here are our five must-sees from this year's program. https://www.youtube.com/watch?v=pAY933ULA2Q DESERT HEARTS A rare chance to see an essential film on the big screen, Desert Hearts might be the last flick screening at this year's BQFF, and but it's also the most important. When Donna Deitch's debut was released more than three decades ago, it was a pioneering work of queer cinema — and while the lesbian awakening effort didn't get the widespread attention it deserved at the time, it helped pave the way for everything that followed, including the applauded Carol. Here, a trip to Reno to finalise a divorce sees a professor find new love when she least expects it. Prepare to swoon not only over the movie, but over seeing it in on the silver screen in all of its gorgeously shot glory. https://vimeo.com/238747684 THE WOUND Shortlisted for this year's best foreign-language Oscar but not quite making the final batch of nominees, The Wound has been making a splash at festivals over the past year — and finally makes its way to Brisbane screens. The first film by South African writer/director John Trengove, the intimate drama takes audiences into the country's Xhosa community, not only setting its tale there, but finding the feature's non-professional cast from its ranks. Exploring the circumcision ritual used to mark a boy's passage into manhood, it hones in on a secret relationship between two men charged with overseeing the next batch of teenagers awaiting the ceremony. https://www.youtube.com/watch?v=JVhsZTzfsog AFTER LOUIE Alan Cumming puts in a knockout performance in After Louie, playing a former AIDS activist trying to reconcile his past and his present after spending years fighting for recognition, and just as long coping with losing his friends. A must for fans of the actor, it's also a great companion piece to the acclaimed French flick BPM (Beats Per Minute), which is currently screening at the Alliance Francaise French Film Festival; both find their basis in the real lives of their filmmakers, former ACT UP members who campaigned for better HIV treatment during the '80s and '90s, and weave that reality into their very personal dramas. https://www.youtube.com/watch?v=Ml_hklgKMnM THE FEELS The Feels starts with a familiar template: take a group of friends, place them in the same space for a few days, and watch the revelations, dramas and laughs fly. The fact that the film's characters are doing just that on a bachelorette weekend might also feel familiar, but turning it all into a comedy about the female orgasm is definitely far from standard. That's the outcome when brides-to-be Andi (Constance Wu) and Lu (Angela Trimbur) bundle up their best pals for a pre-wedding trip to Northern California wine country, and more than vino flows freely. https://www.youtube.com/watch?v=E0cbWdlQg_8 LOVE, SIMON Hollywood teen rom-coms don't usually pop up on BQFF's program, but Hollywood teen rom-coms don't usually follow a 17-year-old boy grappling with his love for a classmate he's fallen for online, all while struggling to tell anyone he knows that he's gay. A certain crowd-pleaser that's based on the book Simon vs. the Homo Sapiens Agenda, it's a coming-out coming-of-age flick with plenty of heart — and the kind of film that mainstream cinema should be making more of — featuring Jurassic World's Nick Robinson in the lead, as well as the recognisable likes of Jennifer Garner, Josh Duhamel and Tony Hale. If you're after more BQFF highlights, check out Freak Show and A Moment in the Reeds from our 2018 Mardi Gras Film Festival pics, and I Dream in Another Language from our 2017 Sundance Film Festival list. Brisbane Queer Film Festival 2018 runs from March 8 to 18 at New Farm Cinemas. For more information, visit their website.
When West Village revamped its chosen patch of West End, it took over a site of significance. From 1928–1996, the Boundary Street spot was home to the Peters Ice Cream Factory, which churned out frosty dairy desserts for seven decades. That's why, to mark the precinct's past, West Village hosts an annual ice cream festival — and, from June, it'll also be home to Anita Gelato. The international chain already has stores in Barcelona, New York, San Juan, Tel Aviv and Sydney, but its new West Village spot will mark its first Queensland shop. Its specialty: boutique handmade gelato, with more than 150 flavours in its range. That hefty lineup includes yogurt and sorbets, too, as well as its organic, sugar-free, fat-free, soy-based and real cream-based gelato. For those new to the brand, it started almost 20 years ago in the Mediterranean, with its namesake and her youngest son Nir making frozen desserts for their friends and neighbours. Then, Nir began selling their ice creams — which use Anita's homemade jams for flavour — at local markets. Opening a store was the next step, then more followed around the world. Those jams, still made in Anita's kitchen, remain a feature — although you can choose from other toppings, such as fresh fruit, syrups and chocolate. When it opens its doors — with the exact date yet to be announced — Anita Gelato will join the likes of Beirut Bazaar and Harris Farm Markets at the expanding West End spot, with the latter due to launch in May. It'll add to Brisbane's sizeable list of ice cream and gelato joints, because this particular dessert does go particularly well with our usually warm and sunny climate. Anita Gelato will open at West Village, 97 Boundary Street, West End, sometime in June — we'll update you with an exact date when one is announced.
Fresh from winning the 2020 Australian Music Prize for their latest album, The Avalanches are hitting the road and bringing the acclaimed sounds of We Will Always Love You to Melbourne, Brisbane and Sydney. Between late April and the end of May, the beloved Australian electronic act will be touring the east coast and doing one of the things it does best: filling live music venues with its inimitable sample-based tunes. If you haven't seen Robbie Chater and Tony Di Blasi do their thing live, you're in for a treat. If you have, you'll know what you're in for. Either way, you'll hear tracks from the group's latest record — which features MGMT, Rivers Cuomo, Denzel Curry, Johnny Marr, Neneh Cherry, Perry Farrell, Karen O, Mick Jones, Sampa the Great, Tricky and more, and released last December — and, obviously, tunes from 2000's iconic Since I Left You and 2016's Wildflower, too. The tour kicks off in Melbourne on Friday, April 23, which isn't actually new news. In fact, that show at the Sidney Myer Music Bowl — The Avalanches' first live gig since releasing We Will Always Love You — is basically sold out, with just private deck tickets still available. If you're in Brisbane, though, you'll want to mark Friday, April 30 in your diary. And, for Sydneysiders, you'll need to block out Thursday, May 27. The Avalanches will play the Brisbane Riverstage in the Queensland capital, and Enmore Theatre in NSW — with pre-sale tickets going up for grabs from 10am local time on Wednesday, March 24, and general public sales hitting at the same time on Thursday, March 25. If you now have perhaps the biggest and best Australian-made earworm of the past two decades stuck in your head — that'd be 'Frontier Psychiatrist' — that's understandable. Expect it to live there for at least a few days. And if you're now looking forward to a big live gig after a lean year for music fans, that falls into the same category. https://www.youtube.com/watch?v=TvZpn322LxE THE AVALANCHES 2021 EAST COAST TOUR DATES Melbourne — Friday, April 23 at the Sidney Myer Music Bowl Brisbane — Friday, April 30 at the Brisbane Riverstage Sydney — Thursday, May 27 at the Enmore Theatre Pre-sale tickets for The Avalanches' Brisbane and Sydney shows go on sale at 10am local time on Wednesday, March 24, with general public sales hitting at the same time on Thursday, March 25. Visit the tour website to sign up for pre-sale and for further details. Top image: Grant Spanier.
Two blasts are breezing into Munich Brauhaus on Saturday, July 6: a blast of wintry fun and a blast from the past. Why simply celebrate the coldest part of the annual calendar, when you could be getting warm and also pretending that it's three decades ago? A winter party and a retro throwback all in one, the 80s Retro Apres-Ski Party is all about wearing the ski gear you've got stuffed at the back of your closet from that snow trip you took years ago, playing the venue's usual array of German-themed games (involving steins and pretzels, naturally) and crooning old-school tunes. First, from 7pm, you'll eat, drink, dance and get involved in the various contests. Then, from 9pm, it's sing-along time. Expect all of the greats, both in terms of artists and songs — although a good karaoke night depends as much on willing performers as it does an ace selection of music. Munich Brauhaus will take care of the latter, with Madonna, Prince, Blondie and Queen on the playlist, and 'Come On Eileen', 'Tainted Love', 'Jessie's Girl' and 'Take On Me' as well. It's up to you to take care of the former.
The wait to Easter (and a well-deserved break) has felt like it's taken a lifetime this year — but the countdown is well and truly on. Right now, you're probably just hankering for a sleep-in and permission to eat chocolate for breakfast. Soon enough though, you'll be looking for some ways to fill your four delicious days off. And Topgolf may just have the answer. Located on the Gold Coast, this slick new modernised driving range uses microchipped golf balls, so you can track and gain points for accuracy and distance. Each climate-controlled hitting bay can hold up to six players and you can enjoy food and drinks while you play. And this month, you won't need to be a burgeoning Tiger Woods to be a winner. Getting right into the Easter spirit, Topgolf is running a special 'golden ball' competition with hundreds of prizes up for grabs. From Saturday, April 6, Topgolf will be distributing special golden balls through its ball dispensers and players who stumble across one of these lucky balls will receive an instant prize — from Drummond Golf gift cards to Topgolf merchandise and drink vouchers. The competition will be running right up to and across the Easter long weekend so, if you're prone to losing out on the family chocolate egg hunt, hop along here and you might have a bit more luck. For more information on games and pricing, visit the website.
Brisbanites are gifted brag-worthy sunshine and clear skies almost all year around, which makes for perfect outdoor gig and picnic weather. As the site did back in 2018, the Brisbane City Botanic Gardens is letting everyone make the most of Brissie's ace climate with a Gigs & Picnics series. Taking place on the last Saturday of most months — running from 12–4pm on February 23, March 30, April 27, May 25, June 29, July 27, October 26 and November 30, in fact — the event will rustle up some of the city's best food trucks, put on some free tunes and invite folks to get cosy on their own blanket all afternoon. Entering through the main gateway at the intersection of Alice and Albert Streets, attendees can expect everything from jazz and modern reggae to dub and gypsy, all in gorgeous greenery-filled surroundings. You can also order a picnic basket in advance, which'll be there for you on the day. Or, if you're bringing your own feast, just remember that the gardens aren't BYO. Image: Gigs & Picnics. Updated October 21.
Philip Johnson, one of Brisbane’s most beloved chefs is opening his newest creation, One Eleven. One Eleven will be multi-faceted with an espresso bar for casual dining (open from today) and a bistro for more formal dining opening in September. Espresso One Eleven will serve coffee, drinks and light meals and will be perfect for those looking for an affordable and quick bite to eat. Bistro One Eleven will have more formal dining, aimed towards the corporate crowd. The bistro will be open for breakfast, lunch and dinner during the week, and open for dinner on Saturday nights. If One Eleven is set to follow in the footsteps of its older sibling, E’cco Bistro, then we all have a great deal to look forward to. E’cco has been an award-winning Brisbane institution since 1995 and continues to uphold impeccable standards in service and quality of food. The E’cco formula includes a welcoming and comfortable environment with high-quality produce prepared in simple but utterly delicious forms. If Johnson sticks to this, then we know One Eleven will be brilliant. You can find One Eleven on the ground floor of Brisbane’s newest office building, One One One Eagle Street, overlooking the Story Bridge.
If pastel wasn't already part of your gig-going wardrobe, it will be at Australia's newest music festival, with Client Liaison's Expo Liaison touring the country in August. Announced back in May, the seven-hour event will hit Melbourne, Perth, Sydney and Brisbane across August 18–26, and the headlining duo will have quite the company. Alongside a roster of eight other acts, the duo's own set will also feature John Farnham. Alice Ivy, Ken Davis, Kon, Luke Million featuring KLP, No Zu, Rainbow Chan and Total Giovanni are all on the bill, plus John Howard doing a DJ set. Whether that's John Howard the former prime minister, John Howard the Aussie actor or just some other guy called John Howard, well, your guess is as good as ours — but Triple j are reporting that it's the former. As for the kind of vibe that's in store, the curated event has fest badged "a multimedia, multi-city, multiversal experience" in its promotional material, as well as a "once-in-a-lifetime event". They're the kind of descriptions that plenty of gigs and fests throw around, but Client Liaison have a track record of delivering more than just the usual shows — or fashion lines or music videos, for that matter. Tickets are currently on sale across all four cities, and if you're keen to hear the duo's own thoughts on the festival, check out the Expo Liaison trailer: https://www.youtube.com/watch?v=AgSsrdVHnh0&feature=youtu.be Expo Liaison heads to Melbourne's Flemington Racecourse on August 18, Sydney's Parramatta Park on August 25 and Brisbane's Victoria Park on August 26. Head to Client Liaison's website for further details and to buy tickets.
It has been 64 years since Godzilla first rampaged across through Tokyo, and the super-sized creature isn't done wreaking havoc. Like comic book characters and Star Wars, the king of the monsters is a cinema mainstay — and it's asserting its place atop the kaiju food chain in the trailer for Godzilla: King of the Monsters. If you haven't kept track of the Japanese figure's many, many screen appearances, this is its 35th. It's also the sequel to the last American-made Godzilla film, which hit screens back in 2014. Featuring an all-star cast of Vera Farmiga, Ken Watanabe, Sally Hawkins, Kyle Chandler, Millie Bobby Brown, Bradley Whitford, Thomas Middleditch, Charles Dance and O'Shea Jackson Jr, the movie explores humanity's efforts not only against Godzilla, but against the huge critter's own beastly enemies: Mothra, Rodan and the three-headed King Ghidorah. Godzilla: King of the Monsters is due in cinemas on May 30, 2019 — and it'll be followed by another monster mashup in 2020's Godzilla vs. Kong. If the title didn't make it obvious, the latter also acts as a sequel to 2017's Kong: Skull Island. Starring Alexander Skarsgård, Millie Bobby Brown, Rebecca Hall, Brian Tyree Henry, Julian Dennison, Kyle Chandler and Demián Bichir, and filming now, it's partly being shot in Queensland. https://www.youtube.com/watch?v=5LzbZMCJiLo&feature=youtu.be Image: Courtesy of Warner Bros. Pictures.
When it comes to a piece of gallery curated art, half its story tends to lie in its caption – where, when and how it was painted, and what the artist was trying to say. And there’s no artist who understands the powerful connection between story, text and art better than Dr Theresa Renando. Jugglers Art Space’s newest exhibition, Re-imagining Narratives, is a culmination of the appreciative inquiry doctoral research project by Renando. Her research is presented via visual and narrative forms, at the hands of an exploration of the stories of 479 people their personal spirituality and what an ideal form of spirituality might look like in the future. This deep, well rounded perspective into theology, cultural studies and of course art, is as rich as it is strange, and is a window into how and why the everyday tends to reflect moments of obscurity. There is a welcome deepness and intense thoroughness to Renando’s work, one that she has long been personally exploring as a researcher, facilitator of learning and mixed media artist. Catch the opening of this exhibition on Friday, July 11, at 6pm, or trek along during the gallery’s opening hours till June 21.
UPDATE, August 16, 2020: Cold War is available to stream via SBS On Demand, Google Play, YouTube and iTunes. "I knocked, I cried; she wouldn't open up," sing violin and bagpipe-playing musicians in Cold War's very first moments. What apt and evocative words they prove. Set in a decimated Europe as the Second World War gives way to the film's titular period, Pawel Pawlikowski's sweeping, melancholic romance is steeped in a place and a time where deeds, sobs and pleas for help go unnoticed. The writer-director's native Poland might sport a facade of recovery, and charge a folk ensemble with crooning appropriated music to set the requisite tone, but the nation remains an unforgiving master for those that walk its lands. When the movie spends much of its second half in the jazz-soaked bars of the Parisian music scene, it treads through just as complicated terrain. Meeting during an audition — she sings and confirms that she can dance; he decrees that she has "energy, spirit; she's original" — Cold War's star-crossed lovers navigate a rocky path that unfurls across the 50s and 60s. Music director Wiktor (Tomasz Kot) is soon desperate to leave the country, an action that's as simple as walking across the border while touring near East Berlin. As rumours about her background demonstrate, the youthful Zula (Joanna Kulig) is not one to comfortably submit to anyone or anything. Other than the strength of their feelings, nothing is easy about Zula and Wiktor's relationship. Nothing is easy, period. The movie jumps forward in fits and spurts, and yet three things stay constant: music that adds a haunting soundtrack to both hopeful and bleak days; unease that chips away at even the happiest of times; and Zula and Wiktor, who forever orbit around each other. Cold War may be a film where the yearnings of the many go unnoticed by the cruel, harsh world, but the same never applies to the deep-seeded bond between its protagonists. Wiktor notices every sentiment and sensation that courses through Zula's veins, and vice versa. Yet their love can't penetrate the fraught, uncaring environment they're living within. There's a resigned air to the movie, one mirrored by the changing tones and moods of the song that Zula's always singing. Pawlikowski may have based the picture's narrative on the most personal of stories — that of his parents, who share the characters' names and earn the film's dedication — but his gaze is clear. The winner of the Best Director award at this year's Cannes Film Festival is resolute in depicting the oppressive turbulence of the era, and in relaying the crushing vagaries of life in general. Making his first movie since the similarly exceptional Oscar-winner Ida, Pawlikowski retains his penchant for crisp, black-and-white visuals, all constrained within tight 4:3 frames. The boxed-in shape draws the eye just as Zula and Wiktor are repeatedly drawn together, and the smaller space makes every detail count. As sumptuously shot by cinematographer Łukasz Żal, the result is imagery so dense, luminous and intoxicating that it seems as if the filmmaker is painting every possible emotion across the screen. Visions of cavernous churches and busy clubs prove pregnant with feeling, and the expressions adorning Kulig and Kot's faces even more so. Where Cold War is at its aesthetic best, however, is when the camera floats and wanders and keeps pace with the picture's main players. A fluid late dance scene where Zula moves with abandon to 'Rock Around the Clock', the lens following along with her, is filmmaking at its most enthralling. It helps that Pawlikowski and his frames clearly adore Kulig and Kot. It helps, too, that the entrancing central pair don't so much invite but demand adoration. Whenever the camera shifts away from either, their absence is instantly felt, although this masterpiece never shifts away for very long. Zula and Wiktor's knocks and cries might largely remain silent, yelled with their eyes rather than their words, however Cold War's devastating lead performances convey the impact of every internalised ache and pain. Indeed, in a bittersweet finale that sears itself into memory like few celluloid moments ever manage, Kulig and Kot unburden a world of insights about simply trying to survive. And they do so while uttering the scantest — yet still most utterly perfect — of lines. https://www.youtube.com/watch?v=kSYHHLk12x8
Some films are just fun. They don’t have to be particularly good, and can even be so enjoyably bad as to become 'guilty pleasures'. Consider 2012’s Battleship. It’s an unbelievably stupid movie, so devoid of plot that the two-page instruction manual for the board game contains better exposition, but if it’s on, you can bet I’ll end up watching it. The Man From U.N.C.L.E. is almost one of these films. It’s fun, definitely, but not quite enough to feel like it will satisfy the ‘re-watchability test'. Like Mission Impossible, The Man From U.N.C.L.E. is based on a '60s television spy series, and in fact owes several of its key characters to Ian Fleming (who only withdrew from production once EON became worried it might impact upon his Bond films). The concept revolved around two agents, one an American named Napoleon Solo (played here by Man of Steel’s Henry Cavill) and the other a Russian named Illya Kuryakin (The Social Network’s Armie Hammer), who together took on the amusingly named T.H.R.U.S.H. Organisation. The forced partnership of antipodes has often proved a fertile device in storytelling, from Lethal Weapon's pairing of a black cop with a white one in 1980s LA during a period of tense race relations to that of a male spy with a female one in 1977’s The Spy Who Loved Me. The original Man From U.N.C.L.E. debuted less than two years after the Cuban Missile Crisis, making the undercurrent of Cold War cooperation both radical and remarkably progressive, as well as contributing significantly to its combined critical and popular success. Today, it carries a lot less weight, meaning The Man From U.N.C.L.E. feels particularly low in chemistry and tension, especially since the East/West clash is scarcely addressed. After some early (and excellent) bickering between Solo and Kuryakin, the unwilling companions never again wrangle over anything more substantial than the use of pet names for each other — ‘Cowboy' and 'Red Peril' — robbing the film of perhaps its only source of weighty antagonism. The Man From U.N.C.L.E. is, of course, just the latest in a series of, well, series that have been adapted for the big screen, only in this case there are two key distinctions. For one, it remains in the era of its progenitor, meaning the film is every bit swinging '60s, with its swanky costumes and groovy soundtrack matched by direction from Guy Ritchie that makes frequent use of split screens and transition wipes. Secondly, it’s not a parody. There are no in-jokes or tips of the hat to the original series, as per other recent offerings such as The A-Team, 21 Jump Street or Charlie’s Angels. That The Man From U.N.C.L.E. plays it straight makes for a refreshing change, but — just as was the case with 1998’s The Avengers and 2013’s The Lone Ranger — its attempt to recapture the charm of the original series unfortunately falls short of the mark, and its US-PG status renders it a particularly tame outing for someone like Ritchie at the helm. It feels more like Ritchie doing Soderbergh doing Mad Men, and while that may make it more child-friendly, it dulls the film for anyone who might actually remember the TV show. The cast, too, while aesthetically perfect, somehow fails to quite hit the mark. Cavill looks and sounds impossibly smooth (think Patrick Bateman minus the psychosis), while Hammer sports a cartoonish Russian accent and plays it with all the charisma of a turnip. Alongside them, Alicia Vikander somehow feels absent despite loads of screen time, Australian Elizabeth Debicki has fun as the unflappable villain, and Hugh Grant puts in the film’s best performance, making his cameo a tempting substitute for the lead should the film ever actually progress to the sequel it unashamedly sets up at its close.
Over the past six months, Fleabag picked up six Emmy Awards and two Golden Globes, becoming the most-acclaimed TV comedy of the past year. Sadly, that isn't enough to inspire Phoebe Waller-Bridge to make more episodes of the hit show — but for everyone lamenting the Fleabag-sized hole in their lives, the multi-talented Brit has a new project landing soon. She has a couple, actually. Waller-Bridge helped write the script for upcoming Bond flick No Time to Die, which is no small feat. If you're keen to see her on-screen, however, then you'll want to add Run to your must-watch pile. Waller-Bridge executive produces and pops up among the cast, with Vicky Jones — the director of her Fleabag stage show, and a script editor on Fleabag's first TV season — writing and producing the series. Hitting HBO in the US in mid-April, with release dates Down Under yet to be revealed, Run spends time with ex-lovers Ruby Richardson (Unbelievable's Merritt Wever) and Billy Johnson (Star Wars: Episode IX — The Rise of Skywalker's Domhnall Gleeson). They dated in college and, 17 years ago, they made a pact. First, one of them has to text the word 'run' whenever they feel like it. Next, the other has to respond the same way. After that, they both have to drop everything, step away from their everyday lives and meet at Grand Central Station, then travel across the America together. For Ruby, that means escaping her monotonous existence and leaving her husband (Mad Men's Rich Sommer) at home. As for what happens next, the just-released first trailer gives a sneak peek. Expect plenty of chatty train trips, as well as both tension and laughs — with HBO badging the series as a romantic-comedy thriller. And if you're wondering about Waller-Bridge, she plays Laurel, a woman who Ruby and Billy meet on their journey. Check out the trailer below: https://www.youtube.com/watch?time_continue=8&v=_jwEiXdJGKM&feature=emb_logo Run starts screening in the US from Sunday, April 12, with air dates Down Under yet to be announced — we'll update you when local details come to hand. Image: Ken Woroner/HBO.
War, what is it good for? That's a question Britain's Ministry of Information was tasked with answering in the 1940s. As English soldiers battled the Nazis across Europe, and the Germans dropped bombs on London during the Blitz, selling the merits of the Second World War to the broader public became increasingly difficult. When lives are being lost en masse and buildings are crumbling around you, the slogan "keep calm and carry on" — which was coined by the British government in 1939 — starts to seem a little less reassuring. In Their Finest, Ministry filmmakers aren't just concerned with making rousing cinema. They're also keen to ensure that plausible dialogue comes out of the mouths of their female characters. This inspires them to hire Catrin Cole (Gemma Arterton) as a low-paid writer. Though keen, industrious and excellent at her job from the outset, she comes in particularly handy when bureaucrat Roger Swain (Richard E Grant), producer Gabriel Baker (Henry Goodman) and head writer Tom Buckley (Sam Claflin) set their sights on adapting a true tale about two sea-faring sisters. The ladies in question took their dad's boat to help with the Dunkirk rescue efforts, or so the story goes. But when Catrin has a chat with the heroic twins, she discovers that reality is a little less exciting. Still, you know the old adage: you can't let the facts get in the way of a good story. Propaganda filmmaking mightn't seem a likely candidate for a poignant exploration of the power of movies, a tender account of people trying to get by in tough times, and a romantic drama all rolled into one. Nevertheless, audiences who stick with Their Finest's initially awkward-seeming concept will be justly reward. There's plenty of sweetness, satire and insight inside — and a gentle yet clear rallying cry against sexism as well. Indeed, director Lone Scherfig (An Education) and screenwriter Gaby Chiappe understand full well that pleasing the cinema-going crowds and smartly championing the power of women in the workforce aren't mutually exclusive goals. In adapting Lissa Evans' 2009 novel Their Finest Hour and a Half, they take the obvious approach, but do so with handsome period flair, an ample amount of heart, and an ability to seamlessly jump between comedic to serious moments. Take Bill Nighy's involvement, for instance. The veteran actor plays just that, although his character is convinced he should be seen as a young romantic lead rather than older uncle. He's initially rolled out for laughs, but the movie doesn't treat him as a joke. Delving deeper into what its motley crew is facing as the war rages on around them sits at the very heart of this surprisingly nuanced film. And while Nighy doesn't ever steal the spotlight from the spirited Arterton, he provides a warm, witty and winning example of the kind of multi-layered movie the pair both find themselves making. https://www.youtube.com/watch?v=qmRzbnnToiw
Since the mid-90s, Paul Rudd has been a constant presence on both big and small screens. First, he won over Beverly Hills' coolest teen in Clueless, joined horror royalty in Halloween 6: The Curse of Michael Myers and somehow became the unattractive romantic alternative in Romeo + Juliet. Then, he helped deliver San Diego's news in Anchorman: The Legend of Ron Burgundy, ran for office against Leslie Knope in Parks & Recreation and became the world's smallest superhero in Ant-Man. The list goes on, spanning a trip to camp in Wet Hot American Summer, as well appearances on Friends and Veronica Mars. But it's Netflix's new series Living With Yourself that's finally giving the world what we want — all the Paul Rudd that anyone could ever ask for. Yet another existential comedy to join the likes of The Good Place, Russian Doll, Forever and Undone, Living With Yourself follows an ordinary guy struggling through an average life, until he discovers an unusual solution. Miles (Rudd) heads to a day spa expecting to come out feeling refreshed — and that happens, in a way. The new and improved version of Miles couldn't be happier, but the old version is still hanging around. Two Paul Rudds is most people's dream, of course. In Living With Yourself, however, the two versions of his character cause quite the chaos. How the pair handle their shared life, wife Kate (Aisling Bea), career and identity fuels this eight-episode show, as do weighty questions, including trying to be a better version of ourselves. Hitting Netflix mid-October, the series was written by Emmy Award-winning The Daily Show producer Timothy Greenberg, and directed by Jonathan Dayton and Valerie Faris (The Battle of the Sexes, Ruby Sparks, Little Miss Sunshine). Check out the trailer for Living With Yourself below: https://www.youtube.com/watch?v=5w54yW2Ur50 Living With Yourself drops on Netflix on October 18. Images: Netflix.
What's Attica without Ben Shewry? The team at Gelinaz! are about to find out. The Melbourne-based head chef of 'Australia's best restaurant' is packing his bags for a huge global chef swap this July. Created by Gelinaz! — the international chef collective responsible for wild, collaborative cook-off stunts — the event will see 37 chefs from around the globe jump on a plane, travel to a new country and serve up their best in another chef's kitchen. They'll even be living in each other's houses, just like that terrible, terrible Wife Swap. It's called the Grand Gelinaz! Shuffle and it's going down on July 9. Shewry is joining one humdinger of an international chef lineup, repping our culinary nation alongside Adelaidean chef Jock Zonfrillo (of Orana). The pair will put their names in the hat with Parisian chef Alain Ducasse (La Plaza Athenee), Tokyo's Yoshihiro Narisawa (Narisawa), Copenhagen's René Redzepi (Noma), NYC's Sean Gray (Momofuku Ko), Charleston's Sean Brock (McCrady's) and San Francisco's Dominique Crenn (Atelier Crenn) to name a few. The chefs know where they're going, but ticketholders won't know which chef's delights they'll be enjoying until the day. So you could be dining on a Noma or Momofuku-style dish at Attica if you're lucky. Tickets are available to the public, so if you're keen to head to Attica or Orana on July 9 you'd better plan ahead. Tickets go on sale on May 13, but prices haven't been unveiled just yet. Check over here for more details. Here's all 37 Grand Gelinaz! Shuffle participants. Who'll be your chef for the night? Ben Shewry, Attica, Melbourne — Australia Jock Zonfrillo, Orana, Adelaide — Australia Danny Bowien, Mission Chinese Food, New York — USA Sean Gray, Momofuku Ko, New York — USA Sean Brock, McCrady's, Charleston — USA David Kinch, Manresa, Los Gatos — USA Daniel Patterson, Coi, San Francisco — USA Dominique Crenn, Atelier Crenn, San Francisco — USA Carlo Mirarchi, Blanca, New York — USA Blaine Wetzel, Willow's Inn, Lummi Island — USA Colombe Saint-Pierre, Chez Saint-Pierre, Le Bic — Canada Claude Bosi, Hibiscus — England Magnus Nilsson, Faviken, Järpen — Sweden Peter Nilsson, Spritmuseum, Stockholm — Sweden René Redzepi, Noma, Copenhagen — Denmark Paul Cunningham, Henne Kirkeby Kro, Henne — Denmark Kobe Desramaults, In De Wulf, Dranouter — Belgium Mehmet Gurs, Mikla, Istanbul — Turkey Yoshihiro Narisawa, Narisawa, Tokyo — Japan David Thompson, Nahm, Bangkok — Thailand Bertrand Grebaut, Septime, Paris — France Alain Ducasse, La Plaza Athenee, Paris — France Yannick Alleno, Le Doyen, Paris — France Inaki Alzpitarte, Le Cheateaubriand, Paris — France Mauro Colagreco, Mirazur, Menton — France Alexandre Gauthier, La Grenouillere, Montreuil/Mer — France Ana Ros, Hisa Franko, Kobarid — Slovenia Davide Scabin, Combal Zero, Rivoli — Italy Fulvio Pierangelini, Hotel de Russie, Rome — Italy Riccardo Camanini, Lido 84, Gardone Riviera — Italy Massimo Bottura, La Francescana, Moderna — Italy Massilmillano Alajmo, La Calandre, Venice — Italy Andoni Luis Aduriz, Mugaritz, San Sebastian — Spain Albert Adria, Pakta, Barcelona — Spain Alex Atala, D.O.M., San Paolo — Brazil Rodolfo Guzman, Borago, Santiago — Chile Virgillo Martinez, Central, Lima — Peru Via Grub Street.
Booze-sipping wannabe Picassos, take note: it's your time to shine. While there are regular classes and even entire businesses devoted to the concept, Brisbane's latest excuse to get creative while indulging in a beverage or two is offering something different. Instead of painting any old picture, you can whip up a portrait of your favourite four-legged creature. Keen on having a few drinks, picking up a paintbrush and creating a masterpiece that makes a star out of your beloved cat, dog, goldfish, budgie, rabbit, hermit crab or whatever other pet you might have? That's one of the options at MK Gallery's Paint, Sip & Nibble nights, which are taking place on various dates at Toasted Cafe. You can also opt for a stock image of an elephant, horse, koala, alpaca, ladies on a beach or other arty options, but where's the fun in that? Classes cost $90 if you're painting your pet (you'll just need to email through a photo of them beforehand) and $75 if you're going with one of the standard paintings — and if you're keen, you'd best get in quick. After selling out numerous sessions in 2018 and 2019, the gallery is currently taking bookings for 6pm on Saturday, June 29. Tapas will be supplied as part of your ticket, but you'll need to bring your own plonk (or you can buy coffees, milkshakes and soft drinks onsite). Updated April 15. Image: MK Gallery.
Jamie's Italian Australia has had a rocky few years — with ownership changing hands and the closure of a few local stores. Luckily, the Brisbane-based Hallmark Group took over the management of the Australian restaurants and, now, perhaps in an attempt to help us put our faith back in the brand, Jamie's Italian on Edward Street is bringing back its super-popular $50 bottomless prosecco lunches. The one-month deal will run every Saturday and Sunday (from 12–4pm) in October — and it includes a lot more than just two hours of endless sparkling wine. Each table will be served small bites to share (including those crispy polenta chips), and everyone will get a big bowl of pasta. You'll be be able to choose which one you want, too — think classics like prawn linguine and carbonara, and signatures including the truffle tagliatelle and fresh crab spaghetti. Plus, you can top it off with a dessert or an espresso martini for just $10. If we know anything, it's that people really love Jamie's Italian. As such, these lunches are sure book out fast, so front a pineapple and book it already.
It may not boast a wizard or a yellow brick road, but the fact that this country is nicknamed 'Oz' is still rather wonderful — or is it? Brisbane artist Camille Serisier looks over the Australian landscape with a critical eye and an absurdist sense of humour, crafting a vision that goes far beyond the usual tourism destination shots. The Wonderful Land of Oz plays with iconic images of fauna, flora and popular destinations, each intrinsically linked to the nation's identity. Serisier's work probes political, social and environmental issues, reflects upon her own experiences, and dissects national mythology. In an exhibition comprised of tableaux vivants — living pictures — as well as a short film, another piece of cinematic history also proves influential. Creating a filmic homage to Georges Melies masterpiece Le Voyage dans la lune (A Trip to the Moon), Serisier crafts her fantastical depictions into a single story that tells of the land beneath our feet but reaches to the skies and beyond in its ambition.
When Tuesday, February 28 rolls around, Brisbane and Gold Coast fans of a certain former boy band star-turned-actor-turned-Coachella headliner will be heading in one direction: to Metricon Stadium to see Harry Styles finally bring his latest tour Down Under. Given the fame he's enjoyed in One Direction and now as a solo music superstar, the Grammy Award-winning, Don't Worry Darling and Dunkirk co-starring talent is going big with his postponed Aussie visit — so you'll be singing along to 'Watermelon Sugar', 'As It Was', 'Adore You' and 'Sign of the Times' in a crowd. It's a case of better late than never, of course. Styles was originally headed our way in November 2020; however, we all know how that panned out and why those shows didn't eventuate. That delay means that he doesn't just have two albums to play, but three, with Styles' third solo studio Harry's House releasing last year. And, attendees will also be listening to UK duo Wet Leg, who've scored the supporting slot.
Home-grown indie-punk outfit Last Dinosaurs are taking The Satellites Tour to Alhambra Lounge for an Under 18 show. They’ve returned from their first European adventure, having unleashed their unrelenting sound on a host of boutique festivals; their debut album In A Million Years has gained momentous attention both locally and abroad. Ticket holders will be given the opportunity to purchase an exclusive EP of remixes, as well as their album at a discounted price. Along for the ride will be fellow Brisbanites, The Jungle Giants. This foursome have been making strides with their infectious pop sound, demanding to be noticed for all the right reasons. While this show is sold out, their 18+ show at the Hi-Fi on October 19 still has tickets available. This is one act you do not want to miss!
There ain't no party like a Valley street party, and I don't care what S Club 7 has to say about it. The Valley Fiesta has become the precinct's flagship event, and is ready to bring the noise/events/rooftop roller disco. Fortitude Valley. Not much needs to be said about the area, as by now I'm sure you're aware of its notoriety the country over. The Valley is a bustling hub of music, bars and general debauchery, and this year's Fiesta has drawn on these things to make the best event ever. What will make it the best fiesta of recent years? 3 words: Rooftop. Roller. Disco. It's on the roof of the Chinatown Carpark and has free skates and free entry, so all that's required is your skating ability (or lack thereof). Also on the Special Events bill are Sampology and 2 Dogs (aka Resin Dogs), who'll be carvin' dat shit urp at the alloneword stage, the Elements Collective Hip-Hop stage at the Judith Wright Centre, a Wonderland High Tea at Cloudland and Gotye's sold out shows at the Powerhouse. Joining in on this insane lineup are the acts at the Brunswick Street Closure Stage: Hungry Kids of Hungary, Nina Las Vegas, Laneous and The Family Yah, Evil Eddie, Cheap Fakes and more. If this doesn't please you, I have no idea what will. Get down to the Valley like usual, but do it fiesta-style.
After announcing its dates earlier this year, Moonlight Cinema has revealed the first part of its 2018–19 program. In short: pack your picnic basket and get ready to watch a heap of flicks under the summer evening sky. Kicking off on Thursday, November 29 in Sydney, Melbourne and Brisbane, and on Saturday, December 1 in Perth, this initial lineup boasts plenty of this year's favourites, a smattering of all-time faves and a few sneak peeks at new movies coming out soon. If you're wondering why it's just the first section of the program, that's because it covers the outdoor cinema's screenings until the end of January. A February and March lineup will be announced in January. Tried-and-tested highlights include A Star Is Born, A Simple Favour and Crazy Rich Asians, plus Halloween, Bad Times at the El Royale and Venom if you're after something darker. And it wouldn't be a movie season under the stars (or a pre-Christmas lineup) without Love Actually, Elf and Dirty Dancing, now would it? You can also catch pre-release sessions of twisted period drama The Favourite, from The Lobster filmmaker Yorgos Lanthimos, as well as Transformers spin-off Bumblebee. Or, opt for Viggo Mortensen-starring likely Oscar contender Green Book, or Margot Robbie and Saoirse Ronan battling it out in Mary, Queen of Scots. Heist flick Widows, amusing sleuths Holmes and Watson and the wizarding antics of Fantastic Beasts: The Crimes of Grindelwald are all also accounted for — as is Moonlight's usual food truck and licensed bar offering, and its reserved bean beds. You can also BYO booze everywhere except Brisbane. Brisbane's season is actually benefiting from two big changes, with Moonlight Cinema saying goodbye to Brisbane Powerhouse after a more than a decade and settling in at Roma Street Parkland instead. Even better — it'll run all the way through until March 31 for the first time, like its interstate counterparts. MOONLIGHT CINEMA 2018–19 DATES: Sydney: Nov 29–Mar 31 (Belvedere Amphitheatre in Centennial Park) Melbourne: Nov 29–Mar 31 (Central Lawn at the Royal Botanic Gardens) Brisbane: Nov 29–Mar 31 (Roma Street Parkland) Perth: Dec 1–Mar 31 (May Drive Parkland, Kings Park & Botanic Garden) Adelaide: Dec 8–Feb 17 (Botanic Park) Moonlight Cinema kicks off on November 29. For more information and to buy tickets, visit the Moonlight website.
It's ace when it's warm and fresh out of the oven. It's great cold and eaten the next day for breakfast. And it's even better when it's free. We're talking about the topping-laden dish Fratelli Famous Pizzeria has landed high praise for in Sydney and Melbourne. And yes, they're about to give some away to the pizza-loving Brisbane masses to celebrate their new Eagle Street Pier store. Now, that's how you announce your arrival: with 500 free pizzas. Those keen on their own round, doughy creation made from homemade bases and decked out with your choice of over 35 toppings just need to do two things. First, connect with the new store on Facebook or Instagram. Then, show up at 11am on Friday, December 16 and prepare to wait in line. For those who haven't experienced Fratelli's fare previously, four words are key: make your own pizza. You can also build your own salads, should that be your preferred meal — and preferred way of making friends. Fratelli's fresh and famous chain makes the leap to Queensland after setting Sydneysiders' stomachs aflutter, and then setting up shop in Melbourne earlier this year. Fratelli Famous is the food court-style, quick-cooked spin-off version of Fratelli Fresh, with the former showcasing Italian fine dining for a few years now, and the latter first launching in August. Expect to hear more about Fratelli Famous, too, with 100 stores planned nationwide over the next five years. Given they've just been snapped by up the new hospitality conglomeration that is Rockpool Dining Group, expect big things all round. Find Fratelli Famous Pizzeria at Eagle Street Pier, 2/45 Eagle Street, Brisbane from December 16. For more information, check out their website and Facebook page.
It's been three years since Australia's cinema scene welcomed the American Essentials Film Festival — and while a fest dedicated to US flicks might seem obvious, this event sets its sights much further than Hollywood's usual suspects. Given that mainstream, megaplex-friendly movies reach our shores every week, the Palace-run showcase instead curates a lineup of other American titles, delving into films from the US indie realm. Touring Sydney, Melbourne, Brisbane and Canberra from May 8 to 20, the 2018 fest has a particular fondness for emerging practitioners, with artistic director Richard Sowada noting "the obvious talent from some of the filmmakers in the early stages of their feature film careers," as well as "the deep and obvious respect even some of these newer filmmakers have for the traditions of storytelling in American cinema." With that in mind, this year's event kicks off with The Boy Downstairs, a Zosia Mamet-starring effort from debut feature writer-director Sophie Brooks, which proved a hit at the 2017 TriBeCa Film Festival. The opening night pick also highlights one of the festival's other trends — thanks to its focus on American cinema, it boasts plenty of familiar faces on screen. Standouts include Nicolas Cage and Selma Blair battling a murderous rage in horror-comedy Mom and Dad, Helena Bonham Carter and Hilary Swank recreating a landmark '80s case for patients' rights in 55 Steps, and war effort The Yellow Birds, featuring Solo: A Star Wars Story's Alden Ehrenreich, Ready Player One's Tye Sheridan, plus Toni Collette and Jennifer Aniston. There's also two star-studded flicks about sons and their fathers: Humour Me, which pairs up Jemaine Clement and Elliott Gould in a deadpan comedy, and Kodachrome, which takes Jason Sudeikis and Ed Harris on a road trip to a photo processing laboratory. Other notable titles range from Stuck, which brings the train-set off-Broadway musical of the same name to the cinema; to Outside In, director Lynn Shelter's latest featuring Edie Falco as an ex-high school teacher; to mob drama Gotti, starring John Travolta as the mob boss and screening in Australia just hours after its Cannes Film Festival premiere. On the documentary front, How They Got Over takes a far-reaching documentary into African-American gospel quartets in the '30s and '40s, while RBG examines the life and career of US Supreme Court Justice Ruth Bader Ginsburg. For the fest's retrospective section, Los Angeles is in the spotlight courtesy of classics Chinatown, Heat and Shampoo, as well as '70s masterpieces Killer of Sheep and Wattstax. The American Essentials Film Festival tours Australia from May 8, screening at Sydney's Palace Central from May 8 to 20, Brisbane's Palace Centro from May 9 to 20 and Melbourne's Kino Cinemas and The Astor Theatre from May 10 to 20. For more information, visit the festival website.
It's been two years since Gelato Messina first introduced its cookie pies to the world, much to the delight of tastebuds across Australia. Over that time, the dessert chain has kept bringing the OTT dish back, too, especially when we all needed an extra dose of sweetness during lockdowns. It has whipped up different flavours as well, including choc hazelnut, fairy bread and red velvet. And, in addition to its one-off specials that are designed to share — whether or not you do is completely up to you, of course — Messina started serving up one-person versions last winter. That's all well and tasty, and it's about to be again — because those single-serve cookies pies are back. But, there's a caveat this time around: as well as only being available in stores on Mondays and Tuesdays, this round of pies is popping up at different Messina joints each week. No wonder the gelato fiends are calling it Le Tour De Cookie. Hang on, a cookie pie? Yes, it's a pie, but a pie made of cookie dough. If you're new to the concept, that's all you really need to know. And, yes, this cookie pie really is just for one person — and not just because you're not willing to share. The smaller-sized desserts come ready to eat as well. They're also topped with a scoop of gelato, because of course they are. To pick up one of these single-serve desserts, you'll need to keep an eye on the Messina website, which will list the stores dishing them up each week. To start things off, the Rosebery outpost in Sydney will be doing the honours on Monday, June 20–Tuesday, June 21 — and the Fitzroy shop in Melbourne will get the nod on Monday, June 27–Tuesday, June 28. Don't worry about pre-ordering, as that isn't required. With these small desserts, you just need to show up. Expect to pay $12 with a scoop, or $10 if somehow you don't want gelato on top. Gelato Messina's single-serve choc chip cookie pies are available on Monday and Tuesday nights at select stores during winter. Keep an eye on the Messina website for further details.
South Bank's Stoke Bar may be gone, but a new bar has taken its place: Stokebar Q. Originally named just Q and still housed in the space beside Stokehouse Q, it's the result of a million-dollar makeover — and yes, it's still all about that stellar riverside view. Redesigned by Alexander Lotersztain of Derlot, the rebadged, renovated watering hole combines the old and the new. In the former camp, it has the same gorgeous vantage, a similar weekend lineup of DJ-fuelled hangout sessions, and the same chef, Richard Ousby. In the latter category, Brisbanites will find changes of the fitout, cuisine and beverage kind. In good news for everyone fond of hanging out by the water — which, let's face it, is why people head to South Bank to begin with — Stokebar Q boasts a larger space that gets patrons even closer to the river's edge. That includes more water-adjacent seating, including booths, a wrap-around lounge on the boardwalk, and an additional private lounge area, all decked out in warm grey, blue, pastel green and orange hues. Food-wise, Ousby's menu features a range of small plates, as split into one-handed snacks and knife-and-fork dishes. Grilled haloumi with burnt honey, mozzarella and bolognese jaffles, fried chicken bites and spanner crab with buckwheat noodles rank among the options. And as far as the drinks list is concerned, ex-Nant Whisky Bar, Cuvee Lounge and Soleil Pool Bar bartender Becki Parker is overseeing the beverages, with four new cocktails on offer. The standout: the aptly named Goodwill Rising, which blends tequila, fig jam, ginger, pineapple shrub, vanilla syrup, lemon juice, lemon and vanilla sugar crisp, and is probably best sipped while you're looking out over the bridge that gives it its moniker. Find Stokebar Q on Sidon Street, South Bank. For more information, visit the bar's website.
For the five years leading up to 2018, festival-loving Brisbanites have descended upon a secret Sunshine Coast location for the Jungle Love Music & Arts Festival, which combined a laidback atmosphere, a campground surrounded by luscious greenery, plenty of stellar tunes and performances, and the chance to go for a swim in the creek while you watch a gig. Alas, that specific event is no longer happening; however, Yonder Festival sprung up in its place in 2019 and 2020 — and the latter is back in 2021. A three-day celebration of creativity, Yonder takes Jungle Love's vibe, runs with it and shapes it into something new. Running between Thursday, November 25–Saturday, November 27 in a yet-to-be-revealed spot in the Mary Valley, the fest boasts everything from a stacked music lineup across four stages to a feast of roving, theatrical and visual artists, plus a heap of workshops and panels on wellbeing. It also places a significant focus on Indigenous producers, artists and communities, as well as local creatives. It's the kind of event where you can check out King Stingray, Alter Boy, WAAX, Sahara Beck, WIIGZ and more — then listen to Ruckus Slam's poetry, wander through the visual arts displays, take part in a laughter yoga session, walk across a slackline, do water aerobics, and browse the boutique food and market stalls. Everything will operate under a COVID-19-safe plan, of course. Camping is also part of the fun (and the price), so bring your own tent or campervan — and tickets are on sale now. Also, you can BYO alcohol — but it needs to be in plastic containers, and you can also show up with a reasonable amount of booze. YONDER FESTIVAL 2021 LINEUP: Agrammeofsoma Alter Boy ARIFUG Bcharre بشري Boom Boom Bean Selecta Cheek 2 Cheek Chesmond Deese cyberBanshee DancingWater DeepBlue Dream Coast George Hickman George x FreeJ Golden Age of Ballooning Great Sage Greshka Half World Takeover Hazards of Swimming Naked Holiday Party Jazz House Kairos Kin Kallidad King Stingray Kitch Linsey Pollak Luke Jaaniste Molecules to Minds Monet's Pond MYSTERYFACE Natural Steps Takeover Nice Biscuit NO.ONE NETWORK Oscill Ether Passion Cactus Pipin Pocketmoth Takeover Quivr Takeover Respect Guy Ruby Gilbert Sahara Beck Seasoning Shandy Takeover Spirit Lights Sunderhaus Taylah J and Stone Moth Tess King The Abstract Human Radio The Dharma Chain THE RIOT Tokyo Twilight Unregistered Master Builder UQ Taiko WAAX WIIGZ
Themed high teas are been all the rage for years now, and one pop-culture favourite keeps inspiring daytime feasts. So, from Monday, June 26–Sunday, July 2, the Stamford Plaza is dedicating the week to wizards, witches, goblins and muggles, with the inner city hotel transforming its sipping sessions into magical high teas. The theme takes its cues from the world of Harry Potter, and ticket holders can expect a tiered feast of gastronomic delights to match. On the menu at the Witches and Warlocks High Tea alongside sandwiches, scones and savoury bites are Ministry of Magic macarons, Honeyduke's black lollipops, chocolate and raspberry wands, and pink cockroach clusters. Also on offer: Mrs Weasley's baked cheesecake, mango and coconut spell cake, Ravenclaw blueberry bliss and Hagrid's giant pavlova, plus the enchantment found at the packed candy bar. Dressing up as your favourite wizardry character is highly encouraged and, to complete the immersive experience, there'll be live performances in the spirit of the occasion. Tickets cost $75 for adults, with 2.30–4pm seatings daily, plus 11am–12.30pm Tuesday–Sunday. [caption id="attachment_906838" align="alignnone" width="1920"] Kgbo via Wikimedia Commons[/caption]
It has been less than a year since NYC Bagel Deli opened their permanent West End store, but you just can't stop the bready wheels of bagel progress (and nor should you want to). Thanks to Brisbane's love of the circular snack, they're packing up and moving on — literally just down the road, and to a place where you can watch them make their tasty namesake. From April 8, 57 Vulture Street will replace 47 Vulture Street as NYC Bagel Deli's West End digs. Luckily, because the two addresses are so close together, you won't have to go far if you get them mixed up. The new spot is four times bigger than their existing one, which means that they can pump out more bagels as part of a new bakery-bagelry cafe setup. And, on opening day, they'll be handing out free coffee from 6.30am to 2.30pm. https://www.instagram.com/p/BQ84KnbBJMJ/?taken-by=nycbageldeli As well as choosing between 12 different types of bagels fresh out of the oven — including garlic, cinnamon raisin, jalapeño, sunflower rye, onion, blueberry and the rainbow varieties — customers will also be able to see just how a heap of flour, yeast, salt, sugar and poppy seeds gets turned into their favourite bread snack. That includes watching staff knead and hand-roll bagels, retire them overnight, and boil and bake them into the bready goods you know and love. No guarantees they'll divulge their secret ingredient though — you'll have to guess that one. Expect an expanded range of fillings as well as all of the old favourites, ranging from peanut butter and Nutella (together at last!) to 12-hour pulled pork. For salty go the grilled haloumi, for sweet go the espresso butter with cream cheese, poached pear and berry compote, or for a mix of both, choose the Elvis-inspired combo of bacon, banana, cream cheese and peanut butter. Cleanskin coffee and thickshakes in chocolate, banana, lemon meringue and — you guessed it — peanut butter again are also on the menu. Find the new NYC Bagel Deli at 57 Vulture Street, West End from April 8. Head to their website and Facebook page for further info.
Since 2016, the cinema-loving world has had a Studio Ghibli-shaped hole in its heart. That's when the acclaimed Japanese animation house released its most recent film, the gorgeous French co-production The Red Turtle. Its last solo production actually came two years earlier, courtesy of 2014's When Marnie Was There. Still, much has happened in Studio Ghibli's world over the past decade. Hayao Miyazaki announced his retirement, then changed his mind. In 2018, fellow co-founder and acclaimed director Isao Takahata sadly passed away. And, over the past few years, the company has been busying itself with its very own theme park. The latter is due to open in 2022 and become quite the tourist attraction — but that doesn't mean that fans aren't keen for more Ghibli movies. Thankfully, the studio has announced that it's working on just that, with two new films on its slate for 2020. In the company's New Year's Greeting and just-released news update, it revealed that it'll be focusing on the pair of flicks and the theme park this year. And yes, one of those movies will be helmed by My Neighbour Totoro, Spirited Away and Howl's Moving Castle icon Miyazaki. How Do You Live? was actually first announced a few years back, along with Miyazaki's return from retirement. Few details have been unveiled since, although in an interview on Japanese TV late last year, the filmmaker's producer Toshio Suzuki advised that it was 15-percent finished at the end of October 2019. Initially hoped to hit screens around the time of this year's Tokyo Olympics, it hasn't been given a release date as yet. Details of Studio Ghibli's second film in production are even more scarce, including its name, director, plot and timing. But the company's creative stocks run deep — Miyazaki's son Goro Miyazaki directed Tales from Earthsea and From Up On Poppy Hill, for example — and it hasn't made a bad movie yet. Get excited about the two new films by revisiting the trailer for Miyazaki's last feature, 2013's The Wind Rises: https://www.youtube.com/watch?v=RzSpDgiF5y8 Via Studio Ghibli.
For the third time in a year, across both the men's and the women's AFL competitions, the Brisbane Lions have made it to the grand final. Accordingly, also for the third time in a year, South Bank is dedicating its big screens to showing the Aussie Rules action. Just as it did twice in 2023, the waterside precinct is hosting a live viewing site, this time for the men's decider on Saturday, September 28, 2024. Go maroon, blue and gold: they're the colours that you should be wearing at either the South Bank Cultural Forecourt or while enjoying a splash at Streets Beach when the Brisbane Lions take on the Sydney Swans for the 2024 AFL men's premiership. On the day itself, the free grand final hub will start screening at both locations from 1pm, with kickoff at 2.30pm. South Bank isn't just celebrating the Lions on grand final day, however. The hub action begins on Wednesday, September 25, with AFL-themed activities taking over the Cultural Forecourt for three days before the match. On the agenda: AFL clinics and other all-ages-friendly activities. Fancy seeing if you can hit an inflatable target with a handball? You can try that, too — and there's also face painting for kids, merchandise stalls slinging Lions gear (of course), and signups for both children and adults who are keen to play Aussie Rules footy themselves. When the big dance rolls around on the Saturday, attendees just need to remember that both live viewing sites are alcohol-free — and also that you'll need to check your bags. If you're an AFL fan, there's no better way to spend the last Saturday in September. This is the first time ever that Brisbane and Sydney have faced off in the grand final as Brisbane and Sydney. The last time that the two teams competed against each other for the premiership was back in 1899 as Fitzroy and South Melbourne. In the 2024 AFL season, Brisbane and Sydney played one match, in Brisbane at the Gabba in July, with the Lions winning by two points.
If you're going to run two wholefoods eateries on opposite sides of Brisbane's inner city, you're probably going to consume a hefty amount of caffeine to get you through the day. That must be the case for Botanica Real Food's Alison and Brett Hutley. In fact, they're taking their love of coffee to the next level by opening their very own brew-slinging cafe. Opening up just two doors down from Botanica's Teneriffe site, Greenhaus Coffee fills a gap the duo's fans will be well aware of: neither of its stores serve coffee. "We always had a firm stance that we wouldn't, as long as we were neighbouring a coffee shop," says Alison. Then the cafe next door to their Doggett Street digs relocated. "[Then] it was impossible to find a reason not to launch Greenhaus Coffee," she explains. Pouring its first brews on June 24, Greenhaus is open for breakfast, brunch and lunch seven days a week, with its focus firmly on flavoursome cuppas and tasty morning nosh. The former comes courtesy of New Zealand coffee brand Allpress Espresso, while the latter features grab-and-go options — including Botanica's breakfast tartines (toasted sourdough with assorted sweet and savoury toppings) and parfait cups (espresso and date brown rice porridge with coconut yoghurt). As for new menu additions, expect mini spinach and parmesan brioche toasties, spelt and raspberry scones, apple and cinnamon crumble loaf, and warm vanilla porridge. Find Greenhaus Coffee at 29 Doggett Street, Teneriffe. Head to their Facebook page for further details.
When I was in grade six my fellow primary school students and I were randomly handed an instrument to play. Praying for a flute, or a saxophone, or maybe even some drum sticks, I was given a very unexciting clarinet and my dreams of playing corny saxophone solos died soon there after. Though most of my troubled, spit-filled clarinet days have been suppressed, the one happy memory that has stayed with me was when the school band played The Simpsons theme tune. This was by far every 11 year-old's favourite song to play, and the clarinet's role was a little more notable than usual. Sure the brash saxophone hogged the lead role, but the clarinet's part was understated, catchy and could be heard by those with a sophisticated ear. Needless to say whenever I hear The Simpsons melodic theme I can still distinguish the clarinet part and memories of school band and our conductor's tuckshop arms come flooding back. I dare say the Windsor Brass band, conducted by Michael Purtle, are probably far more adept at bashing out The Simpsons theme better than my grade six band ever could. They will be shining a spotlight on TV's iconic theme tunes in a fun and free medley styled performance at Mowbray Park. The aim of the day is to name every theme that's played – and distinguish the clarinet parts. Are you up for the challenge?
2013 was a ripper of a year for Brisbane beauties, The Jungle Giants, with some killer singles, a series of Big Day Out performances and a separate national tour to boot. This year is proving no different; already they are back on the road with their Tuss Tour, with more tunes and more excitement than ever. Catch The Jungle Giants at the next Ric’s Big Backyard, a celebration of local talents and catchy pop anthems under the stars. Stretch your bare feet across the astroturf, grab a jug of your favourite beer and get comfortable. You're in for a big night. This renowned block party will be one to remember—The Jungle Giants are joined by local darlings Little Odessa, Millions, Shortstraw and Moses Gun Collective, plus a slew of recognisable DJs. The Jungle Giants will be bringing their Tuss to you following their biggest round of US shows to date, and before they hit the road once again for Groovin’ the Moo. They’re ready and they’re excited, and they know you are too.
When Sin Vida opened its doors a few short months ago, savvy lovers of Mexican culture and tradition likely marked the end of October and beginning of November in their diaries. A restaurant dedicated to dia de los muertos — or the day of the dead — is certainly going to deliver when the event rolls around, aren’t they? The answer, of course, is yes — as anyone who has checked out the Valley hotspot could’ve guessed. To mark the globally recognised occasion that springs from ancient pre-Columbian times, was developed by the Aztecs and then merged with Christian beliefs by the Spanish conquistadors, they’re throwing one heck of a party. Sugar skull face painting and live entertainment are on the menu, but the real drawcard here are the themed food and drink menus themselves. Grab three friends and enjoy a banquet full of tacos, empanadas, quesadillas, principales, ensalada and more, then take your pick from three tequila and mezcal options.
What would you do if you were a little less freaked out by consequences? Would you talk to more new people, fear a bit less, dance a little more like FKA Twigs, quit your desk job and start that no-guarantees creative career you've always had in the back of your mind? Some sparkling young Australians are already flinging their inhibitions into a ziplock bag and seizing this little ol' life with both hands. Concrete Playground has teamed up with the Jameson crew to give you a sneak peek into the lives of bold characters who took a big chance on themselves. They've gone out on a limb and rewritten their path, encapsulating 'Sine Metu', the Jameson family motto which translates to 'without fear' — getting outside your comfort zone and trying something new. After all, we only get one shot at this. Take notes. From a very young age, we're all asked the question "What do you want to be when you grow up?" We're told to pick one path, one profession, to neatly label the rest of your life. Our responses change as we grow up, from astronaut to engineer, princess to PR, and for Sydney-based Cole Bennetts, from Penguin Boy to renowned photographer taking the Prime Minister's portrait. You can read the interview over here. Want to experience a little bit of 'Sine Metu' yourself? Cole's being a total legend and helping us give away the chance to be a photographed like the biggest names in the music business. Cole will work with you and a lucky friend to create a unique shoot for your own use, be it the ultimate profile pic or your next step to stardom — so you can see for yourself what happens when bold humans take big creative chances with big payoffs. Enter here to win.
Stop us when Lost Illusions no longer sounds familiar. You won't; it won't, either. Stop us when its 19th century-set and -penned narrative no longer feels so relevant to life today that you can easily spot parts of it all around you. Again, that won't happen. When the handsome and involving French drama begins, its protagonist knows what he wants to do with his days, and also who he loves. Quickly, however, he learns that taking a big leap doesn't always pan out if you don't hail from wealth. He makes another jump anyway, out of necessity. He gives a new line of work a try, finds new friends and gets immersed in a different world. Alas, appearances just keep meaning everything in his job, and in society in general. Indeed, rare is the person who doesn't get swept up, who dares to swim against the flow, or who realises they might be sinking rather than floating. The person weathering all of the above is Lucien Chardon (Benjamin Voisin, Summer of 85), who'd prefer to be known as Lucien de Rubempré — his mother's aristocratic maiden name. It's 1821, and he's a poet and printer's assistant in the province of Angoulême when the film begins. He's also having an affair with married socialite Louise de Bargeton (Cécile de France, The French Dispatch), following her to Paris, but their bliss is soon shattered. That's why he gives journalism a try after meeting the equally ambitious Etienne Lousteau (Vincent Lacoste, Irma Vep), then taking up the offer of a tabloid gig after failing to get his poetry published. Lucien climbs up the ranks quickly, both in the scathing newspaper business — where literary criticism is literally cash for comment — and in the right Parisian circles. But even when he doesn't realise it, his new life weighs him down heavily. Lost Illusions spins a giddy tale, but not a happy one. It can't do the latter; exactly why is right there in the title. As a film, it unfurls as a ravishing and intoxicating drama that's deeply funny, moving and astute — one that's clearly the product of very particular set of skills. No, Liam Neeson's recent on-screen resume doesn't factor into it, not for a second. Instead, it takes an immensely special talent to spin a story like this, where every moment is so perceptive and each piece of minutiae echoes so resoundingly. The prowess behind this seven-time César Award-winner belongs to three people: acclaimed novelist Honoré de Balzac, who wrote the three-part Illusions perdues almost 200 years ago; filmmaker Xavier Giannoli (Marguerite), who so entrancingly adapts and directs; and Jacques Fieschi (Lovers), who co-scripts with the latter. There's more to Lucien's story — pages upon pages more, where his tale began; 149 minutes in total, as his ups and downs now play out on the screen. When Louise decides that he doesn't fit in, with help from the scheming Marquise d'Espard (Jeanne Balibar, Memoria), spite rains his way. When Etienne introduces him to the realities of the media at the era, and with relish, he's brought into a dizzying whirlwind of corruption, arrogance, fame, power, money and influence. When Lucien starts buying into everything he's sold about the whys and hows of his new profession, and the spoils that come with it, Lost Illusions couldn't be more of a cautionary tale. Everything has a price: the glowing words he gleefully types, the nasty takedowns of other people's rivals and the entire act of spending his days doing such bidding for the highest fee. Balzac's text was of its time — albeit savagely so — and also ahead of its time. Or, you could say that the years and technologies have changed since the 1800s, obviously, but human nature hasn't. Giannoli and Fieschi intentionally tease out Lost Illusions' still-relevant and even prescient notions, of course, and the result is a movie that looks rich and period-appropriate in every frame, and yet also feels timeless. Part of that sensation stems from the verve with which Giannoli helms, even with his feature sprawling across such a lengthy duration. Like Lucien when he naively thinks that his dreams are achievable in the film's first act, or when he later eagerly laps up the benefits of his choices — despite fellow writer Nathan d'Anastazio's (Xavier Dolan, IT: Chapter Two) attempts to warn him otherwise, and as his decisions start to impact his new girlfriend Coralie (Salome Dewaels, Working Girls), an actress — Lost Illusions has a spring, bounce and dance in its step. Yes, that's Xavier Dolan, director of Heartbeats, Laurence Anyways, Tom at the Farm, Mommy and more, in a tremendous supporting role as one of Lucien's rivals. Giannoli gets the very best out of his supporting cast, including the always-welcome Lacoste, his Irma Vep co-star Balibar and the ever-reliable de France. But, as wonderful as each proves, none are tasked with conveying exactly what the movie's moniker exclaims. When viewers meet Nathan, Etienne, the Marquise and Louise, none have many illusions to lose. Voisin, with eyes that gleam so brightly when Lucien is praised for his poems in his provincial home town, is saddled with seeing fantasies crash, morals twist, hopes wither and hard truths set in. He has to express Lucien's growing lust for status, too, as well as his increasing willingness to shrug off the ramifications. It's a thorny part, and a consummate performance. While Voisin was also superb in Summer of 85, he's even better here. Lost Illusions has much to say about heads filled with dreams; about quests to become the hero of one's own narrative; about the forces, such as cynicism, cash, class structures and an obsession with how everything looks, that trample earnestness and sincerity. It enlists narration to help voice it, but the intricate imagery lensed by cinematographer Christophe Beaucarne (Hold Me Tight) utters plenty anyway. Although almost everything glitters and appears exquisitely golden, little is beyond aesthetics. This is a film where opinions are bought, and not just in print. Paying for boos at theatre shows, including the more sensationalistic productions on "the boulevard of crime", is so commonplace that no one questions it. Lost Illusions itself wouldn't ever need the same tactics IRL, but this movie exists in a world where nothing it explores seems fanciful, farcical, an imagining of fiction or a relic of history. If viewers had any illusions otherwise, prepare to lose them in this sumptuous and savvy picture.
For one week each September, Brisbane becomes Australia's live music capital — even if a Melbourne survey generally claims otherwise. When BIGSOUND hits the city, it seems like every venue in Fortitude Valley is packed to the rafters with bands, industry folks and music-loving punters, all enjoying the latest and greatest the country's music scene has to offer. And given this year's newly announced lineup, expect that to be the case once again. Unveiling its first 75 acts for 2018, BIGSOUND will play host to a stacked pack of musos, spanning everything from pop, electronic, rock and rap to metal, hip hop and folk. Topping the bill so far are the likes of The Chats, Eliott, Cable Ties, Asha Jefferies and yú yī, plus the return of previous BIGSOUND favourites such as Blank Realm, Olympia, Gabriella Cohen and Oh Pep! More than 70 other acts will be announced closer to the event; however the current list joins a host of previously revealed speakers — including Virginia Grohl, mother of Dave Grohl, and record label executive turned indie company CEO Mardi Caught. Previous BIGSOUNDs have showcased everyone from Gang of Youths, Flume, Tash Sultana and Courtney Barnett to San Cisco, Violent Soho, Methyl Ethel and The Jungle Giants, so their program is usually a very reliable bellwether of current and up-and-coming talent. Here's the full lineup of music acts so far: A Swayze & The Ghosts Adrian Eagle Alice Skye ARSE Arteries Asha Jefferies Bin Juice Blank Realm Bugs Butterfingers Cable Ties Cast Down CLYPSO Cry Club CXLOE DEAN FOREVER Dreller Eat Your Heart Out Eilish Gilligan Eliott Elizabeth Ella Hooper Emma Anglesey Estère Gabriella Cohen Genesis Owusu Georgia Mulligan Good Doogs GRAACE Gravemind Greta Stanley Hachiku Hazlett Hobsons Bay Coast Guard Imogen Clark James Wright Trio JEFFE KAIIT Kaitlin Keegan Kian Kota Banks Kult Kyss Kwame MANE Miss June Moaning Lisa MOOKHI Oh Pep! Olympia Paces Pink Matter Pool Shop Rachel Maria Cox RAT!hammock Riley Pearce Ruby Gilbert Samsaruh Sleep Talk Slowly Slowly Stevie Jean Sumner Sunscreen sweater curse SŸDE T$oko Tape/Off The Chats The Merindas TOTTY Triple One Two People Tyne-James Organ Voiid Wax Chattels yú yī BIGSOUND 2018 runs from September 4–7 at various venues around Fortitude Valley, Brisbane. For further details or to buy tickets, visit bigsound.org.au. To discover what to do, see, eat and drink while visiting Brissie for the annual event, check out our weekender's guide to Brisbane during BIGSOUND.
The best thing about film festivals? The surprises. And boy oh boy does the 2017 Russian Resurrection Film Festival have a great one. The touring fest has plenty of ace picks, including a drama set inside the Bolshoi Theatre, aptly called The Bolshoi; Attraction, the first Russian flick about aliens landing in Moscow; and the innovative Tolstoy adaptation that is Anna Karenina: Vronsky's Story. It also has the 1989 action flick Tango & Cash starring none other than Sylvester Stallone and Kurt Russell. Why is this big hair-loving, US-made buddy cop movie on the bill? Because it was primarily directed by Russian filmmaker Andrei Konchalovsky, who collaborated with the great Andrei Tarkovsky early in his career, and then spent a big chunk of the '80s and '90s working in America. It's the kind of nostalgic selection that is best appreciated with retro fun in mind (and a few beverages in hand). It's not quite so-bad-it's-good, but it is something that has to be seen to be believed. In more serious offerings, Arrhythmia explores the erratic pulse of a complicated marriage, Spacewalkers jumps into the Cold War space race, and the comedic The Kitchen: Final Battle pits chefs against each other. Catch them and more at Event Myer Centre from November 1 to 8.
It has been 12 years since RuPaul's Drag Race first premiered in the US, and its mission to unearth the next drag superstars shows no signs of stopping. Currently, the original series is airing its thirteenth season, while international versions also exist in the UK — also hosted by RuPaul — plus Thailand, Holland, Chile and Canada. Next, it's finally making the leap to Australia and New Zealand. RuPaul's Drag Race already airs locally, but, in exciting news, it's now it's being made here as well — courtesy of the aptly titled RuPaul's Drag Race Down Under. Announced back in January, the eight-part series will focus on Aussie and NZ drag queens battling for supremacy, and will air on Stan in Australia and TVNZ OnDemand in New Zealand sometime later in 2021. And, while not all overseas iterations of Drag Race are hosted by RuPaul, RuPaul's Drag Race Down Under definitely will be. RuPaul will also take on judging duties with show veteran Michelle Visage and Australian comedian Rhys Nicholson. If you're wondering just who'll be competing, too, that was unveiled on Saturday, March 6 during the 2021 Sydney Gay and Lesbian Mardi Gras. Ten contenders will strut their stuff for drag supremacy, spanning seven Australians and three New Zealanders. So, prepare to see plenty of Art Simone from Geelong, Melbourne's Karen from Finance, and Sydney's Coco Jumbo, Etecetera Etcetera and Maxi Shield. Newcastle's Jojo Zaho and Perth's Scarlet Adams round out the Aussie queens, while Auckland's Kita Mean, Anita Wigl'it and Elektra Shock comprise the NZ contingent. Fans already know the format, which features fashion challenges, workroom dramas and lip sync battles aplenty. If you're a newcomer to all things Drag Race, you'll watch these Australian and NZ competitors work through a series of contests to emerge victorious, and join the likes of US contenders Jinkx Monsoon, Sasha Velour and Sharon Needles in being crowned the series' winner. Check about the RuPaul's Drag Race Down Under cast reveal video below. https://www.youtube.com/watch?v=oSLPdMi0b8U RuPaul's Drag Race Down Under will hit Stan and TVNZ OnDemand sometime later in 2021 — we'll update you with an air date once further details are announced. Top image: RuPaul's Drag Race.
No one should need to cleanse their palates between Mad Max movies — well, maybe after Mad Max: Beyond Thunderdome, depending on your mileage with it — but if anyone does, George Miller shouldn't be one of them. The Australian auteur gifted the world the hit dystopian franchise, has helmed and penned each and every chapter, and made Mad Max: Fury Road an astonishing piece of cinema that's one of the very best in every filmic category that applies. Still, between that kinetic, frenetic, rightly Oscar-winning movie and upcoming prequel Furiosa, Miller has opted to swish around romantic fantasy Three Thousand Years of Longing. He does love heightened drama and also myths, including in the series he's synonymous with. He adores chronicling yearnings and hearts' desires, too, whether surveying vengeance and survival, the motivations behind farm animals gone a-wandering in Babe: Pig in the City, the dreams of dancing penguins in Happy Feet, or love, happiness and connection here. In other words, although adapted from AS Byatt's short story The Djinn in the Nightingale's Eye, Three Thousand Years of Longing is unshakeably and inescapably a Miller movie — and it's as alive with his flair for the fantastical as most of his resume. It's a wonder for a range of reasons, one of which is simple: the last time that the writer/director made a movie that didn't connect to the Mad Max, Babe or Happy Feet franchises was three decades back. With that in mind, it comes as no surprise that this tale about a narratologist (Tilda Swinton, Memoria) and the Djinn (Idris Elba, Beast) she uncorks from a bottle, and the chats they have about their histories as the latter tries to ensure the former makes her three wishes to truly set him free, is told with playfulness, inventiveness, flamboyance and a deep heart. Much of Miller's filmography is, but there's a sense with Three Thousand Years of Longing that he's been released, too — even if he loves his usual confines, as audiences do as well. "My story is true," Swinton's Alithea Binnie announces at the get-go. "You're more likely to believe me, however, if I tell it as a fairy tale." Cue another Miller trademark, unpacking real emotions and woes within scenarios that are anything but standard — two people talking about their lives in a hotel is hardly fanciful, though. The tales that the Djinn relays, with debts clearly owed to One Thousand and One Nights, also dwell in the everyday; some just happened millennia ago. The Djinn loved the Queen of Sheba (model Aamito Lagum), but lost her to the envious King Solomon (Nicolas Mouawad, Mako). He then languished in the the Ottoman court, after young concubine Gulten (Ece Yüksel, Family Secrets) wished for the heart of Suleiman the Magnificent's (Lachy Hulme, Preacher) son Mustafa (singer Matteo Bocelli). And, in the 19th century, the Djinn fell for Zefir (Burcu Gölgedar, Between Two Dawns), the brilliantly smart but stifled wife of a Turkish merchant. What spirits the Djinn's time-hopping memories beyond the ordinary and into the metaphysical, and Alithea's narrative as well, is the figure first seen billowing out of blue-and-white glass, then filling an entire suite, then slipping into white towelling. Something magical happens when you pop on a hotel bathrobe — that space and that cosy clothing are instantly transporting — and while Alithea resists the very idea of making wishes, she gets swept along by her new companion anyway. As a scholar of stories and the meanings they hold, she knows the warnings surrounding uttering hopes and having them granted. She also says she's content with her intellectual, independent and isolated-by-choice life, travelling the world to conferences like the one that's brought her to Turkey and then to the Istanbul bazaar where she spies the Djinn's misshapen home, even if her own backstory speaks of pain and self-protective mechanisms. And yet, "I want our solitudes to be together", she eventually declares, and with exactly the titular emotion. Adapting this swoony affair for the screen with co-screenwriter Augusta Gore, his daughter, Miller knows that Three Thousand Years of Longing is indeed a cautionary tale, too. As Alithea is well aware, simply wishing can't genuinely make dreams come true; life is much too thorny and slippery for that. And, even when she allows herself to forget it despite her early protests, and the film lets her — Elba can fight lions on-screen in one flick, then capture hearts and dissolve defences in the next — Miller never does. It doesn't go unnoticed that every narrative within Three Thousand Years of Longing is one of captivity and power imbalances, with imagery to reinforce it. Containers and chains, physical and otherwise, envelop characters in all layers of the story. Love at times is one such prison, including when Alithea asks for it. This is a romance, but perhaps the most affecting notion it ponders is how love isn't really love if it isn't freely given. Three Thousand Years of Longing is also still a fairy tale as Alithea promises, with enchantment breezing in, lives forever changed and lessons imparted. Being so passionate and fantastical while never losing sight of life's essential truths is a complicated mix, and it often makes for a beautiful one under Miller's guidance. The intimacy and feeling when Three Thousand Years of Longing remains a superb two-hander isn't just charming — it's potent and moving. With her sharp red bob, circular glasses and thick but melodious accent, and with his calming eyes and perfect mix of charisma and sorrow, Swinton and Elba could've spent the entire movie talking and it would've been a pleasure to watch. Good Luck to You, Leo Grande has already shown how enticing a hotel room, a couple of chattering souls and laying oneself emotionally bare can be, especially with magnetic performances, and this would make a wonderful double feature with it. Human existence isn't just quiet, transformative, deep-and-meaningful one-on-one moments in plush surrounds and outfits, though, just as love isn't always bliss. Three Thousand Years of Longing is a work of two distinct approaches, recognising that, and also letting Miller bust out every stylistic yearning he has whenever his film ventures past Alithea and the Djinn conversing to its blasts from the past. The visuals swoop and slide, with Mad Max: Fury Road cinematographer John Seale again conveying his director's energy with verve and panache. The swift editing by Fury Road's Margaret Sixel, and the feature's creative transitions, do the same. Colour blazes bright, as does detail — gleaming from every surface, in fact — and spinning stories and escaping into fables becomes the most vibrant and urgent thing in the world. While watching and getting lost in Three Thousand Years of Longing, it frequently feels that way.
UPDATE, February 17, 2021: Dark Waters is available to stream via Binge, Foxtel Now, Google Play, YouTube Movies, iTunes and Prime Video. Charting a lawyer's quest to expose a chemical company's harmful actions, Dark Waters seems, on paper at least, like a standard crusading legal drama. In Erin Brockovich and The Insider's footsteps (and All the President's Men and The Report's, too), this little guy-versus-the system, truth-versus-cover-up film appears to follow. Based on grim recent history, it also seems worlds away from its director's usual oeuvre. For three decades, Todd Haynes has given cinema many gifts — the anarchic 70s glam of Velvet Goldmine, the sweeping 50s-style melodrama of Far From Heaven, the imaginative Bob Dylan-inspired I'm Not There and the yearning queer romance that is Carol — but never anything as ostensibly straightforward as this anxious, serious-minded procedural. Dark Waters doesn't shy away from or try to reinvent its genre. Any move in that direction wouldn't do its real-life details justice. But this is definitely a Haynes movie in the way that matters most: its emotional impact. Visually, the director doesn't stage the elaborate, eye-catching scenes that his work has become known for. He doesn't load his frames with sentiment-dripping colour, either. His perceptive, detail-oriented approach is still evident, however, in every closed-in, grey-toned peek inside everyday corporate and small-town surroundings. So too is his ability to tell a complex tale with layered minutiae and piercing nuance, all while ensuring that his audience shares every iota of pain and passion felt by his characters. With Haynes' eighth feature taking its specifics from Nathaniel Rich's 2016 New York Times Magazine article 'The Lawyer Who Became DuPont's Worst Nightmare', there's much for everyone — on-screen and off — to feel. When viewers first meet Robert Bilott (Mark Ruffalo), he's a corporate defence lawyer who has just made partner at an Ohio law firm that works for the big end of town. If West Virginian farmer Wilbur Tennant (Bill Camp) hadn't marched into the office demanding his help, that's the course Bilott's career probably would've stuck to. He's not just reluctant to listen to his unexpected visitor, but initially dismissive. It's only because Tennant knows Bilott's grandmother that he even gives the matter a second thought. Whether exploring a woman's certainty that she's allergic to the world around her in 1995's Safe or chronicling two children's search for their parents across two different timelines in 2017's Wonderstruck, Haynes has always specialised in characters who are committed to following their hearts and senses of self, no matter the cost. When Bilott visits Tennant's property, learns that 190 cattle have died from strange medical conditions — including blackened teeth and tumours — and gleans the possible connection between this heartbreaking carnage and DuPont's use of neighbouring land as a dumping ground, he becomes one of them. Unsurprisingly, his employers aren't overly thrilled about the case, although his boss (Tim Robbins) still lets him pursue it. Of course, to just as little astonishment, the more that Bilott digs, the more he unearths. Ruffalo has stepped into this kind of dogged, determined territory before in Zodiac and Spotlight — and, as both of those excellent films showed, he's exceptional at it. With each, he serves up different shades from a recognisable palette rather than replicating the same role again and again. Indeed, throw in his seven-movie Marvel stint as Bruce Banner/the Hulk, and the three-time Oscar nominee has spent a hefty chunk of his career as smart, resolute, world-weary but still tenacious men hunting insidious killers, organisations and other forces of evil. Make no mistake, that's the story that Dark Waters unfurls, even if it never has a finger-snapping Thanos to chase. It would've been so easy to give DuPont a villainous on-screen figurehead, and to square the blame for the company's literally toxic actions at one person's feet. But Haynes and screenwriters Mario Correa and Matthew Michael Carnahan (21 Bridges) know that life is never that simplistic. Obviously, bringing a huge multinational outfit peddling dangerous substances to account requires painstaking devotion, aka the type of unglamorous, highly necessary grunt work that Dark Waters focuses on. Perhaps not so obviously, enabling such a widespread catastrophe to take place — poisoning the environment, animals and people, and getting away with it until Bilott's lawsuit came along — requires just as much manpower, just from a completely different angle, which Dark Waters is equally as fervent about stressing. While tight, taut and involving from start to finish, the end result doesn't hit every note it aims for. Anne Hathaway's role as Bilott's wife is underwritten, and Bill Pullman hams it up in his brief supporting appearance. Still, there's no shaking this solid, compelling film's potency, its scandalous true tale and its takeaway message. As Bilott discovers when he switches sides, many a powerful entity will only do the right thing when they're made to by the masses. With that in mind, Haynes hasn't just brought an essential story to the screen (and inspired his audience to start questioning all the chemicals in their lives), but crafted the ideal movie for a world where the entire planet is increasingly at the mercy of corporate giants. https://www.youtube.com/watch?v=yBGi3SzxkKk&feature=share
Cheese connoisseurs of Brisbane, unite! This Sunday we have the the Big Cheese's of Cheese sharing their delicious creations at Portside Wharf in Hamilton. Queensland's Biggest Cheese Festival offers the general public People's Day as part of the Brisbane Cheese Awards. With the official judging occurring on Saturday, Sunday is the day that us lay folk are allowed to experience some of the greatest cheeses from all over the country. The event has a mix of well-established cheesemakers such as Yarra Valley Dairy and Meredith Dairy competing, but also gives home cheesemakers an opportunity to compete for the coveted Home Cheesemaker's Award. If cheese is your weakness, then we know you will not be able to resist this event. For $10 entry (under 16's are free) and with free samples of some of Australia's best cheeses all day from 10am-4pm, it's bound to be a delicious day.
Since opening its doors just over a year ago, Netherworld has been mighty busy. 24-hour pinball marathons, Hawaiian shirt parties, building cities out of cardboard, beer fests, Christmas shindigs, movie nights... the list goes on, and now the Valley venue is adding art exhibitions to the mix. It all launches at 6pm on April 5, which is when Freak Street's Radioactive Slime show is unveiled. The creative pseudonym for Brisbane-based artist Ben Adams, Freak Street's illustrations takes inspiration from "American pop culture, Japanese monster films, surfing, death, anxiety, and the occasional nice little things that happen in life" — all while sporting a sense of humour and a love of colour. On opening night, there'll be art, shirts and masks for sale — including a limited run of new Netherworld shirts designed by the artist in question. The exhibition also runs all month, so you'll have something ace to stare when you need a break from mashing buttons. Image: Freak Street Illustrations.
