The final year photography students over at QCA have quite the year ahead of them. But before the lack of sleep, frustrated tears and exhausted tantrums begin, the student body are inviting you to come along to White Box Galley to support their creative endeavours and purchase some prints. The art auction will include prints from QCA's 3rd year students as well as works from a selection of well known photographers including Tim Page, John Rodsted, Siegfried Manietta, Henri van Noordenburg, Ray Cook, Earle Bridger, Camilla Birkeland and Alix Perry. All together there will be more than 50 quality prints up for auction on the night. Some ridiculously priced alcoholic beverages will also be on offer t to add some festive mood to the evening. And there's no need to feel guilty for indulging in a cheeky and cheap glass or too because all funds from the night will go towards the faculty and graduating class. The goal is to raise $25,000 by the end of the year in order to fund the end of year exhibition and catalogue. Those pricey printing costs are no match for a full time student's measly wage. You've heard the student's cry poor - now don't let the opportunity to nab the next generation's answer to Annie Leibovitz for a steal, go by. Image by Louis Lim
So much about The Many Saints of Newark is a matter of when, not if: when familiar characters will show up looking younger, when well-known New Jersey locations will be sighted and when someone will eat ziti. This all occurs because it must; it wouldn't be a prequel to The Sopranos otherwise. Servicing fans is a key reason the movie exists, and it's far more resonant if you've already spent 86 episodes with Tony Soprano and his mafia and blood families while watching one of the best TV shows ever made. This is a film with a potent air of inevitability, clearly. Thankfully, that feeling reaches beyond all the obligatory nods and winks. That some things are unavoidable — that giving people what they want doesn't always turn out as planned, and that constantly seeking more will never fix all of life's woes, too — pulsates through this origin story like a thumping bass line. And yes, on that topic, Alabama 3's 'Woke Up This Morning' obviously gets a spin. Penned by The Sopranos' creator David Chase and series alum Lawrence Konner, and helmed by veteran show director Alan Taylor, The Many Saints of Newark doesn't merely preach to existing devotees, even if they're the film's main audience. Marking the last of the big three 00s-era prestige US cable dramas to earn a movie spinoff — following El Camino: A Breaking Bad Movie and Deadwood: The Movie — the feature is aware of its own genesis and of gangster genre staples in tandem. Casting Ray Liotta, who'll forever be associated with Martin Scorsese's Goodfellas, was always going to show that. Travelling back to the 70s, when The Godfather franchise electrified cinema, does also. Indeed, The Many Saints of Newark plays like a hybrid of pop culture's three most influential and essential mob stories. A bold move, it also explains what works and what falters in a film that's powerful and engaging but firmly baked in a well-used oven. The first detail that Sopranos fans should've picked up when this flick first got a title: in Italian, many saints translates as moltisanti. While The Many Saints of Newark spends time with young Tony as a pre-teen in the late 60s (played by feature first-timer William Ludwig) and a teen in the early 70s (when The Deuce's Michael Gandolfini, son of the late, great James Gandolfini, steps into the character's shoes), its protagonist is Dickie Moltisanti (Alessandro Nivola, The Art of Self-Defense). He's seen as an uncle and mentor by Tony, who'll eventually hold the same roles for Dickie's son. The Sopranos mainstay Christopher Moltisanti (Michael Imperioli, One Night in Miami) turns narrator here, in fact, offering knowing voiceover that occasionally channels the show's dark humour — calling out Christopher's death at Tony's hands, for instance. Dickie was recalled with reverence in the series, yet threw a shadow over Tony's middle-aged mob-boss malaise — as seen in his duck obsession, panic attacks and reluctant chats with a psychiatrist. Here, Dickie falls into a similar pattern with his dad 'Hollywood' Dick (Liotta, No Sudden Move), who returns from Italy to subject his new, much-younger bride Giuseppina (Michela De Rossi, The Rats) to domestic violence. One of The Many Saints of Newark's finest traits is its layering, honing in on cycles that keep echoing through generations as it examines Dickie's role in turning Tony into the man viewers watched from 1999–2007. Its greatest stroke of casting plays with the same notion as well, and the younger Gandolfini is a soulful yet primal revelation. To call his performance lived-in is the epitome of an understatement, and it's never a gimmick. Nivola is equally masterful, especially given that Dickie is torn in almost every way he can be. He abhors his father's treatment of Giuseppina with Oedipal fury, but also has a psychopathic temper. Part of the DiMeo crime family, he runs numbers in Newark with help from his football pal Harold (Leslie Odom Jr, Music), but all his cronies — Tony's father Johnny (Jon Bernthal, Those Who Wish Me Dead) included — couldn't be more overtly racist. The Many Saints of Newark uses the 1967 Newark riots about systemic prejudice as a defining event, too, although it's often treated as window dressing. One particularly spectacular shot sees Tony spy the resulting flames from his bedroom window, and Harold is mobilised to start his own gambling racket afterwards, but that's about as deep as the movie delves on the subject. It has other things to ponder in its tale about family, crime, loyalty, life and death, as Dickie is just as conflicted about Tony's future. Regarding the latter, The Many Saints of Newark takes a few cues from Breaking Bad prequel series Better Call Saul, with its origin story also a tragedy because we know the only place it can lead to. That's one reason the film blisters with emotion, even if the same standard gangster narrative could've easily been told without any ties to The Sopranos. It's also why all of the expected references feel a bit like a game of spotting the nudges in the moment — including Vera Farmiga (The Conjuring: The Devil Made Me Do It) as Tony's mother Livia, Corey Stoll (Scenes From a Marriage) as his uncle Junior, and John Magaro (First Cow) and Billy Magnussen (Made for Love) as his future sidekicks Silvio and Paulie — but ultimately add authority. Still, in a world where The Sopranos changed TV forever — every television drama has been indebted to the groundbreaking HBO series for the past two decades — The Many Saints of Newark is also the most basic version of the film that plenty have dreamed about since a certain fade to black. It delivers what it sets out to, not just in resurrecting Tony by venturing backwards, but also in fleshing out backstory, grappling with recognisable themes and musing on generational repetitions. It serves up two stellar core performances, as set against handsome period staging. It's a fine-looking movie all-round, and its blue palette conveys a sense of sorrow that perfectly suits its task. But it treads in heftier footsteps and knows it — and while that's part of its message, it's a bit like snacking on gabagool after a hearty, life-changing serving of pasta.
It seems that too often we forget (myself included) that Triple J is not the only alternative to commercial radio stations. Does your regular radio station have a program called Dykes on Mykes? Or a morning show is called Breakfast Will Tear Us Apart? Triple Zed does. They've been flying the community radio flag for 36 years and have become a much-loved fixture on the airwaves, but are often forgotten about due to Triple J's domination and the general uncoolness of Brisbane's youth (kidding, kind of). One of the ways the 4ZZZ institution stays afloat is via their annual radiothon, which this year spans across 10 days with $70,000 worth of prizes up for grabs. And here you were thinking local radio was something to be sniffed at! The theme of this year's event is Streets of Our Town, aimed at showcasing Brisbane's laneways, streets and malls, as well as gathering new and old listeners together to support local musicians. Lunch With 4ZZZ will be the centrepiece this Saturday, featuring markets and live music, as well as the chance for participants to win daily from the epic prize pool. You can score Dendy movie passes, Hi-Fi gig tickets and even a new scooter if you're lucky. It all kicks off this Friday, so do yourself and your city a good deed and get down and support a worthy cause.
Ever wondered what going to the movies was like almost a century ago? You might not be able to travel back in time to find out, but every second Friday evening you can do the next best thing at Kristian Fletcher's Roaring Twenties Cinema program. Each fortnight, one of Brisbane's premier and most passionate purveyors of cult and retrospective cinema will transform Paddington Hall into a picture palace of old. Well, the choice of silent film will do that, as accompanied by a live musical score — and then there's the ample use of your own imagination, of course. The lineup kicks off on September 4 via the classic everyone must see, with Charlie Chaplin at his best in his early hit The Kid. Then, revel in the expressive glory of actress Mary Duncan in City Girl two weeks later, and keep checking the event's Facebook page for future blast-from-the-past movie choices.
When Queensland Premier Annastacia Palaszczuk announced the latest phase of the state's easing COVID-19 restrictions, she told Queenslanders with a case of wanderlust exactly what they wanted to hear. Yes, Australia's international borders are still closed, as they have been since March. Queensland's state border remains shut down as well. But, since midday on Monday, June 1, Sunshine State residents are now allowed to travel wherever they like — and stay as long as they like — within Queensland. That means that plenty of local getaways are on the cards; however Queensland is a big state. And if you'd like to hop on a plane and head somewhere a sizeable distance away from Brisbane, the Premier has just revealed new direct flights to the Whitsundays. They'll be run by Alliance Airlines, which has previously generally catered to the resource industry and group travel — and they'll fly four times a week. Even better: prices start at $99 one-way (including taxes, and covering 20 kilograms in checked baggage), so you can jet to the tropics and back for less than $200. When the route kicks off on Monday, June 22, it'll be the first time that flights have headed to the region since the end of March. [caption id="attachment_743609" align="aligncenter" width="1920"] Tourism and Events Queensland[/caption] If there's demand, Alliance Airlines can increase the frequency of their Brisbane–Whitsundays route to daily flights — and given how warm and sunny the weather usually is in Queensland's north during winter, the flights are likely to prove popular. Alliance Airlines will be flying in and out of the Whitsunday Coast Airport at Gunyarra, just south of Proserpine — which itself is just a 25-minute drive from Airlie Beach. For more information about Alliance Airlines new Brisbane–Whitsundays route, or to book a flight, visit the company's website. Top image: Tourism and Events Queensland
Brisbane Experimental Art Festival was created in 2010 with the aim of celebrating and showcasing Brisbane's brilliant art scene. The fest was formerly know as Brisbane Emerging Art Festival, so it's smoothly switched a word but not a letter in the acronym. As well as presenting various art forms for the public to enjoy, BEAF is a way for artists to connect and create new practices. Some featured artists include writer and academic Courtney Pedersen, whose work is concerned with the collision of personal and public worlds. Poetry is Dead will also be showcased. This is a collaboration between writer Josh Donella and musician Mike Wilmett. Festival goer's can also check out Rebecca Cunningham's art. She is a researcher, curator, project manager, sound and performance artist. There are lots more artists; check out BEAF's website for details. Whether you're brimming with creative talent or just appreciate art in all of its forms, head along to this free event and support your local artistic community.
You don't have to do much poking around to find evidence of Brisbane's latest food trend, with poke making itself known all over town. Indeed, Newstead residents now have two dedicated joints to choose from. After Suki set up its third outlet in the suburb just months ago, Cheeky Poke Bar has followed suit. Opening its doors to the new Haven development at 63 Skyring Terrace, Cheeky Poke Bar is the latest venture from the folks behind Portside's Fresh N Wild Fish, aka the place to get seafood and chips in Hamilton. They've extended their love of ocean bounty to a new format — not only in terms of serving up the Hawaiian fish dish, but in setting up a restaurant-bar hybrid that pairs its bites to eat with cocktails. That means a food range that features seven signature bowls, as well as a seven-step make-your-own option. Also on the menu: tacos, miso bone broth, sashimi tasting plates, pork gyoza and taro crisps with wasabi mayonnaise, plus six flavours of kakigori (aka shaved milk ice) for dessert. Drinks-wise, think bright boozy concoctions such as the Cheeky Collins (with gin, rosemary, cucumber and kombucha), Breakfast In Tokyo (with Togouchi whiskey, yuzu, apricot brandy, marmalade, orange bitters and foam), and the Cheeky Friends Bowl (tequila, Chambord, triple sec, citrus, agave, seasonal fruit). As well as beverages featuring its name, Cheeky also boasts kombucha on tap, two types of sake, and a sizeable local beer and wine range. Decor-wise, patrons will find a sea of black, grey, blue and brass inside the 45-seat digs, as well as timber booths, bar tops made from recycled stone, and neon lighting. "I wanted to create a space which elevates your senses, so you can really appreciate the fresh produce and each flavour in every dish," explains owner Sam Demetriou. Find Cheeky Poke Bar at Haven, 63 Skyring Terrace, Newstead. Visit their website and Facebook page for more information.
If you're heading to the Gold Coast to watch movies, you might not expect snow to be the first thing you see. That's part of the fun of a film festival, of course. Anything can happen — such as a feel-good flick about a British ski jumper, Eddie the Eagle, opening an event in one of Australia's best-known beach spots. In its 14th year, the Gold Coast Film Festival starts big and just keeps getting bigger over the course of its 11-day run from 31 March to 10 April. The numbers paint a pretty impressive picture, with the fest showing 38 films from 15 countries — including six Australian and seven Queensland premieres — and hosting 80 screenings and other sessions. Indeed, the busy movie lineup features quirky Aussie coming-of-age effort Girl Asleep, Academy Award-nominated animation The Boy and The World, one-shot wonder Victoria, and the Sam Rockwell and Anna Kendrick-starring Mr Right, in a program that promises something for everyone. Outdoor screenings of '80s classics Ghostbusters and E.T. The Extra-Terrestrial give the festival a throwback feel, too, because everyone loves a bit of big-screen nostalgia. Plus, those after more than a trip to the flicks can check out the trivia night, expert workshop panels, and two of Australia's screen icons combining when David Stratton chats with 2016 Chauvel Award winner Claudia Karvan.
West Village is already one of the greenest parts of West End, and now it's letting you take some plant-life home with you. No, you can't raid the precinct's garden — but you can browse the stalls at the spot's returning Plant Market. Looking for something leafy to sit on your window sill? A statement plant for your back deck? Terrariums and kokedamas to place (and hang) wherever fits? Ceramics to spice up your shelves? Succulents and cacti, because they brighten up any space? Good ol' fashioned flowers, just because? Botanical-themed jewellery? Thanks to a long list of participants including All the Green Things, Max and Mort, Luvia Designs, September Creative, Billeta and Succulent Mummas, they're all on offer. Just head on down to the free event from 8am–2pm on Sunday, September 8 — and if you have some plants at home that don't quite suit, could use someone else's love or you're just not feeling, you can bring them along to the onsite greenery adoption centre. If you buy something on the day that you'd like potted on the spot, someone will do that for you, too, for a gold coin donation. From 9–10.30am, you can also learn a few tips and tricks at the Plant Market's gardener workshops, including about potted plants, vegetable gardens and indoor greenery. The informative session costs $10, bookings are required, and the price includes a coffee and breakfast snack from Salt Meats Cheese.
Change has been sweeping through Eagle Street across much of 2022, with the floods affecting riverside venues, Eagle Street Pier closing to make way for a new precinct and new seafood restaurant Tillerman opening its doors. Something else to add to the list: a sizeable renovation at Riverland, the CBD stretch's bar and beer garden with a shimmering view. Open since 2017, Riverland sits behind 167 Eagle Street and boasts a hefty river frontage — and it's getting bigger. Australian Venue Co (AVC), the hospitality giant that runs the spot, has announced a $3.5-million revamp. In the works: adding to the outdoor drinking and dining area, courtesy of a new 800-square-metre deck extension with top-notch waterfront views. [caption id="attachment_648037" align="alignnone" width="1920"] Anwyn Howarth[/caption] You'll need to wait till 2023 to make the most of it — and as well as giving you and your mates more room to knock back drinks, have a bite and just hang out, it'll help boost the venue's space for events and parties. In also welcome news, Riverland will remain trading while it's getting its makeover. So, if your spring and summer plans including hitting up the bar, they don't need to change. AVC has been refreshing Brisbane favourites all over town of late, thanks to considerable renovations at a heap of its local watering holes — as seen as spots such as Cleveland Sands Hotel, Salisbury Hotel, the Crown Hotel in Lutwyche and Bribie Island Hotel. The Wickham in Fortitude Valley is also making over its ground-floor bar, beer garden and second floor to the tune of $1.5 million, and is set to relaunch before 2022 is out. [caption id="attachment_648045" align="alignnone" width="1920"] Anwyn Howarth[/caption] Find Riverland at 167 Eagle Street, Brisbane — it'll remain open during the renovations, operating from 11am–11pm Sunday–Thursday and 11am–3am Friday–Saturday.
Secure your caffeine fix at popular Grey Street hole-in-the-wall cafe Espresso Garage, then hit the pavement to walk the Art and the River Public Art Trail. This short 2.4-kilometre walk winds its way from South Bank to Kangaroo Point, and showcases a range of artworks that incorporate the river's energy, beauty and sense of place. If biking is more your thing, go for a meandering ride on one of the Brisbane Lipton bikes. Image: Anwyn Howarth.
Australians have always liked cheese, and we have everything from dedicated fromageries and festivals dedicated to the dairy foodstuff to cheese wheels filled with pasta and bottomless raclette sessions to prove it. Our stomachs are working overtime to digest all the lactose — and, honestly, we've never been happier. And the love affair continues with this latest cheesy announcement. Bon Fromage — a festival specifically celebrating European cheese — is returning in 2020, and it's making a few changes. Like plenty of events this year, it's moving online and going national. So, more cheese for everyone, obviously. The whole thing will be taking place from Saturday, November 21–Sunday, November 29. First and foremost is cheese, cheese and more cheese — which you can order in gourmet tasting packs until Sunday, November 15. They'll then be delivered to your door, ready for you to devour. And if you're wondering what you'll be feasting on, each pack comes with half a kilo of cheese made in France, plus a recipe booklet and cheese tasting notes. But the virtual cheese festival isn't just about eating so much cheese that you puke. Masterclasses will be held on different varieties of cheese, the history of cheese, cooking with cheese and, we assume, the correct way to draw a cheese fondue bath for yourself. You can also obviously use the who event as an excuse to buy some cheese yourself and watch along.
Last year's The Old Man and the Gun and Clint Eastwood's new film The Mule share three things in common. First, they both star Hollywood octogenarian greats Robert Redford (82) and Eastwood (88). Second, they're both based on real life stories of unlikely elderly criminals and the men who pursued them. Thirdly, they share a pronounced nostalgia for civility; a yearning for a bygone era where nothing, not even law-breaking, should come at the cost of common decency. But where Redford's film maintained a light and tender tone throughout, Eastwood's latest lacks consistency, veering from awkward cynicism to thin familial sentimentality. As a vehicle for Eastwood's first on-screen role in six years, The Mule seems perfect. Written by Nick Schenk, who previously worked alongside Eastwood on Gran Torino, the film tells the fascinating true tale of Leo Sharp (named Earl Stone here), a 90 year-old WWII veteran and award-winning horticulturalist who became a big-time drug runner for a Mexican cartel after his own business ran into financial trouble. Stone is grizzled, bitter, grumpy and a little bit racist. In short, Eastwood embodies the look and feel of the man immediately. When Stone agrees to run a package across the country, no questions asked, he reveals himself to be the perfect mule for Andy Garcia's cartel, and as his illicit load increases with each new run, so too does his reward. Accompanied throughout by cartel minders, the setup is perfect for a black comedy. But whilst there are a few terrific moments (a carpool karaoke version of 'Ain't That A Kick In The Head' being the best), too much of the film falls flat, lacking the full lighthearted touch but at the same time failing to follow the darker path it also could have taken. In supporting roles, Eastwood brings back some of his recent regulars, including Bradley Cooper and Michael Pêna as the DEA agents charged with tracking Stone down and bringing him to justice. As with The Old Man and the Gun, it takes some time to dawn on the authorities that they're pursuing a man in his 80s – which of course was precisely why the Cartel went that direction in the beginning. Eastwood has always been impressive in his embracing of ageing, even tabling Unforgiven for over a decade until he felt he was old enough to do the role justice. Here in The Mule, though, the age card offers so many tantalising possibilities for the story, yet is used far too sparingly and too easily, resorting to mostly tired tropes like technological dyslexia (wait, how do you text again?). Moreover, while Stone is a remorseful man insofar as his troubled family history goes, he shows none for his part in supporting a violent and brutal cartel (at least not until the film's final stages). The end result is a film that looks great (it's Eastwood in the chair, after all), but feels like a middle child of genre; funny but not a comedy, dark but not a thriller, on the road but not a road movie and moving but not fully a drama. https://www.youtube.com/watch?v=N_QksSzK7sI
Playing a 13-year-old in Atonement, Saoirse Ronan changed lives with a series of lies. As a twenty-something newlywed in On Chesil Beach, she slings the truth, but its piercing impact is just as sharp. Both roles stem from the pen of British author Ian McEwan and, while Ronan's career hasn't lacked highlights during the 11 years between the two, both demonstrate the depth of her talents. In the Brooklyn and Lady Bird star's hands, the two distinctive yet relatable characters are much closer than they might initially seem: a petulant, misguided teen misconstruing the facts as a way of coping with her own feelings, and a kind, exacting woman sharing what's really in her heart in an effort to do the same. Mere hours after saying "I do", Ronan's Florence has her whole married life in front of her. It's 1962, she's honeymooning by the pebbly shore of Dorset with her new husband Edward (Billy Howle), and when to have dinner seems like the duo's biggest worry. And yet, before darkness falls on their first night away, their wedded bliss will prove short-lived. First, they're playfully disagreeing about music choices. Next, they're trying to stay polite around interrupting wait staff. Soon, they're awkwardly trying to consummate their nuptials — which, instead of bringing the couple closer together, only drives them apart. Where romantic splendour becomes matrimonial sorrow, that's where On Chesil Beach finds its story. With a bittersweet mood painted across its frames, the film burrows into the heart of a fresh but fraught relationship — one that's just getting started, but is already saddled with heavy expectations and weighty complications. That said, this isn't a simple case of opposites attracting and then imploding, or of two besotted paramours following their feelings instead of their thoughts, although both ring true in some fashion. Classical violinist Florence is sweet and driven, from a middle-class family, and has a very clear view of her future. Edward is an English graduate with no set career path, harking from a much more modest background, and fond of rock and roll. What plagues the couple, however, is a dilemma that everyone faces at some point in their lives: the consequences of truly being honest with each other. As Florence and Edward's marriage wilts faster than the flowers that Florence undoubtedly carried down the aisle that same day, an intimate tale begets an intimate picture. Indeed, it's fitting that On Chesil Beach heralds the filmmaking debut of theatre and television director Dominic Cooke, with conversation — and the gaps between the sometimes passionate, sometimes tentative chatter — reigning supreme. Still, marking just the fourth time that prolific novelist McEwan has adapted his own work for the screen, the movie benefits from one of the writer's trademarks. Conveyed here through flashbacks to various points during the couple's courtship, On Chesil Beach never forgets that every single moment, act and discussion is the culmination of a lifetime's worth of desires, woes, emotions and experiences. Unsurprisingly, the resulting film is filled with complex characters not only navigating a difficult situation, but brandishing intricate histories. Meticulously and delicately directed by Cooke with an eye for the blandness of routine British life, the scenic glory of the movie's titular location, and the growing space between his protagonists, On Chesil Beach is also a film that's vastly improved by its stars. As astute and insightful as McEwan's narrative is, it's the performances that give texture to a tale that otherwise works better on the page — including in its ending. That Howle more than holds his own against three-time Oscar-nominee Ronan is no minor achievement, and together they make this thorny fictional romance seem devastatingly real. https://www.youtube.com/watch?v=I9ChbMk1e6Y
If you think that good art in Brisbane is only found at GoMA, good music at the Brisbane Entertainment Centre and good performances at QPAC, you need to take a closer look at the city - there’s a lot more going on in Brisbane once you expand your horizons a little bit. In virtually every nook and cranny in the city there’s something happening that fosters and exhibits creativity – though admittedly they can be hard to find. If you need a nudge in the right direction, the best place to start is at Metro Arts this Saturday, at the Brisbane Emerging Art Festival. Once a visual arts-only event, this year the Brisbane Emerging Art Festival is encompassing emerging artists specialising in visual art, music, film, performance, fashion and spoken word in this year’s program, coordinated by a group of Brisbane’s best creative practitioners. They say the best things in life are hard to find, but you’ll find that events like the Brisbane Emerging Art Festival are making it easier to repeal that saying. Make a night out of finding the best of Brisbane this Saturday evening.
“Gorged on Creativity... for Now” is the inaugural exhibition of Urban Art Binge. The collaborative teaching and workshop initiative is the creation of Brisbane’s own Emily Fong and Joannah Underhill, now in its second year. The exhibition celebrates Brisbane’s diversity and spirit, the first of its kind: it’s comprised by the work of 45 local and budding artists, who take us from the cranes at the Port of Brisbane to the pirouettes of a Saturday morning ballet class in Bardon. Emily and Joannah seek to evoke a spark of creativity in their students, as well as to document a sense of place in Brisbane. Their opening night is free will also host live music and a sketch event, creating an all-round celebration of our own artistic inspiration as a city. Head to Jugglers Art Space to binge on visually stimulating art.
We've all dreamed of roaming the halls of a certain school of witchcraft and wizardry, watching the great hall light up with floating candles, finding its hidden nooks and crannies, and putting on the Sorting Hat. For Harry Potter fans, that's where an active imagination comes in handy; however, at Windsor State School's annual fete, you'll have help stepping into your Hogwarts fantasy. Grab your wand and start practising your best incantations because this year's WindsorFest features a Haunted Hogwarts. You'll wander around pretending you're in Harry, Hermoine and Ron's company, and you'll get more than a little scared in the process. And yes, this is the only place in the city that boasts such a spellbinding attraction. Head to the northside school from 10am on October 16 for what's certain to be a magical experience — and don't forget to enjoy everything else on offer, too. That includes rides, dodgem cars, laser tag, slides, a petting zoo, a dunk tank, a bar, and a food truck gathering that includes Mr Burger and Gnocchi Gnocchi Brothers. Accio fun.
Debaucherous dance duo Flight Facilities have been major players on the local EDM scene for some time now. Their infamous club banger 'Crave You' is guaranteed to get even the biggest of party poopers in a merry mood. It's so big, even Kylie Minogue has got in on the action. And now, after what seems like an eternity, Hugo Gruzman and James Lyell have finally seen fit to release an entire album. After bursting on the scene four years ago, they're hitting the road on their first national album tour. Down To Earth is here. Of course, this debut LP promises more of what the fans already love, with standout tracks like 'Two Bodies' building on their already stellar repertoire in a big way. Another of their quality summer tunes, 'Sunshine' even got Reggie Watts on board. But the good news doesn't stop there. This tour will see them paired with Client Liaison. Sporting '80s synth pop, oversized aviators and tan suits aplenty, these Melbourne boys will make the perfect sidekicks.
Many a summertime dream involves splashing around, lazing about in a cabana or on a daybed, grabbing a few drinks and feeling mighty relaxed. All of the above isn't normally something that a Brisbanite can do in the middle of Fortitude Valley though — let alone in a venue made out of shipping containers. But come Wednesday, January 1, 2020, it will be. That's when the X Cargo Pool Club starts operating for two months of levelled-up fun, launching on its opening date and then running from Friday–Sunday each week afterwards until February 28. Yes, the McLachlan Street spot is genuinely setting up a pool for two months — and turning it into a lush affair. Only 65 people will be given access at any one time and, taking over X Cargo's Eats Alley, the temporary body of water will also come with a private bar with its own exclusive menu, a private DJ booth, and private change rooms and toilets. If you're keen to soak and sip away a day or several, you'll need to either gather the gang and book one of the five cabanas — they accommodate up to eight people each — or nab yourself one of the 12 daybeds. For those going the cabana route, you'll pay $500 total for three hours, with bookings available at 11am, 2pm and 5pm. You'll also get bottle service, your own waiter, towel service and sun packs that include sunscreen. Happy to laze about on a sunbed between dips? That'll cost you $50 per person for two hours (with slots available from 11am, 1pm, 3pm and 5pm), and also covers towel service. Launch tickets are on sale now, with other bookings available by emailing the venue. Plus, if you're feeling super flush and festive, you and 65 of your mates can hire out the whole Pool Club as well.
If your days spent working from home and social distancing could do with a few more adorable animals, you'll be happy to know the internet is filled with many. Melbourne's zoos are live streaming their penguins, leopard cubs and giraffes, Sydney's aquarium brought us playtime with Pig the dugong and a Queensland wildlife sanctuary has cams on its koalas 24/7. Now, Taronga Zoo Sydney and Taronga Western Plains Zoo Dubbo have launched their own television station: Taronga TV. As well as three 24/7 live-streams focused on the zoos' sumatran tiger cubs, seals and elephants, the station is releasing daily videos across its Facebook, Instagram and YouTube channels. Already online: some adorable koala content, virtual hangs with the world's largest lizard, penguin feeds, baby monkeys, otters and even a video of a hippo doing a backflip. Yes, hippopotamuses — those giant water-dwelling mammals that generally weigh around 1000 kilograms — can do gymnastics better than me. https://youtu.be/qy9tc9zkN_Y As for what's to come, the zoo is promising a lot of behind-the-scenes sneak peeks, chats with keepers, stories from the Wildlife hospitals (including how it x-rays a seal), conservation work and workshops. There's a heap of kid-focused content, too, if you have any littlies at home at the moment. Both Taronga Zoos are temporarily closed to the public. Taronga TV will release videos daily on Facebook, Instagram, YouTube and via its website. Top image: Rick Stevens
When 11-year-old Toni (Royalty Hightower) looks at the world, she does so from a specific perspective. That might sound obvious; however The Fits doesn't just follow her journey — it embraces everything that makes the shy pre-teen who she is. When the camera isn't peering from her point of view, it's showing how her body reacts to everything around her. And with movement Toni's main way of processing her thoughts and conveying her feelings, the movie's editing tries to mirror its protagonist's distinctive presence. Indeed, if most coming-of-age films champion the universal nature of growing up, then Anna Rose Holmer's feature filmmaking debut endeavours to celebrate Toni's individual experience. The first-time writer-director understands that everyone encounters similar issues and situations at a young age, including the awkward prospects of trying something different and making new friends. But with her co-scribes Saela Davis and Lisa Kjerulff, Holmer also acknowledges that it's the unique details, rather than the broader strokes, that make each story interesting. Accordingly, The Fits burrows deep into Toni's mindset as it explores her attempts to join local dance drill ensemble The Lionesses. When the film opens, she's a tomboy happily tagging along to her older brother's boxing training sessions at the local community centre — until the cheering and chatter emanating from another gymnasium in the complex attracts her attention. Soon, she's testing out their moves when no one is around, and working up the courage to audition. Alas, as Toni moves closer to the group, something strange happens: the rest of her teammates mysteriously start fainting and convulsing. Of course, it's not an accident that The Fits' title has multiple meanings. As Toni tries to fit in, her peers are literally having fits, which the jerkiness of their chosen style of dance unmistakably resembles. Such a sense of synergy is just one of the layered touches that makes the movie so simultaneously intimate and expressive. While the film brings a particular narrative to the screen, it's more concerned with the emotional voyage that eventuates, rather than the underlying plot points. As a result, even though a number of eye-catching dance numbers feature throughout its 72-minute running time, The Fits isn't a dance film in the usual sense. Instead, it's a tale that can only be told through movement and a heightened awareness of physicality, and through the stylistic and acting choices that emphasise the difference between stepping up and communicating a psychological state. Holmer displays rare confidence behind the camera, especially when it comes to the film's immersive soundtrack, symmetrical framing and rhythmic choreography. But it's the cast of non-professional actors that ensure the film hits home. Led by Hightower, they're the reason the movie doesn't just look striking, but feels like an authentic glimpse into the mind of a pre-teen girl.
"Margot met Robert on a Wednesday night toward the end of her fall semester." So starts the only thing that everyone was reading, and also talking about, in December 2017. Published by The New Yorker, Kristen Roupenian's Cat Person is a short story unparalleled in its viral fame. A piercingly matter-of-fact account of a dating nightmare, the piece of fiction became a literary and online phenomenon. Cat Person didn't just spark discourse about modern romance, relationship power dynamics, 21st-century communication, age gaps and more; it monopolised them, as fuelled by the internet, of course, and arriving as the #MeToo movement was at its early heights. Releasing it as a book, still as a 7000-word piece, came next. Now there's the film that was always bound to happen. As a movie, Cat Person can count the Twitter-to-cinema Zola as a peer in springboarding from digital phenomenon to picture palaces, and it too aims for a specific vibe: the feeling that the world experienced while first roving their eyes over the details on their phone, tablet or computer screen. Cat Person and Zola have another glaring similarity: enlisting Succession's Nicholas Braun to infuse his Cousin Greg awkwardness into a wild tale. Here, he's the Robert that Margot encounters while "working behind the concession stand at the artsy movie theatre downtown when he came in and bought a large popcorn and a box of Red Vines", as Roupenian's story explains in its second sentence — and as filmmaker Susanna Fogel, the director of The Spy Who Dumped Me and one of Booksmart's writers, shows on-screen. Actors' performances don't exist in a vacuum for audiences. Unless you somehow missed the four-season Roy family shenanigans, plus all the rightly deserved attention around it, going into Cat Person unaware of Braun's best-known role is impossible. Self-consciousness, haplessness and discomfort are expected twice over of the man that Margot sells snacks to, then. Much follows. With Michelle Ashford (Operation Mincemeat) adapting Roupenian's text, Cat Person still starts unfurling as readers know it will, with Robert eventually asking Margot (Emilia Jones, CODA) out, then flirty missives bouncing back and forth via SMS daily across several weeks. She's 20 and he's 33, but she doesn't clock quite the size of that age discrepancy initially. She enjoys the banter, the thrill of connecting and the buzz of being wanted. Margot has a crush, patently, complete with telling her mother (Hope Davis, Asteroid City) and stepfather (Christopher Shyer, The Night Agent) about it when she's back at home over the break. In their exchanges, Robert advises that he has two cats, too — a tidbit worthy of a title because of what it says and softens about him, and what it also screams if those felines aren't real. Margot and Robert's rapport with their phones in their hands is natural yet often cringey, but only the latter translates whenever they meet in-person again. Still, the pair keep gravitating towards each other. Locking lips leads to "a terrible kiss, shockingly bad". The sex, which Fogel gives an out-of-body spin for Margot as a coping mechanism, is even worse. Regrets and ghosting then flow on Margot's part, while the rejected Robert floods bubbles of unwelcome anger her way. Roupenian's version is as well-known for how it ends as for everything that precedes its final word, but Fogel and Ashford had two options in making Cat Person into a movie: filling a film's running time by fleshing out its minutiae or building upon the once-in-a-decade short story, including its unforgettable ending. Their choice: doing both, actually, with their Cat Person spending 118 minutes to relay its narrative. In comes a Harrison Ford obsession for Robert, packaged with the telling revelation that he considers a Belgian bootleg of Working Girl to be the height of cinema sophistication. Margot becomes an anthropology major with a worshipped professor (Isabella Rossellini, Marcel the Shell with Shoes On) studying ants — and the college student's roommate is now the feminist subreddit-moderating Taylor (Geraldine Viswanathan, Miracle Workers), still with firmly blunt thoughts on dealing with Robert's rebuffed behaviour. In wanders a lost dog in front of their dorm, too, plus imagined sessions with a therapist (Fred Melamed, Barry) who constantly verbalises the movie's subtext, an asexual ex and a Marilyn Monroe-aping singing stint. And, in drops a third act that swings big, even for a film that wants to be a thriller, a black comedy, a cautionary tale and then a horror flick all at once. Rossellini, Davis and Melamed lend presence more than anything else, but casting remains crucial to Cat Person's quest to recreate the sensations that swelled and swirled around the feature's source material six years back. As it incited conversation, debate, devotion and memes, Roupenian's story was an in-her-shoes read — and Jones' starring performance evokes the same reaction. With the rising Locke & Key talent playing savvy yet naive and interested yet cautious, it's easy to understand the emotions, joys, doubts and fears that cycle through Margot. Pivotally, it's easy to dive into Margot and Robert's projections, too, as Jones and Braun keeping bob towards and away from each other in a purposefully anti-chemistry match. Whether it goes smoothly, horrifically, embarrassing and something in-between, what's dating if not two people filtering their own thoughts and feelings through one another? And how often is ambiguity and clashing perceptions the outcome, as well as the realisation that what we want from and spot in the person we're seeing differs from their peek into and desires for us? As Cat Person takes this on-screen journey, it's guilty of doing what everyone desperately wants in a relationship but never gets: explaining everything. Accordingly, not every new inclusion works, especially when new characters largely spout metaphors or imaginings just state the obvious. That said, there's ambition in this tensely shot (by Manfuel Billeter, The Gilded Age) and edited (by Jacob Craycroft, Pachinko) film's additions and expansions to the text. Most beats, tonal shifts, sidesteps into neatness and descents into horror help flesh out an examination of ill-advised choices, clumsy hookups, jarring perspectives, and life's ever-present dangers and uncertainties — and relatably at that. Fogel tackled much the same as a director on The Flight Attendant; Promising Young Woman sprang from Saltburn's Emerald Fennell instead, but consider it another influence upon this intriguing rollercoaster ride of a movie.
G20 this, G20 that. One minute you’re not allowed to leave your house or carry eggs; the next, it’s a free for all. Finding out the truth is the hard part, but one thing is for certain — you won’t be getting near the Convention Centre. Chances are you’re not a world leader or finance minister (if you are, and you’re reading this: get in touch and let’s do lunch), and so you should treat the big weekend like any other. The G20 is an event not for you being held in your city. While the weekend itself will likely be an inconvenience to your life, there have been a few sweeteners thrown on the table. Below, we’re talking about the next few weeks of free activities, G20 events, non-G20 events and bonus days. Cheers to ignoring the G20 and milking it for good stuff. The lead-up G20 Cultural Celebrations Besides ‘bonus public holiday’, the word free is a winner in our books. The State Government is hosting a three-week festival of totally free cultural events in the lead up to the G20 weekend. And while you think 'government' plus 'free' must equal 'lame', you’re wrong. The lineup includes gigs with Emma Louise, The Good Ship and Busby Marou, a Latin festival, a music festival with powder-colours featuring Dubmarine, and a Sampology pool party. On top of that there is a free Queensland Ballet performance, City Hall will be lit up as an interactive light organ and more than 100 dancers will take to the streets each night. I think we should say it again — free. Global Flavours To prove that Brisbane City is open for business, CBD restaurants are out in force with a bunch of dining deals for the month of November. Much like Brisbane Festival’s Festival Flavours offers, only better. You can enjoy lunch, dinner, tapas and degustations at some fine establishments. Enjoy farm-to-table dining at Customs House, dig into five course at Urbane or join the steak club at Kingsley’s. The actual G20 Weekend Friday Holiday Ahh, ain’t nothin’ sweeter than a bonus public holiday. If you’re staying in Brisbane, getting around may be a pain, but hey, we survived the 2011 floods too. Queen Street Mall will be open, and our guess is that there will be weekend specials to entice you. CBD car parks will still be open, and trains to Central or the CityCat will be operational. Everyone knows journalists love to drink, and Brisbane bars will be making the most of the extra 3000 media in town across the long weekend. Head on out, and who knows, you might even learn something. Stay in Brisbane While there will be interruptions to some regular weekend programming, Brisbane still has a fair score of stuff going on. The British Film Festival is in town, dance performance Flaunt is at the Powerhouse, I Can Keep a Secret is at the Judy, and the Eat Street Markets will be running not just Friday and Saturday nights but Thursday night too. Skip town The other, arguably more popular, option for locals is to get out. The Gold and Sunshine coasts are calling. On the public holiday Friday, South Stradbroke Island will be playing host to a music festival, Stranded. Tickets are just $59 including boat transfer, and it is headlined by The Kite String Triangle. Sun, sand, good vibes, great music. Welcome to paradise. If the thought of sand makes you squeamish, the Scenic Rim is running a Guided Summit Program across the weekend. Even wanted to go from the bottom of a mountain to the top? No time like the present. For the foodies, head to the Noosa Junction Food & Wine Street Festival on the Saturday. Expect tasty dishes, wine tastings, waiter races and more. Hit the ‘burbs If escaping to the coasts is not possible, outer Brisbane has a surprisingly fruitful offer on the cards that weekend. There’s a Jousting Spectacular at Caboolture. We know, Caboolture. But, um, jousting! Who secretly hasn’t always wanted to see knights battle it out in the flesh. Don’t just dream it, live your Camelot/Game of Thrones fantasy. Bluejuice and The Beautiful Girls will be headlining a new boutique one-day festival, Drop in Festival, at Redland Bay Hotel. Also on the bill is Ash Grunwald, The Cairos, Karl S Williams and Neighbour.
Slipstream / Festival of Time Based Art brings together experimental artworks that aim to shake up your perception of what is past, what is future, and the boundaries between disciplines, themes and audience participation. Held over three days, the microfestival features innovative works by artists from around the world. The Stance, choreographed by Brisbane-based Liesel Zink, will see nine dancers gather in King George Square to perform from 10am to 7pm, invoking themes of public protest and endurance. Performance installation Drawn In is a week-long project where three artists in different disciplines come together to transform a space through responsive collaboration. Swiss artist Gregory Stauffer’s Walking offers a strange and humorous blend of contemporary dance and performance art, while Joke Trading by Slipstream’s artist-in-residence Joseph Breikers invites audience members to interact with the artist through the act of telling jokes to one another. Slipstream will flow into Metro Arts from 13 to 15 August. Full program details are available the event website.
Put down your Kit Kat, for we’ve just discovered a break that's even better than snappable chocolate-covered wafers: smashing stuff. To be more specific, we mean smashing stuff with a baseball bat — and it's a legitimate, all above-board activity at new Melbourne pop-up, The Break Room. Currently housed in the back of a Brunswick shoe warehouse-turned-espresso bar Kines, an appointment at The Break Room is a five-minute, sweaty task that puts you behind thick, plastic walls, wields you with a pink baseball bat and some protective headgear and lets you go to town on some very satisfyingly smashable items. For the moment, they’re using plates and glasses as collateral. But if anyone can produce it, our ‘ultimate smashable’ would be a ceramic Matryoshka filled with glitter. The Break Room was born in a moment of frustration (and through the efficacy of podcasts) by founder Ed Hunter, after he realised that everybody wants to blow off steam in their own way. And while some might prefer to hit the gym, Hunter is inviting you to hit some crockery off a stool instead. Speaking of the stools, notches of pink residue from the so-coloured bats have been passionately left on them; reminders that other members of the baseball bat cathartic club (do I hear badges?) have bashed their way to sanity before you. For anyone studying their swatch patterns, the pink is Baker-Miller, and has been used in correctional facilities across America to help calm violent inmates. Yet Hunter heeds that The Break Room’s goal isn’t violence, but rather to reduce stress and harness those destructive tendencies in a controlled and fun way. A video posted by The Break Room (@thebreakroom) on Feb 10, 2016 at 8:46pm PST At $50 to smash your way to calmness for five minutes, this emotional outlet may seem a bit on the spenny side, but the beauty is in the fact that you’re not breaking your own stuff — and some other guy will be picking up the pieces after you. These pieces are, in fact, added to the pile that hides further out back, where both shattered crockery and snapped pink swords from liberated brethren lay, which is a good indicator that the allocated time is probably ample. So wait until the shutters go down, don your best Joaquin Phoenix impersonation and swing away at those inner aliens of yours by taking your aggression out in some organised chaos. The Break Room is currently located in Brunswick, Melbourne and is open from 3pm every day. For more information, visit thebreakroom.com.au.
When you're in Brisbane instead of roaming the world partying, getting frosty or watching sport, and you've come down with a huge case of FOMO as a result, remember this: odds are that Lina Rooftop will let you pretend you're somewhere else while you're hanging out poolside and overlooking the city. Following its Coachella-themed shindig and winter wonderland in 2023, the South Brisbane venue is going all in on the Australian Open, which means watching all the tennis action from Melbourne. By staying in Brissie, however, you'll enjoy an English-themed shindig, the matches on a big screen and splashes in the pool, all from a sky-high perch. And spritzes. Everyone's Aperol drink of choice is this event's beverage of choice, too — and there'll be orange hues mixed in among the decor. Running from Sunday, January 14–Sunday, January 28 during Lina's usual operating hours, entry is free, and comes with DJs, saxophonists and percussionists providing tunes. Drop by on the final day for a rooftop lawn party with games of pétanque and a new food menu, with attendees encouraged to wear white outfits.
Post-viewing soundtrack, sorted: to watch Ego: The Michael Gudinski Story is to take a trip down memory lane with the Australian music industry and hear homegrown standouts from the past five decades along the way. Unsurprisingly, this documentary already has an album to go with it, a stacked release which'd instantly do its eponymous figure proud. His tick of approval wouldn't just stem from the artists surveyed, but because Ego: The Michael Gudinski Story's accompanying tunes comprise a three-disc number like Mushroom Records' first-ever drop, a 1973 Sunbury Festival live LP. To tell the tale of Gudinski, the record executive and promoter who became a household name, is to tell of Skyhooks, Split Enz, Hunters & Collectors, Jimmy Barnes, Paul Kelly, Kylie Minogue, Archie Roach, Yothu Yindi, Bliss n Esso, The Temper Trap, Gordi and Vance Joy, too — and to listen to them. Need this on-screen tribute to give you some kind of sign that the Gudinski and Mushroom story spans a heap of genres? Both the film and the album alike include Peter Andre. Any journey through Michael Gudinski's life and career, from his childhood entrepreneurship selling car parks on his family's vacant lot to his years and years getting Aussie music to the masses — and, on the touring side, bringing massively popular overseas artists to Aussies — needs to also be an ode to the industry that he adored. The man and scene are inseparable. But perhaps Ego: The Michael Gudinski Story plays as such an overt love letter to Australian music because it's an unashamed hagiography of Gudinski. Although the movie doesn't deliver wall-to-wall praise, it comes close. When it begins to hint at any traces of arrogance, moodiness or ruthlessness, it quickly does the doco equivalent of skipping to the next track. Australian Rules and Suburban Mayhem director Paul Goldman, a seasoned hand at music videos as well, has called his feature Ego and there's no doubting his subject had one; however, the takeaway in this highly authorised biography is that anything that doesn't gleam was simply part of his natural mischievousness and eager push for success. Much shines in Ego: The Michael Gudinski Story anyway, and always would: that list of artists that've graced Mushroom's catalogue is as impressive as it is sizeable. Many get chatting, including a raw Barnes, a glowing Minogue and a reflective Tim Finn. Internationally, Garbage's Shirley Manson beams about Gudinski's fair treatment of women in a realm not known for it. Sting, Billy Joel, Bruce Springsteen and Dave Grohl, representing the veteran global megastar contingent, talk up his energy, work ethic and hospitality. When Ed Sheeran chimes in, he shares about a deeply personal bond as much about Gudinski's help making him such a smash Down Under. Weaved between the above airwave and plenty more favourites, Gudinski's wife Sue is understandably tender but also candid, while children Kate (once a singer–songwriter herself) and Matt (now Mushroom Records' CEO) are affecting yet clear-eyed. The portrait painted: of someone who was so obsessed with music, and with working with musicians, that revolving his whole life around both was always going to happen. Gudinski himself notes that picking up instruments was never his forte, so making deals for and with the folks who play them became his calling. A wealth of behind-the-scenes anecdotes stating the same case come from Michael Chugg, a fellow Aussie music-industry mainstay who has operated both beside and in competition with Gudinski — but Ego: The Michael Gudinski Story's most prominent, enthusiastic and frequently deployed interviewee is Gudinski. While 2023 marks two years since he passed away suddenly, he's a lively presence again and again in this birth-to-death chronicle. The benefits of spending your time with rock and pop stars: even in the 70s, cameras capturing a treasure trove of footage were regularly present. Like Moonage Daydream and Cobain: Montage of Heck filmmaker Brett Morgen, writer/helmer Goldman knows one of the biggest truths in the documentary field, be it in music or otherwise: there's nothing like someone relaying their own history. With Ego: The Michael Gudinski Story, hence the celebratory vibe, because Gudinski also knew how to promote himself. And, of course, charting how the Australian-born son of Jewish Lithuanian immigrants started spruiking teen discos when he was a teen, formed a record label championing Australian music at just 20, took a chance on now-iconic acts that were boundary-pushing in their day and built Mushroom into a local behemoth is inherently rousing. Jam-packed doesn't only describe Mushroom's roster, this movie's soundtrack or Gudinski's existence — it sums up this ride of a film. Goldman, co-writer/producer Bethany Jones (Molly: The Real Thing), fellow scribe/editor Sara Edwards (Suzi Q) and Mushroom Studios, Gudinski's label's film arm, could've opted for a docuseries and had no trouble filling episode after episode. In keeping to 111 minutes, the end result resembles a greatest-hits package from the Gudinski experience. Accordingly, when Red Symons offers the most blunt and sceptical opinions, it stands out. When Kelly laments the early-90s sale of 49 percent of the company to News Corp, it leaves an imprint as well. Each chapter screams for more attention — as does the decision not to sign Men at Work or Cold Chisel (Barnes was snapped up when he went solo); the reluctance to broaden Mushroom's remit away from rock with then-Neighbours star Minogue; supporting Roach, Yothu Yindi and First Nations music in general; and, on the live gig side, Sound Relief's fundraising concerts for the Black Saturday bushfires and early-pandemic effort Music From the Home Front. Revelations and insights still drop like beats, with the fact that the Nazis killed Gudinski's older sister during the Second World War an unforgettable early disclosure. Affection remains Ego: The Michael Gudinski Story's catchy refrain, though — and, as set to that aforementioned soundtrack, it is indeed infectious. The comic book-esque graphics are overkill, which Goldman seems to realise partway through, giving them less and less prominence. Appreciating the talent that mightn't be so beloved today without Gudinski's love of music? There's nothing excessive about that. Walking out of the cinema and slipping on headphones ASAP is just inevitable.
After a hearty run at fresh art-space, BoxCopy, Chris Howlett's exhibition makes it's way to Metro Arts. From online avatars to Middle-Eastern revolutionary displays of protests, celebrity obsessed Australian culture to sexuality, Chris Howlett in his latest exhibit, New Dawn, pursues his craft to the most divergent of mediums. As an exemplary multitasker, skilled in everything from installation, performance, sound art and digital modding, Howlett has an expressed willingness to engage with big themes and issues other artists would find to daunting – New Dawn shows he is indeed a man with no fear. This stage of New Dawn will consist of a three channel machinima projection which conflates popular myths surrounding near death experiences, extraterrestrial encounters, UFO sightings and new age spirituality, all entwined with the conspiracy theories, then neatly mapped onto the medieval, magical video game Skyrim. New Dawn will be showing from the 11th to the 28th of September, with Chris Howlett presenting an artist talk on Wednesday the 18th - don't miss it.
There can't be many tasks more challenging for a performer than making an unlikeable character likeable, yet when done right, that character's humanity and compassion can often burst though — amplified and disarming — with a powerfully cathartic release. Such is the case in John Lee Hancock's tender-hearted tale Saving Mr Banks, which chronicles Walt Disney's 20-year effort to bring Mary Poppins to the big screen. Disney, however, is not the focus of the film. The man was far from saintly, definitely, but — when played by Tom Hanks — his likability was assured. Instead, Saving Mr Banks focuses on the author of that beloved children's story, PL Travers (Emma Thompson), who was every bit the unlikeable character: stubborn, terse and paradoxically impolite in her constant castigations of anyone who failed to observe common etiquette. Common British etiquette, mind you. Beginning in 1961, Travers had found herself in financial trouble when the royalties from Mary Poppins had all but dried up. Faced with the possibility of losing her London home, she finally acquiesced to the pleas of her exasperated agent and travelled to Hollywood to discuss selling the film rights. Her unease, one she'd staunchly maintained for two decades, was that the story and characters would be 'Disneyfied' by way of frivolous cartoons, childish singing and dancing animals. An author seeking creative control was nothing new to Hollywood, but nobody could quite understand why Travers guarded her story with such unyielding ferocity. That mystery is what lies at the heart of Saving Mr Banks. Presented as a dual narrative, the movie flicks back and forth between Travers' present-day obstinacy in the Disney Studios and her difficult childhood in the Australian outback, with the latter periodically informing and recasting our understanding of the former. It's no secret the true subject of Mary Poppins was not the children, but rather their father — Mr Banks — and the quiet crusade by Poppins to reconnect him with his family. Accordingly, Saving Mr Banks's early scenes focus on the relationship between the young Travers (whose real name was Helen Goff) and her alcoholic yet devoted father, played by Colin Farrell. The parallels are all a little too neat, psychologically, but very much contribute to both the story's greater meaning and the audience's eventual appreciation of Travers' hidden benignity. In the lead, Thompson is unsurprisingly sensational. What initially feels like an exaggerated and caricaturesque performance proves remarkably spot-on courtesy of some unmissable credits, and her ability to transform both mood and meaning with the tiniest change of facial expression demonstrates why she remains top of her game. Hanks is reserved in his turn as Disney, though still proves capable of stealing a scene — most notably during an exquisite description of his own father's strict approach to parenting. In supporting roles, Paul Giamatti offers a lovely turn as Travers' driver, while Bradley Whitford, Jason Schwartzman and BJ Novak are excellent as the bewildered creatives charged with appeasing Travers and adapting her book to the screen. There's a good chance you'll cry in this film, both in moments of tragedy and sentimentality — but really, that's always been the Disney formula. Sweet, heartwarming and consistently funny, Saving Mr Banks is every bit the opposite of its main character, but — just like her — ultimately surprises with some unexpected tenderness. https://youtube.com/watch?v=FvKcwNyOnWo
Everyone loves a comedy festival, but sometimes being so spoiled for comic choice isn't just amusing — it's overwhelming. That's where comedy festival showcases come in. They add laughs to the lulls between annual fests, plus they offer a bite-sized sample of the up-and-coming comedians you might not have seen live yet. The Sydney Comedy Festival Showcase certainly promises both, serving up the brightest and most buzz-worthy performers from the 2019 event. If it's highlights of hilarity you're after — from international and local funny folks alike — then this is the place to get it. Sydney Comedy Festival Director's Choice Award-winner Luke Heggie is just one of the names on the packed bill, alongside Randy, Ron Josol, Rebecca De Unamuno and South Africa's Dusty Rich. Check them out now during one side-splitting show — and for just $39 — before putting their solo shows on your must-see list for the 2020 festival circuit.
Keen to escape the winter chill and chase the sun up north? Perhaps a road trip with your mates that includes pit stops at idyllic coastal towns and kicking back with a refreshing Aperol Spritz beneath swaying palm trees is what you need? If so, our mates at Aperol have just the thing for you. This winter, the 1976 Volkswagon Aperol Kombi is touring the Sunshine State for the very first time with with a total of seven stops planned between Brisbane and Cairns. After cruising around the southeast corner of Queensland for the past couple of months, the Aperol Kombi Tour is continuing north. The next stop is at Noosa Main Beach for the Noosa Eat & Drink Festival from Thursday, June 10 till Sunday, June 13. Tickets are selling fast to this culinary event which features cooking demonstrations from the likes of Anna Polyviou and Matt Preston. The Kombi will then make a stop in at Northerlies Beach Bar & Grill at Airlie Beach — arguably the best place to appreciate a Whitsunday sunset — from June 18 till July 11. Then, you'll spot the van soaking in the balmy tropical weather at The Ville Resort in Townsville. It'll be perched opposite the majestic Magnetic Island, from Tuesday, July 13 till Monday, July 26. After that, it'll continue north, with its final stop in Cairns at waterfront bar and restaurant Salt House. Here, you'll catch DJs playing from Wednesday, July 28 till Tuesday, August 24 as the Kombi serves up Aperol Spritzes to you and your mates. But it's not just parties and prime parking positions. Everyone who buys an Aperol Spritz during the #Aperolontour event can also enter a competition to win one of five Aperol picnic hampers, valued at $745 each. For more information on the Aperol Kombi Tour, and to plan your road trip to one of its pit stops, visit the website here. Remember to Drinkwise.
When rain starts to fall in Brisbane, escaping into one of the city's riverside cultural institutions — and perusing whatever happens to be gracing the Gallery of Modern Art, Queensland Art Gallery and Queensland Museum's walls and halls — is a great go-to activity. That said, if it pours so much that it floods, all three South Bank spots are usually impacted, as they were in 2011 and again this year. As a result, the trio of venues have been shut for the past three weeks due to the devastating wet weather that closed out February 2022, heralded the start of March and saw large parts of Brisbane — including South Brisbane — flooded. But after going into clean-up mode, the three have set a reopening date. So, mark Friday, March 18 in your calendar. The list of reopenings includes the Gallery of Modern Art, Queensland Art Gallery, Queensland Museum and SparkLab, Sciencentre, all throwing open their doors again on the same day. And, over at GOMA, it's celebrating with a party — with the already-scheduled APT10 Up Late events, which span after-hours parties in the gallery's 10th Asia Pacific Triennial of Contemporary Art, going ahead on Friday, March 18 and Saturday, March 19. GOMA will also reopen the exhibition itself, as well as its accompanying programs — including its cinema lineup — while QAG will be back in business as well. View this post on Instagram A post shared by Queensland Museum (@qldmuseum) Over at Queensland Museum, everything except the dinosaur garden will reopen — although the venue is between major exhibitions after its Brickman Wonders of the World Lego showcase closed in January, and ahead of Disney: The Magic of Animation opening in June. One caveat to be aware of: at present, all Queensland Cultural Centre carparks will still remain closed following the flood. So, if you're keen to get you art on and head in by car, you'll need to look for street parking — with metered parking free until the end of March — or hit up the Brisbane Convention and Exhibition Centre carpark. Or, mosey on over via public transport, taxi or ride share services. Gallery of Modern Art, Queensland Art Gallery, Queensland Museum and SparkLab, Sciencentre will all reopen on Friday, March 18. Top image: The 10th Asia Pacific Triennial of Contemporary Art (APT 10), GOMA, C Callistemon.
Guy Blackman, Joe Alexander and Lawrence English might just be the brightest guys in the Australian music industry. Each pinpointed a demand in the national music market and went ahead and filled it by making their own labels. Now, Blackman is founder of Chapter Music, Alexander is the boss at Bedroom Suck and English is leading the charge at Room 40. And, in this rare event at Brisbane's Institute of Modern Art, they're all coming together for a public conversation. Each of these labels boasts a collection of Australian bands you've probably danced to, or at least heard on the radio more than once. Chapter Music, founded in 1992, manages the likes of Dick Diver, Wagons, Twerps and a heap more. Bedroom Suck, based right here in Brisbane, has Bitch Prefect, Full Ugly and Scott & Charlene's Wedding, amongst other local goal kickers, and Room 40 manages John Chandler, Chris Herbert and a few more classics out of Brisbane's South. Ergo, these guys absolutely know what they're talking about when it comes to Australian music. Entry is free, and the evening kicks off at 6pm. Whether you're in a garage band with your younger brother or want to be the next Michael Chugg, this is a must see.
Another massive and dazzling Gallery of Modern Art exhibition, another huge reason to stop by. Whatever graces the South Brisbane site's walls and halls, it's always worth a visit. Labyrinths of red and black thread are definitely worth seeing and wandering through — which is currently on offer at Chiharu Shiota: The Soul Trembles until Monday, October 3. Displaying in Brisbane after premiering in Tokyo, The Soul Trembles is an otherworldly dream, and checking it out at any time of day is a must. But GOMA also loves pairing its major exhibitions with late-night parties, making Chiharu Shiota Up Late the hottest ticket in town on Friday, August 26 and Saturday, August 27. Get ready to spend two wintry nights seeing breathtaking installations, drinking, tapping your toes to DJs and listening to live music. The events kick off at 6pm both nights, and a ticket gets you access to Shiota's 100-plus works — room-sized mazes of yarn, tiny miniatures, video pieces, photography and everything in-between all included — as well as tunes. There'll four spots to grab a bite and drink around the place, so a tipple won't be hard to find. On Friday evening, you'll also be able to listen to music by Harvey Sutherland, CLOE TERARE, DJ Red Belly and an additional act that's still be announced. Or, if Saturday better suits your diary, Jen Cloher, flowerkid, Beckah Amani and DJ Scalymoth will be doing the honours. Tickets cost $42 per night, with drop-in tea sessions also included. Plus, guitarist Joel Woods and pianist Thien Pham will bust out tracks from Mimi Duo's album Falling Like Tears while surrounded by Shiota's red and woolly hallway installation Uncertain Journey. As for the other tunes, they'll take place on the outdoor Maiwar Green stage under a marquee — because The Soul Trembles really has spun its webs all through GOMA's ground level. Images: Images: installation views: Chiharu Shiota: The Soul Trembles, Gallery of Modern Art, Brisbane, 2022 © Chiharu Shiota. Photography: Natasha Harth / Chloë Callistemon, QAGOMA.
International headline acts are fun and all, but if you like your festivals with a little more adrenaline, this one's for you. The inaugural Seal Rocks Adventure Festival is crashing onto the mid-NSW coast later this month. Descending on Seal Rocks Treachery Camp, about 90 minutes north of Newcastle, it's set to deliver a weekend of hands-on blood-pumping fun over the weekend of May 17–19. The program of this boutique BYO camping festival is jam-packed full of activities, balancing out an after-dark schedule of live tunes and film screenings. By day, you'll have the chance to battle your mates in an interactive game of Archery Attack, learn some new moves in a circus skills workshop, go deep with a free-diving short course, and flit between rock climbing, surfing, slacklining, yoga and zorbing — yep, this one involves crashing around a field in a giant bouncing bubble. There'll be a disco-themed 'doofercise' workout class to kick things off each morning, classes to teach you how to start fire with just a couple of sticks, and an ongoing challenge to see who can fit the most humans on a giant stand-up paddleboard. Booze is BYO, but vendors like The Perfect Paella, Dr Drool and Tim's on Treach will have pop-ups to help fuel your adventures — and a restaurant will pop-up on the Saturday night for a four-course Saturday feast. Or, you can boost your own cooking skills at a pizza making class. By night, there'll be moongazing tours and campfires, while the stage heats up with local acts like Thunder Fox, The Regime, Elaskia and Belle Badi. And if you're after more inspiration, there's the Adventure Film Festival, emceed by Alice King in the Talking Tent each night. Adult camping tickets clock in at $340, which gets you an entry pass, a campsite and access to as many of the weekend's activities as you can handle. Groups of mates and families are welcome, and capacity is capped at 500. There are glamping and cabins options, too, for those who want a little more comfort at the end of a long day of adventuring (and have extra cash to spare). Seal Rocks Adventure Festival will take over Seal Rocks Treachery Camp on May 17–19. Tickets start at $340 and can be bought over here.
Borders are finally open, interstate travel is firmly back on the cards and holiday-planning feels a whole lot less sketchy than it has for the past two years. And, in a show of fitting timing, you've just scored an extra excuse to cross the Bass Strait for that long-dreamt-of Tassie getaway. Namely, the sprawling new-look cellar door expansion unveiled at Devil's Corner. The renowned winery sits on around 180 rolling green hectares in Apslawn on the Great Eastern Drive, around one hour and 45 minutes southeast of Launceston. A major seven-month expansion to the site's award-winning cellar door has recently upped the ante, cementing its status as one of the region's must-visit wine-sipping destinations. The cellar door has more than doubled in size and scored a refreshed look by celebrated Tasmanian architects Cumulus Studio. Visit and you'll discover an assortment of indoor-outdoor spaces that pay homage to the property's rugged, natural surrounds; all offering sweeping views across the vines and down to the Moulting Lagoon wetlands. It's been designed and built using a similar approach to that of the winemaking here, embracing the natural elements this pocket of the world's been gifted with. On the upper level, the new Hazards Tasting Room is your spot for sipping, swirling and immersing yourself in Devil's Corner's vast catalogue of cool-climate drops. It's named after the mountain range that towers over the region; the vistas of which you can admire while partaking in one of the guided tastings, happening from 10am daily. Onsite eateries The Fishers and Tombolo both have new and improved homes within the cellar door precinct. What's more, punters can choose from various indoor and openair dining areas to enjoy their woodfired pizzas, fresh local oysters and loaded bowls of chilli mussels. Matched with a few glasses of Devil's finest pinot noir or a self-guided tasting paddle, of course. Downstairs, set into the hill, sits the Devil's Den — a cellar, events space and bar, where private functions, and food and wine masterclasses will take place overlooking the neat rows of vineyard. And for some of the site's most breathtaking vistas, head to the top of the lookout tower, where you can experience the winery's grand scale like nowhere else. Time for an interstate wine-sipping adventure? Yes, we think so. Find Devil's Corner Cellar Door at 1 Sherbourne Road, Apslawn, Tasmania. It's open daily from 10am to 5pm.
Humans didn't love 2020, and with good reason. But we're guessing that our four-legged friends felt differently about the whole experience. While we were all in lockdown, we were spending more time at home with our tail-wagging canines — and you know that they just loved the extra attention. Two-legged Brisbane residents have all been heading out and about much more in 2021 — but don't forget to take your pup with you when you can. No one needs an excuse to treat their pooch to some time out of the house; however, given that Paws Under the Stars is all about doggos under the night sky, it really is their time to frolic — and to do some dog yoga. Bending and stretching with your pupper, treating your canine to dog ice cream, teaching them a few tricks: that's all on the agenda from 5–9pm on Friday, October 8 at the Gasworks in Newstead. This pooch-centric twilight market will also feature dog grooming, fundraising for the RSPCA, live music and obviously stalls aplenty. Entry is free, and dogs of all sizes are welcome.
When a place calls itself The Tinsel Bar, there's no prizes for guessing what decks its walls — and ceiling, lights and counter, too. Expect thin, glittery metallic strips as far as the eye can see at South Brisbane's newest hangout, which, as its name makes plain, is completely themed around the shiny Christmas decoration. The neon-lit newcomer to Hope Street will instantly makes you feel nostalgic, indeed, that seems to be one of its main aims. Operating as a bar on Friday and Saturday evenings, and opening as The Tinsel Deli during the day between Monday and Friday, it serves up a throwback menu to match its old-school vibe. When it's not whipping up cordial cocktails (combining gin, lemon, soda and Cottee's cordial) and boozy milkshakes (with musk, vanilla, ice cream and schnapps), it's plating up fairy bread, party pies and bolognese toasties. They're all part of the nighttime food and drink lineup, alongside fairy cupcakes, hot chips, crudites with french onion dip, sausage rolls, and charcuterie and pickles — and other cocktails, plus a wine and beer selection. Folks looking for some sparkle by daylight can snack on sandwiches, toasties, salads and juices. And, because retro lollies are a natural fit for a place like this, The Tinsel Bar also sells Pop Rocks and Push Pops. Launching on Friday, October 18, The Tinsel Bar is a collaboration between restaurateur Maris Cook (Maeve Wine, Hello Please) and noted tinsel fan Rachel Burke — who, down the line, will host art and craft-themed sessions at the venue. As well as giving Brisbane a glitzy new brunch, lunch and weekend drinking spot, The Tinsel Bar will also be available for parties and events. Well, the decorations are already up. Find The Tinsel Bar at 58 Hope Street, South Brisbane, open from 5.30pm on Friday and Saturday nights. From 9am–2pm Monday–Friday, it also operates as The Tinsel Deli.
When Winnie-the-Pooh moseyed into a slasher movie in Winnie-the-Pooh: Blood and Honey, the film endeavoured to prove that there's room in the pop-culture honeypot for multiple takes on AA Milne's beloved bear. More horror flicks are coming, because of course they are. But, embracing the usually cuddly figure's sweet and innocent side, so is a supremely nostalgic, family-friendly stage musical from Disney. Winnie the Pooh: The New Stage Adaptation debuted back in 2021 Off-Broadway, then took the Hundred Acre Wood and its famous felt residents to Chicago, back to New York, on a tour of the US and to London. The next stop on the Mouse House-created show's itinerary: Australia, including Brisbane Powerhouse from Wednesday, July 12–Sunday, July 16. Hailing from American Australian producer, writer and director Jonathan Rockefeller, Winnie the Pooh: The New Stage Adaptation brings Pooh, Piglet, Eeyore, Kanga, Roo, Rabbit, Owl and Tigger to life with puppets — life-sized versions, which look as cuddly and fuzzy as anthropomorphic stuffed toys should. Also joining them is Christopher Robin, in a production that brings together a heap of songs from past Winnie-the-Pooh movies. Again, this is a firmly all-ages affair, so expect plenty of young Winnie-the-Pooh devotees in attendance.
Eager to take your dog for a drink? Keen to help support an organisation that assists animals in need? Fancy adding some canine cuteness to your Sunday-afternoon sipping session? Then look no further than Pups and Pints, which is returning for winter to deliver exactly what it sounds like — including adorable fluffballs to pat if you don't have your own to bring along. Taking place from 2–6pm on Sunday, July 28, this iteration of the event sees Brewdog DogTap Brisbane and Safe Haven Animal Rescue Inc join forces — bringing four-legged friends to the Murarrie watering hole to support Safe Haven and raise funds. Just by drinking from the karma keg, you'll be doing your part. Entry is free, but you'll obviously need your wallet for the brews. And for your barking bestie, there'll be barkuterie boards, dog beers and mini sessions with a professional pet photographer. Of course, there's another way that you can lend a hand: not just cuddling Safe Haven's pups, but adopting one.
We're the country that gave the world Cate Blanchett, Nicole Kidman and Margot Robbie, to name just a few renowned Australian actresses owning the silver screen in recent years. Accordingly, we're no stranger to celebrating formidable women in cinema. It tracks, then, that Melbourne's Australian Centre for the Moving Image has curated a world-premiere exhibition dedicated to femininity across screen history — which is running from Wednesday, April 5–Sunday, October 1. Six-month-long showcase Goddess: Power, Glamour, Rebellion declares its affection for ladies of the screen right there in its name. Examining how women are represented in cinema and television, it pays tribute to standout ladies, how depictions and expectations of femininity have changed, and what female talents have symbolised — and been forced to deal with — about and from the society around them. It's both a massive and a landmark exhibition. More than 150 original costumes, objects, artworks, props and sketches are now gracing the Federation Square venue's walls and halls, all championing oh-so-many women and their impact. Launched in-person by the one and only Geena Davis, who is also the exhibition's lead ambassador, Goddess fittingly includes outfits worn by her and Susan Sarandon in 1991's Thelma & Louise — and that's just the beginning of its treasures. Among a lineup that spans threads that've never been displayed before, various cinematic trinkets, large-scale projections and other interactive experiences, attendees can check out odes to Marlene Dietrich in 1930's Morocco, Pam Grier's spectacular Blaxploitation career, Tilda Swinton in 1992's Orlando and the aforementioned Robbie via 2020's Birds of Prey (and the Fantabulous Emancipation of One Harley Quinn). Plus, there's Mae West's sky-high heels from 1934's Belle of the Nineties, as well as Michelle Yeoh's fight-ready silks from 2000's Crouching Tiger, Hidden Dragon. The list goes on, clearly, covering Anna May Wong, Marilyn Monroe, Laverne Cox and Zendaya as well. And, everything from Glenn Close's Cruella de Vil in 102 Dalmatians to the Carey Mulligan-starring Promising Young Woman also gets time to shine. As it does with its big exhibitions, ACMI is pairing Goddess' wide-ranging display with soundscapes by Melbourne-based composer Chiara Kickdrum, and also hosting a sprawling events program complete with late-night parties, performances and talks — and film screenings, of course. Fancy taking an in-depth curator tour of the exhibition after hours? That's on the bill monthly. There's also a music program called Goddess Nights from late May, which'll focus on three femme-centric live music lineups with performances by DJ JNETT, CD, POOKIE and Ayebatonye — and a curated range of food and booze put together just for each evening. For film buffs, movie series Divine Trailblazers will focus on contemporary actors at the height of their powers, while the Goddess Sundays is all about on-screen personas. So, the first includes Angela Bassett's Oscar-nominated performance in Black Panther: Wakanda Forever, Academy Award-winners Michelle Yeoh and Jamie Lee Curtis in Everything Everywhere All At Once, Cate Blanchett conducting a masterpiece in Tár, Viola Davis in warrior mode in The Woman King, Filipino actor Dolly De Leon stealing every scene she's in in Triangle of Sadness, and Leah Purcell writing, directing, producing and starring in The Drover's Wife The Legend of Molly Johnson. Images: Eugene Hyland Photography.
The government's restrictions and regulations for COVID-19 containment are changing at a rapid pace. But there are two words we're all hearing on repeat: stay home. As much as is possible within each person's specific set of circumstances (including their job and requirements around food, exercise and health), every Australian is being encouraged to avoid leaving their homes unless absolutely necessary. We're being told that minimising the time spent outside is vital in getting through this crisis. As a result, many of the services that contribute to the lifestyles of city dwellers have been temporarily suspended, including cultural institutions, cinemas, clubs, pubs and gyms. But we still need to be able to access the essentials: household essentials, booze and, of course, food. Up until now, delivery services have been viewed as merely a convenience or something to facilitate laziness. Now, they're more important than ever. IT'S ONE OF THE SAFEST WAYS TO GET FOOD Supermarkets are still open to purchase food and other household items, but we'd rather avoid them as much as possible right now. The stories of stockpiling — and subsequent product shortages and buying restrictions — paint a pretty dire picture of a simple visit to the shops. Plus, with many of our favourite activities currently on hiatus, we have to find fun where we can. Yep, you may not be able to go to a gallery or play team sports, but you can still shirk your cooking and cleanup duties and let someone else prepare dinner. In the wake of the restrictions on public gatherings, many restaurants and cafes have shifted their operations to takeaway and delivery, so you can eat well in the comfort of your own home. And, to put your mind at ease, it's worth remembering that commercial kitchens are held to extremely rigorous food safety and hygiene practices, and most have upped their cleaning and sanitation procedures as the COVID-19 situation unfolded in Australia. For Domino's, this means daily audit checks and no human contact with the pizzas after they leave the 265-degree ovens. IT'S KEEPING PEOPLE INDOORS Obviously, the increased availability of delivery services means there are fewer people out on the streets, which can only be a good thing right now. But some places have taken it one step further. For example, Domino's has introduced a zero-contact delivery for all delivery orders place through the app or over the phone. The person delivering your meal will leave it on your doorstep and call or text you to confirm it's there — and they'll wait until they can see you've picked it up, too. This is just another simple step, facilitated by technology, to limit person-to-person contact with those outside your household. It also means you don't need to leave your house for too long and miss that live-stream of furry koalas, a theatre show or a gig. IT'S KEEPING PEOPLE EMPLOYED As the restrictions continue in an effort to manage the COVID-19 outbreak, huge job losses are occurring over many sectors, including hospitality. Maintaining (and supporting) delivery services is vital to ensuring this number does not continue to grow. In fact, it could help minimise the issue. Some companies, including Domino's, are currently seeking out temporary workers to keep up with increased demand for delivery services. The company is also supporting other essential workers with its Feeding the Frontline efforts, which delivers pizzas to those working tirelessly to support the community during this time — think healthcare, supermarket, government, education and emergency workers — to keep morale up and more people in jobs. Domino's is now offering zero-contact delivery across Australia. To order, head here.
When that slice of inner-city delights known as Teneriffe was officially named a suburb back in 2010, locals threw a party to celebrate. Eight years on and the shindig is still going strong — you know it as the Teneriffe Festival. For its 2017 outing, the event has compiled a wide-ranging lineup, aka the kind of bill previous attendees have come to expect. Think music, food, markets and fun, all helping locals and visitors alike make the most of the bustling locale. Chilled riverside hangouts are just the beginning. Indeed, whether you're keen on feasting, shopping, drinking or tapping your toes, you'll find it here. The Tastes of Teneriffe showcases the area's bars and restaurants, then work off all that food by walking around 70 bespoke market stalls, or sit down and digest on a Magical Mystery History Tour. Green Beacon Brewing Company is adding their own party to the mix, a series of paintings in motion will brighten up the festivities — and, in between all of that, check out the packed program of local tunes. Image: Teneriffe Festival.
If your working week runs from Monday–Friday, then we know exactly what you look forward to while the 9–5 grind ticks by. Everyone loves Friday afternoons — that glorious time when you can stroll out of the office, stop thinking about everything that's filled up your brain for the week, and kick back and relax. Two days off awaits, after all. For many, even now that 2022 is well and truly underway, adjusting to life back in the office is still an ongoing process. So if that's left you extra eager to celebrate the weekend, that's understandable. Thankfully, Cloudland will help you do just that at its new Rosé and Champagne Garden Pop-Up, which runs from 5–7pm on select Fridays — on March 11, April 8 and June 3. Your $30 ticket gets you a flight of four splashes of sparkling of both the pink-hued and clear varieties (in 50-millilitre servings a pop). You'll also be able to eat your way through an antipasto plate, featuring your choice of woodfired bread with a trio of dips, cheese or Italian meats. While you're enjoying both the bubbles and the food, all you need to do is sit down with your mates and celebrate the weekend. Yes, that's something worth saying cheers to.
UPDATE, August 9: Due to Brisbane's most recent lockdown, Global Fiesta by Regional Flavours has been postponed until Saturday, October 16–Sunday, October 17. This article has been updated to reflect that change. For more than a decade, Brisbanites have flocked to South Bank for Regional Flavours, the inner city precinct's signature food and wine festival. To the delight of hungry stomachs across town, the popular event has made a comeback for 2021 — and, while hosting one big food fest is all well and good, this year it's doing three separate weekend-long festivals. So, if you haven't made it along in the past, you have multiple chances in multiple months to rectify that situation this year. The first opportunity already took place in June, and now it's time for the next mini fest: Global Fiesta. Here, between Saturday, October 16–Sunday, October 17, multicultural cuisine will take pride of place. The event will span South Bank's eateries, as well as a marketplace showcasing international foods. Plus, you'll be able to check out roving performances, hit up a street party and take a spice tour through South Bank's Epicurious Garden. Also on the lineup: Louis Tikaram, Josh Lopez, Peter Kuruvita and Aunty Dale Chapman, who'll all be involved in some shape or form. Regional Flavours might be tinkering with its format, but it still all takes place by the river at South Bank. And, if you'd like to hit up one of the mini fest's special events, they'll be more than a few opportunities to dive in.
Since arriving in town a few years back, Salt Meats Cheese has been giving Brisbanites a pizza-filled treat. And, as part of its lineup of Italian eats, it's been treating the city's residents to plenty of specials — including, this November, the return of its $25 all-you-can-eat pizza nights every Monday across its Brisbane stores. "Does this look like someone who's had all they can eat?" isn't something you'll be saying when you devour as many slices as your stomach can handle in 90 minutes, so calm your inner Homer Simpson. The only catch is that you'll have to buy a drink as well, but you can choose from both boozy and non-alcoholic options. Available from 5pm, this hefty feast serves up multiple options, too. You can stick with the $25 pizza-focused option, or add all-you-can-eat gnocchi as well for an extra $5. And if you're vegan or eat a gluten-free diet, those can also be catered for for another $5. The varieties of pizza available will change each week, if you need motivation to head along more than once. Don't have an afternoon snack beforehand, obviously.
As far as Henry Miller was concerned, alone time is crucial to creativity. “An artist is always alone,” he wrote, “if he is an artist. What the artist needs is loneliness.” But spending day in, day out, with only your cat for company isn’t always a recipe for inspiration. Luckily, Etsy is well aware of the problem. So, every year, they host an enormous, worldwide Craft Party. Artists and craftspeople all over the planet are encouraged to get together to paint, draw, sculpt, sew and make — with like-minded others. This year, the gathering will be happening on June 6 and the theme is 'Recapture: bring new meaning to your photographs'. You scour the family photo album for your most archaic, treasured, embarrassing and bizarre images and take them with you. Etsy Craft Parties will be held all over Australia. You can organise your own, or to attend one of Sydney's major bashes, book a spot online.
For two days each May, most of Brisbane heads to Musgrave Park to pretend they're in the Mediterranean. Yes, it's Paniyiri time again, with the city's massive Greek festival taking over West End with quite the array of food, drink, partying and more. There's a reason that more than two million people have gone along over the past four decades. In the event's massive 42nd year, expect the usual array of Greek revelry — grapes to stomp, coffee to sip and plates to smash, plus TV stars to rub shoulders with and cooking demonstrations to watch, too. And, it wouldn't be Paniyiri without everyone's favourite entertaining displays. If dancing is more your style, watch Greek Dancing with the Stars or catch the Hellenic dancers. If devouring as much as you can is your idea of fun, take part in the festival's regular food contests. Can you eat more olives or honey puffs than anyone else? Here's your chance to find out. Because you're never too old to try new things, Paniyiri 2018 will also feature a Santorini lounge bar, designed to make you think you're thousands of kilometres away. Other highlights include more than 30 authentic Greek food stalls, the return of last year's The Plateia — complete with traditional Greek coffee, a sweet shop, a seafood taverna, fresh oysters, a pie shop and an Ouzeri, aka a wine bar — plus art displays, traditional and modern music and an after party at the Greek Club. And, as always, there'll be an abundance of haloumi, calamari and dolmades as well. Arrive hungry.
Sun, surf, sand, sex and the seaside Gold Coast suburbs in the '70s. What a combination. Swinging Safari is every bit as over-the-top and outrageous as it sounds, but if anyone was going to try and make the chaos work, it's writer-director Stephan Elliott. The man behind The Adventures of Priscilla, Queen of the Desert knows how to make a splash, paying tribute to Australia and our eccentricities in a manner that's both affectionate and tongue-in-cheek. Accordingly, his latest effort is a knowing love letter to a specific era and the freewheeling way of life that came with it — one spent surrounded by rayon clothes and shag carpets, slathered in sunscreen, chowing down on buckets of KFC and guzzling cask wine. In a cul-de-sac not far from the Queensland hotspot's scenic shoreline, three families spend their days and nights hopping between backyard parties, beach picnics and any other shenanigans that come about. Over at the Hall household, encyclopaedia salesman Keith (Guy Pearce) and the booze-addled Kaye (Kylie Minogue) can't manage their marital malaise, let alone their rowdy brood of kids. Next door at the Joneses, Rick (Julian McMahon) and Jo (Radha Mitchell) think they're the leaders of the pack, with a sunken conversation pit in the middle of their lounge room to prove it. That leaves Bob and Gale Marsh (Jeremy Sims and Asher Keddie) somewhere in the middle, complete with a daughter, Bec (Chelsea Glaw), who's a hit with the local boys, and a son, Jeff (Atticus Robb), who constantly has a camera in his hands. With Elliot himself a child of the 1970s, there's no escaping Swinging Safari's partly autobiographical nature. In fact, it's an adult Jeff (voiced by Richard Roxburgh) that narrates the movie, with the aspiring filmmaker looking back on his teenage years. Unsurprisingly, his younger self sometimes struggles to cope with the mayhem around him. While making his own stunt-filled movies helps, he really has eyes for the shy Mellie Jones (Darcey Wilson). Unfortunately, their budding romance hits a snag when their parents' key-swapping antics incite a neighbourhood war. Plus there's the not-so-little matter of the 200-tonne dead whale rotting on the local beach. Elliott might be turning what he knows into a movie, but diving headfirst into nostalgic memories isn't quite the same as stringing together a great story. Swinging Safari places less focus on its narrative, and pays more attention to moments, mood, outfits and ramping up the fun. With that in mind, the adult cast members are clearly having a ball reliving their younger years (and, in the case of Pearce and Minogue, reuniting nearly 30 years after they left Ramsay Street). Their irreverence and enthusiasm is infectious, even when the jokes don't land. Of course, the film always seems more interested in pushing boundaries of comedy, taste and political correctness than it is in fleshing out its characters. If Swinging Safari teaches viewers one thing, it's that fickle entertainment and amusement were high on everyone's agenda in '70s Australia, while seriousness and subtlety most definitely were not. The result is a movie that can't stuff its frames with enough raucous one-liners, polyester jumpsuits or instances of a woman urinating on a jellyfish-stung child. When that doesn't work, the crew – many of whom date back to Priscilla – helps pick up the slack with their attention to bright, sunny period detail. Oscar-winning costume designer Lizzy Gardiner is one of them, and while it's usually not a good sign when the outfits steal the show, her outlandish creations hit the garish spot. https://www.youtube.com/watch?v=ZB95v_pyQq8
