Summer is coming to an end, but — thankfully — that doesn't mean your time at the beach is. We're blessed with sunny weather for a lot of the year here in Aus, which means we need a few pairs of togs to get us through. If you're looking to snag a new pair, Jets has just launched its new collection of swimwear. To celebrate, the brand is offering Concrete Playground readers 15 percent off, too. Elysian is Jets' first collection under new Creative Director Rachel Allen. The star of the collection is the range of burnt clay swimwear. For example, this sophisticated high neck one piece and this high waist bikini. Jets also has a range of resortwear including dresses, kaftans, flowing shirts and sarongs that'll make you feel like you're holidaying in the Maldives, even if you're just enjoying a cocktail on your back porch. Jets' print collections are made using Renew Plus fabric, which utilises recycled and regenerated Econyl as a replacement to nylon. If you want the first look at the new collection, head to the Jets website and score yourself 15 percent off you order while you're at it. Just use the code CONCRETE15 before 11.59pm on Tuesday, March 30. FYI, this story includes some affiliate links. These don't influence any of our recommendations or content, but they may make us a small commission. For more info, see Concrete Playground's editorial policy.
The World Press Photo Foundation is a global platform connecting professionals and audiences through raw visual journalism and storytelling. The organisation was founded in 1955 when a group of Dutch photographers organised a contest to expose their work to an international audience. Since then, the contest has grown into the world's most prestigious photography competition and global travelling exhibition. The 66th edition of the World Press Photo Exhibition will touch down in Brisbane this year and be on display at Brisbane Powerhouse from Saturday, July 29–Sunday, August 20. The winners from this year's contest were chosen by an independent jury that reviewed 60,448 photographs by 3752 photographers from 127 countries — and while the exhibition only showcases a selection, get ready to peer at the best of the best. [caption id="attachment_902957" align="alignnone" width="1920"] Jonas Kako, Panos Pictures[/caption] Taking top honours for 2023: Evgeniy Maloletka's image of the Mariupol maternity hospital airstrike for the Associated Press. As the winner each year always proves, it's a hauntingly striking photo. This will be on display alongside other finalists, plus eye-catching images in categories that span contemporary issues, the environment, general news, nature, portraits and sports. [caption id="attachment_902958" align="alignnone" width="1920"] Mhammed Kilito VII[/caption] Top image: Alessandro Cinque, Pulitzer Center, National-Geographic.
Over the weekend, thousands of punters pulled on their gumboots and descended on Canberra for the annual Groovin the Moo festival. And, while they were there, many festivalgoers had their illicit substances tested at the the country's second ever pill testing trial. Taking place on Sunday, April 28, the trial was deemed "an overwhelming success" by organisers, with 171 illicit drug samples tested on the day — a huge increase from the trial's debut at the same festival last year, when 85 substances were examined. Headed up by harm reduction advocates Pill Testing Australia, again with the backing of the ACT Government, the 2019 trial tested samples from 234 participants and identified seven dangerous substances containing potentially deadly n-ethylpentylone. The punters carrying those were advised of the dangers and all turfed them in the amnesty bin provided. Among all of the day's tested substances, MDMA appeared most often, with cocaine, ketamine and methamphetamines also identified. Health warnings and safety information were given to every festivalgoer who had their drugs tested. Our second #pilltesting trial in Canberra was an overwhelming success with over 171 samples tested and 7 dangerous substances identified. All used the amnesty bin to discard these drugs. We have published our full media release here: #harmreductionhttps://t.co/yEzfcc1JtO pic.twitter.com/dYaWpYJUJm — Pill Testing Australia (@pilltestingaus) April 28, 2019 Despite a stack of international research, support from local experts and now two successful local pill testing trials, many Australian politicians — including the NSW and Victorian Premiers — have stuck firm on their anti-pill testing stance, even in the wake of a spate of deaths from suspected drug overdoses at NSW music festivals last year and a thousands-strong rally in Sydney earlier this year. In response to the deaths, NSW Premier Gladys Berejiklian introduced a strict new licensing regime for festivals — which doesn't include pill testing. However, according to the ABC, the pill testing trial did attract interest from Queensland Health and New South Wales Coroner's Office representatives — along with a group of Victorian crossbenchers — who visited the testing site as it was being set up on Saturday. So, while the ACT is currently the only state that allows pill testing, maybe this means we'll see pill testing once again up for debate across the rest of Australia. Especially since, just last week, according to the SMH, Premier Berejiklian gave the go-ahead for a government inquiry into illicit drug use to examine the merits of pill testing. Pill Testing Australia is also currently raising funds to roll out free trials across the country. It will need the support of the respective state governments to do so. Image: Groovin the Moo by Jack Toohey.
Since late in 2020, if you've been near the South Bank and North Quay stretch of the river – or even just driven along the Riverside Expressway — then you've likely seen Will & Flow. It's the overwater bar that's perched right on top the river on the CBD side, and it's hard to miss. It's also back up and running after the floods forced a revamp. You can stop by whenever you like to pair a bite to eat and a few drinks with the venue's view, of course. Or, you can make a visit on a Sunday between 11.30am–6pm. That's when Will & Flow hosts Sundaze sessions — and yes, they're really just an excuse to kick back in a scenic spot over a couple of beverages and a snack. [caption id="attachment_860072" align="alignnone" width="1920"] Mitch Lowe[/caption] Entry to Sundaze is free to, but there is one special that'll tempt your tastebuds: a $50 deal for two that includes a spritz each and a grazing platter to share. Whether you go for that option or sip and munch on whatever else you feel like, you'll pay as you go — and you'll also be treated to live tunes. The music lineup changes weekly, but you might find yourself listening to 42 Band, Nik Conomos Duo, Parallel Duo or Becky Rhodes.
Cutesy name, likeable stars, stylised brutality, a familiar revenge scenario: blend them all together, and that's Gunpowder Milkshake. There's one particular ingredient that's missing from this action-thriller's recipe, though, and its absence is surprising — because much about the film feels like it has jumped from the pages of a comic book. That's one of the movie's best traits, in fact. The world already has too many comics-to-cinema adaptations, but although Gunpowder Milkshake doesn't stem from a graphic novel, it actually looks the part. Its precise framing and camera placement, hyper-vibrant colours and love of neon could've easily been printed in inky hues on paper, then splattered across the screen like the blood and bullets the feature sprays again and again. Writer/director Navot Papushado (Big Bad Wolves) and cinematographer Michael Seresin (War for the Planet of the Apes) have made a visually appealing film, and a movie with evident aesthetic flair. All that gloss is paired with a generic assassin storyline, however, and a half-baked feminist thrust. It's Sin City meets John Wick but gender-flipped, except that the Kill Bill movies and Atomic Blonde have been there and done that. Gunpowder Milkshake is entertaining enough, but largely in a mechanical way. Its look hits the mark, with every colour popping a shade or two brighter than might otherwise be expected. Its action choreography is impressive, albeit nowhere near as kinetic as the pictures it is patently aping. With Avengers: Endgame's Karen Gillan leading the charge, Game of Thrones' Lena Headey playing her on-screen mother, the impressive trio of Angela Bassett (Black Panther), Michelle Yeoh (Last Christmas) and Carla Gugino (a Sin City alum) also featuring, and child actor Chloe Coleman (Big Little Lies) holding her own, the movie's key women all do what's asked of them. And, when it comes to female-fronted action fare, there's no such thing as too much. But Gunpowder Milkshake's cast is also only tasked with navigating an inescapably clear-cut scenario, and the film's girl-power credentials are only skin deep, too. The focus on motherhood couldn't be more stereotypical, and the movie undercuts its empowering vibe by using its older women far too sparingly. Papushado and co-scribe Ehud Lavski (a feature first-timer) attempt to complicate their narrative, as opening narration explains, but the basics are hardly complex. As skilled killer Sam (Gillan) notes, she works for a group of men called The Firm, cleaning up its messes with her deadly prowess. It's an inherited gig, in a way. Fifteen years earlier, she was a fresh-faced teen (Freya Allan, The Witcher) with a mum, Scarlet, who did the same thing. Then her mother abandoned her after a diner shootout, leaving Sam to fend herself — and, to ultimately get her jobs from Nathan (Paul Giamatti, Billions), one of The Firm's flunkies. It's on just that kind of gig that Sam kills the son of a rival crime hotshot (Ralph Ineson, Chernobyl), and he wants revenge. Soon, her employers are also on her trail, after she takes another assignment in an attempt to sort out her first problem, then ends up trying to save eight-year-old Emily (Coleman) from violent kidnappers. Bassett, Yeoh and Gugino play librarians, and that term could be capitalised as a code name. They're surrounded by books, but they're also assassins themselves who trade in supplies for their fellow hitwomen. Running their business in an eye-catching dome-shaped Berlin building — which is where the film was shot, although it never mentions where it is set — they basically oversee Gunpowder Milkshake's equivalent of John Wick's The Continental. And, they have links to Scarlet, and to Sam's childhood, but they're used as weight and texture rather than given meaty parts. It's almost unforgivable for a movie that's all about formidable ladies to waste Bassett, Yeoh and Gugino in such minor roles, in fact. Again, they do all that's asked of them. They do it well, obviously. Still, they're both the most interesting aspect of the narrative and the least utilised. A secret society of killer women that camouflage their strength behind their knowledge, pass down skills through generations, and blush to no one in a male-dominated realm? Now that's a great premise. A kick-ass heroine who grew up with mummy issues, but now must care for a girl who also doesn't have a mother, all while actually reconnecting with her own and simultaneously laying waste to villainous men? That's clearly far more standard. Even when it's at its most engaging, Gunpowder Milkshake always leaves viewers wishing that it'd taken another path and spent more time with characters it mostly leaves in the background — unsurprisingly given what it pushes to the fore, and what it lets sit on the side. Wanting Bassett, Yeoh and Gugino to play bigger parts isn't a criticism of Gillan, or of her time with Headey and Coleman — even if cracking the facade of a stone-cold killer by getting them palling around with a kid is now a genre cliche (Coleman also had a similar role in espionage comedy My Spy). Gillan takes to her character with stony efficiency. That too is a trope — see: oh-so-many movies in your streaming platform of choice's "strong female lead" category — but she's been doing it swimmingly in the Marvel Cinematic Universe as well. What might've served her better, however, is a female filmmaker behind the lens. For all the style that Papushado brandishes, he's lacks the same fun, frenetic and fluid touch Cathy Yan gifted 2020's Birds of Prey (and the Fantabulous Emancipation of One Harley Quinn), and the same poignancy and smarts that Cate Shortland has given this year's Black Widow. Of course, that's the thing about making a movie that looks like a comic book flick, and that also tries to set up its own franchise, too: it's always going to earn and suffer from those comparisons.
Back in the 17th century, writing a play about religious hypocrisy was more than a little frowned upon. When Molière did just that with Tartuffe, the Archbishop of Paris actually issued an edict threatening excommunication for anyone who watched, performed in or read the play. There's getting a reaction, and then there's that Why? Well, that's a question Queensland Theatre and Black Swan State Theatre Company's new production just might answer while it plays at the QPAC Playhouse from November 12 to December 4. And even if it doesn't, it is going to have amusing fun trying. In a new version of the French playwright's classic work by Jason Fleming, Tartuffe tells a tale about a con man, a wealthy mark and a scheme promising salvation put designed to pilfer a fortune. Oh, and the fake spiritual advisor has designs of his potential victim's wife and daughter, too. Yep, farcical controversy abounds.
On February 11, 2010, Parks and Recreation created history. While the all-round excellent sitcom was already fantastic and hilarious for many reasons, that's the date that the series aired its Galentine's Day episode. The specifics are simple: on the day before Valentine's Day each year, Leslie Knope (Amy Poehler) throws a party to celebrate female friendship. And the impact has been huge, with Parks and Rec's made-up holiday now commemorated in real life in a big way. At Brisbane Powerhouse on Thursday, February 13, Galentine's Day means heading to an openair cinema and watching some of Poehler's Saturday Night Live co-stars in hit big-screen comedy Bridesmaids. Obviously, you'll want to gather the gals, then mosey down to the New Farm site's Performance Lawn from 5.30pm — with the film kicking off at 6.30pm. Even better — heading along will only cost you $5. All proceeds will donated to the Brisbane Powerhouse Foundation, too, which helps fund new performances at the venue. https://www.youtube.com/watch?v=pr0Mk3hjc20 If you fancy spending $20, you'll also nab a picnic box filled with continental meats, dips, pickles, cheese, olives, crostini and artisan breads. And while it has been rather rainy in Brisbane of late, the film will screen regardless of the weather.
Whenever a kitchen knife gleams, a warped mask slips over a killer's face or a piano score tinkles in a horror movie — whenever a jack-o'-lantern burns bright, a babysitter is alone in someone else's home with only kids for company or October 31 hits, too — one film comes to mind. It has for four-plus decades now and always will, because Halloween's influence over an entire genre, slasher flicks within it and final girls filling such frames is that immense. That seminal first altercation between then 17-year-old Laurie Strode and psychiatric institution escapee Michael Myers, as brought to the screen so unnervingly by now-legendary director John Carpenter, also valued a concept that couldn't be more pivotal, however. Halloween was never just a movie about an unhinged murderer in stolen mechanic's overalls stalking Haddonfield, Illinois when most of the town was trick-or-treating. In Laurie's determination to survive Michael's relentless stabbing, it was a film about trauma and fighting back. As played by Jamie Lee Curtis (Everything Everywhere All At Once) for 44 years — her big-screen debut made her an OG scream queen, and she's returned six times since, including now in Halloween Ends — Laurie has never been anyone's mere victim. In the choose-your-own-adventure antics that've filled the franchise's ever-branching narrative over 13 entries, her tale has twisted and turned. The saga's has in general, including chapters sans Laurie and Michael, films that've killed one or both off, and remakes. But mustering up the strength to persist, refusing to let Michael win and attacking back has remained a constant of Laurie's story. That's all kept pushing to the fore in the current trilogy within the series, which started with 2018's Halloween, continued with 2021's Halloween Kills and now wraps up with an instalment that flashes its finality in its moniker. Laurie keeps fighting, no matter the odds, because that's coping with trauma. This time, though, is a weary Haddonfield ready to battle with her? First, a just-as-pressing question: is this David Gordon Green-directed and co-written, Jason Blum-produced movie ready to fight back itself? Green (Stronger, The Righteous Gemstones) has been the mastermind behind the franchise's revival with co-scribe Danny McBride (The Legacy of a Whitetail Deer Hunter) — and while their first dance with the boogeyman (James Jude Courtney and Nick Castle), and the woman pursued by him, gave the Halloween series its best sequel yet, their second lurked in lacklustre been-there, done-that territory. Despite a title that's bound to be proven wrong down the line because that's just the way Hollywood goes, Halloween Ends leaps forward after its average-at-best most-recent predecessor, thankfully. It does so weightily, eerily and gorily, in fact, albeit sometimes clumsily as well, in a mostly fitting swan song for Curtis that understands what it means to spend half a lifetime shrouded in tragedy. Halloween circa 2018 and Halloween Kills sliced into the same night, 40 years after Michael initially attacked Laurie, but Halloween Ends covers two other October 31s. In the first, a year later, a babysitter, a child and Haddonfield's understandably on-edge vibe are all present — as is Carpenter's 1982's masterpiece The Thing, playing on a TV — and a bloody end results. Jumping forward three more years, Laurie is penning a memoir about moving on from her ordeals, and has begun to re-embrace life while living with her granddaughter Allyson (Andi Matichak, Foxhole). Still, around them, their home town is uncertain in Michael's absence. Accustomed to having a big bad responsible for their woes, fears and misery, its residents now point fingers at twentysomething Corey Cunningham (Rohan Campbell, The Hardy Boys), who's already escaped a murder accusation but is forever branded in the community's eyes. Seizing new chances — to avoid adding to Michael's body count, to hold one's own against him and to welcome the future — has always been part of Laurie's story, too, and Halloween Ends knows it. Accordingly, it's little wonder that she feels for the outcast Corey, or that she's swiftly setting him up with Allyson. That clunky plot thread and the inevitable return of Michael are intertwined, because Haddonfield is that festering an emotional and psychological mess; see: the viciousness skewered Laurie's way as well, blaming her for her tormentor's decades of horrific crimes. That Green adapts the franchise's usual pumpkin-filled opening titles to show jack-o'-lanterns swelling, birthing new carved and hollowed-out vegetables inside, then exploding as new ones take over, is telling — by design, obviously. (Carpenter provides a new score, as he has for all three recent titles, which also keeps setting the perfect creepy mood.) Green and McBride's love for all things Halloween, and for Carpenter and his imprint upon horror, has never surprised; why hop into the saga otherwise? Alas, adoring nods and knowing use of the series' template can be a double-edged cleaver — clever in 2018, tired in 2021, but now mostly savvy again. That perhaps there can be somewhat of a conclusion to all the pain Michael has inflicted after all plays powerfully, especially given how past flicks have acknowledged that truly awful things can and do happen for absolutely no reason, and that their imprints slash oh-so-unshakeably deep. Thematically, Halloween Ends is still about that choice to fight back against unspeakable trauma, although it also recognises the choice to take control by other means. This trilogy-concluding movie doesn't skimp on the engagingly staged visceral threats, though, including new and throwback bumps and jumps, plus a hefty willingness to get grisly — or, once he re-emerges, on Michael as a source of terror. Just as Haddonfield one year on, then four, seems to be drifting, Halloween Ends might've if it didn't buy into everything with such gusto. The winks, the trauma, the truth about life's darkness, the straightforward but on-point social commentary, the gruesome deaths, the determination to just keep fighting back, a few splashes of utter silliness: there's intensity in them all, notably so after Halloween Kills' treading-water mood. Whether facing off against The Shape, as Michael is always credited, or crossing Corey's path and weathering its aftermath, Curtis always ripples with the same force — and with the gravity of a woman whose life has kept leading to this. That's accurate for final girl-turned-final woman Laurie, clearly, and one of Halloween Ends' biggest strengths is grappling with that fact. It's also accurate for Curtis herself, who adds this to 2018's Halloween and the ceaselessly iconic original as undying career highlights.
Despite copping the worst of this year's freak floods, Brisbane's beloved West End is back on top and ready to showcase some of the nation's innovative and up and coming film makers with the annual West End Film Festival. Now in its second year, the festival features short films from all around the country. This year 23 films have been selected as finalists out of the 150 entries that were received. These films will be screened in front of hundreds of people at the festival's gala event which spans a range of different screenings throughout the night. In true West End style, the opening gala will take place at Rumpus Cinema, a makeshift movie house situated behind the eclectic and bohemian Rumpus Room bar, in the cultural heart of West End. WEFF will also reward some of the festivals outstanding film makers on the night with cash prizes (this year there is a total of $3, 500 to give away) as well as public recognition of their work and priceless exposure to the creative appetites of Brisbane’s cultural participants. Previous winners at WEFF include Joe Brumm for his animated film Economic Hitmen and Odette Best and Sally Madgwick for the Indigenous film My Country. Image still from film Push Bike, a finalist at this year's WEFF
Choose life, Trainspotting's iconic opening monologue told us. Choose a job, a career and plenty of other things as well, it continued. Whether or not you've taken that advice to heart, here's something else for you to choose — watching the cult classic film after hearing insights from the man behind it. He literally wrote the book that started it all, and now Irvine Welsh is coming to Brisbane to chat about the wild and chaotic world that he's been building upon across the past two decades. In town for the Brisbane Writers Festival, he'll be talking about Dead Man's Trousers, his latest account of Mark Renton, Frank Begbie, Sick Boy and Spud's antics. He'll also be signing books, too. Stick around after the discussion, however, and you can feast your eyes on Trainspotting after gleaning Welsh's take on the novel that brought him to fame. All that's left is to block out Tuesday, August 28 in your diary, and choose to head along from 7pm, with tickets costing $42.57.
For the first time in Australia — and more than four decades after his death — American artist Robert Smithson receives a dedicated exhibition. On display at the UQ Art Museum from March 10 to July 8, Robert Smithson: Time Crystals delves into the work of a figure considered one of the most inventive and influential of his time, particularly in his use as the land as a canvas for his sculptures. Indeed, his piece Spiral Jetty still exists today: a 460-metre-long coil of mud, salt crystals, and basalt rocks, spiralling from the shore of the Great Salt Lake in Utah. That's not making its way to St Lucia, but plenty of sculptures, photographs, films, drawings and texts are, as borrowed from major Australian and international collections. Also included are archival and research materials, both from Smithson and others looking into his work, helping to provide visitors with even more detail about his career and artistic practice. "As the most expansive presentation of Smithson's personal papers ever to be publicly exhibited, including a number of important unpublished writings, the exhibition will offer an extraordinary insight into the artist's methods, processes, connections and influences," explains co-curator Dr Amelia Barikin. Image: Robert Smithson, Yucatan Mirror Displacements (1–9) 1969 (detail), nine chromogenic prints from original 126 format slides. each image 61 x 61 cm. The Solomon R. Guggenheim Museum, New York. Purchased with funds contributed by the Photography Committee and with funds contributed by the International Director's Council and Executive Committee Members: Edythe Broad, Henry Buhl, Elaine Terner Cooper, Linda Fischbach, Ronnie Heyman, Dakis Joannou, Cindy Johnson, Barbara Lane, Linda Macklowe, Brian McIver, Peter Norton Foundation, Willem Peppler, Denise Rich, Rachel Rudin, David Teiger, Ginny Williams and Elliot K. Wolk, 1999. Photo: The Solomon R. Guggenheim Foundation / Art Resource, NY © Holt-Smithson Foundation/VAGA. Licensed by Viscopy, 2017.
Remember Stones Corner, that little pocket of weird shoe shops and depressing facades? Well it’s all grown up, looking fine and you’re invited to its birthday party. The Stones Corner Festival is happening on May 31 from 10am to 9pm and entry is free. As always, the focus is on craft beer, cider and wine from a glut of excellent breweries, which makes it completely acceptable to get your day drink on (although we recommend avoiding the petting zoo while buzzed). The festival also puts on live music throughout the day and a wide selection of local food and market stalls. But the festival’s real drawcard this year is to get you acquainted with the culinary talent on the block, including newbies Bent Elbow and Five Boroughs as well as established veterans Shady Palms, Grindhouse and Lady Marmalade. So come on down and get to know Stones Corner, the new West End of the east side.
Sometimes, when a movie hits cinemas, it doesn't always play out exactly as the person behind it had hoped. The flick you're watching mightn't match the filmmaker's vision for a hefty number of reasons — but that's where director's cuts come in. We live in an age where a filmmaker can be replaced, have someone else take over, fans can complain about the finished product and the original director can then step back in and make a new four-hour version — see: the upcoming new version of Justice League — so of course we also live in a world where film festivals can celebrate these kinds of revised flicks. That's what The Directors' Cuts is all about, with Dendy Coorparoo showing a heap of familiar titles, but in iterations you mightn't have seen before. Blade Runner's director's cut is one of the most famous, and it's on the bill. 2o19's Apocalypse Now: Final Cut falls into both categories, too. You can also check out 2020's The Godfather Coda: The Death of Michael Corleone, longer versions of the vastly dissimilar Midsommar and Lion, plus The Exorcist, Close Encounters of the Third Kind, Blood Simple, The Wicker Man, and both Alien and Aliens. The Directors' Cuts runs from Friday, February 26–Wednesday, March 17, with different films screening at different dates and times — so check out the full rundown for session details. https://www.youtube.com/watch?v=9l-ViOOFH-s
Brisbane might be destroying all of its character buildings in exchange for shiny high-rises but there’s still a semblance of colour left in our greying city – you’ve just gotta know how to find it. Artist-run initiatives are everywhere in our new world city, showcasing world-class artists without the world-class pretention and exposing local talent to the broader community. Jugglers Art Space is one of Brisbane’s longest-running ARIs, founded in 2002 and now spanning five various locations around the city. The latest to join Jugglers’ arsenal of emerging and established artists are Rachel Bartram and Warren Handley, working on their first joint show, Assembling Worlds. The exhibition explores the world of collage, both in the digital realm and the handmade. If you’re sick of seeing grey in our sunny state, you might not be able to stop the wrecking balls but you can still have something colourful and character-filled at home. All pieces exhibited at Assembling Worlds will be on sale for the duration of the exhibition – buy something from these emerging artists before they hit the big time. Image credit: Hoichi (2011) by Warren Handley
Dystopian worlds, alien jokes, the aftermath of a nuclear accident and a new interpretation of Frankenstein: they're all part of the city's newest theatre fest. Between Thursday, April 11 and Sunday, April 14, South Bank's Norman Price Theatre will play host to stage productions of the science fiction kind, because that's what the Brisbane Sci-Fi Theatre Festival is all about. Highlights include Frankenstein and I, which sees both Mary Shelley and the creature she (and the fictional Victor Frankenstein) created tell their tales, plus the TRON-inspired Child's Play, where a kids' robotic toy takes over the world. Elsewhere, The Wishing Well sees five soldiers stumble across a well that could give them superpowers, Gary jumps into the void and Infinite Skies takes an improvised comedy approach to the genre. This is the festival's first year, because — astonishingly — no one in Brisbane has tried to devote four days of theatre to science fiction as yet. S'Witch Collective is the driving force, and you'll feast your eyes on work by Big Fork, Two Braid Collective and Labeijn Productions, too. Also on the agenda: not only live-action theatre, but dance, videography and a few sci-fi suprises.
Public holidays aren't just about the occasion in question, as wonderful as getting 24 hours out of the office always is. They're also about the night before. It might not be the weekend, but for one evening, you can party like it is. The Flying Cock certainly plans to this Australia Day, or this Australia Day Eve, to be exact. In fact, they've called their two-level shindig Spot On, because that's exactly what it is. Listening to live music and enjoying a drink knowing that you have the next day at your leisure — well, it doesn't get more on point than that. Of course, the Brunswick Street venue has the vibe and the bar side of things well and truly covered, as regulars will know. To take care of the tunes, they've enlisted the likes of Atticus Beats, Golden Vessel, Lastlings, Mardi Wilson, Shag Rock, Wolfwolf, Zaped and a DJ set by Mitzi. Now that's how you usher in a day off work.
Bowls clubs aren't just a source of beer at 1970s prices, great cheap lunches and fun stints of rolling balls at other balls — or not at Club Greenslopes at least. The inner-south spot is also Sonic Masala's annual home, with the music festival returning for 2019. The main action takes from 11am on Saturday, August 17, combining everything that a 4ZZZ-presented music festival at a bowls club should: bowls (obviously), bands (of course), brews (naturally) and food (well, you're going to be hungry after all of the above). And, it's bringing a packed lineup, all for the entry price of $25 on the door, with everyone from Adele Pickvance, Dumb Things, Ghost Notes, Nice Biscuit, Olivia's World, Start Together, Tape/Off, The Stress Of Leisure, Turnpike and Yes I'm Leaving on the bill — plus plenty more. If that's not enough, there'll also be a pre-fest party the night before at The Bearded Lady in South Brisbane. The Garbage and the Flowers and Sounds Like Sunset lead the Friday evening bill, and tickets to the August 16 shindig also cost $10–15 at the door.
The idea behind this stage show is pretty straight forward — it's The Golden Girls, but with puppets. Like a zanier, later-life version of Sesame Street, these ladies have been slaying audiences in sold-out shows around the country for a few years now, and are now making their way north for crowds at QPAC. Since airing in 1985, The Golden Girls always had a bizarrely devoted following with gay men; Dorothy, Sophia, Rose and Blanche seemed to strike accord with many gay fans, either a result of the excellent life lessons or stinging one liners that they delivered regularly. One can only think that the comedic pleasures of the whole thing will be doubled by the presence of a creepy Betty White puppet, but time will tell. Tickets for Thank You For Being a Friend are available via the QPAC website.
The latest work from Natalie Abbott is all about extremes. Big and small, toned and flabby — for something so diverse, it's nothing short of amazing that our bodies all operate in much the same way. In Maximum, Abbott is set to explore these differences and push them into the extreme. Joined on stage by a bulky male body-builder, this small lithe dancer will investigate the universal nature of the body and test its limits via the oh-so-gruelling medium of physical movement. Featuring dance, posing, lifts and even fake tan, Maximum seems more like a durational live art piece than a formal show. This is exacerbated by the fact it has nearly 10 performances in under two weeks. Yikes. Our muscles are hurting already (but we can't wait to see the results).
For locals and tourists alike, Mt Coot-tha is one of Brisbane's must-see spots, particularly if you like peering down on cities from a great height. As first approved in 2017, then confirmed in 2018, visitors will soon be able to do more than drive up to the lookout to enjoy the view, walk along its trails or picnic in its parklands — by the end of 2020, they'll also be able to glide through the treetops and soar down from the summit via a zipline. Given the official go-ahead by the Brisbane City Council this week after a public consultation period late last year, the Mt Coot-tha zipline is set to start construction later in 2019. It'll consist of three parts, each of which will open in stages. Actual ziplines comprise two of the components — and yes, there'll be more than one piece of wire for you to zoom along, with nearly three kilometres of zipline included in the entire project. Firstly, a treetop canopy tour will span 1.5 kilometres between multiple platforms, starting at the west of the summit and finishing to the west of JC Slaughter Falls. As its name suggests, it'll zip through the trees to take riders on a tour of the site's flora, fauna and indigenous cultural heritage. It'll be the first to open to the public, from sometime towards the end of 2019. In 2020, it'll be joined by a two-stage 'megazip' tour that features six parallel lines between the summit and the Mt Coot-tha botanic gardens. As well as that 1.1-kilometre stretch — all in a single span, without any platforms along the way, and with users reaching speeds of around 60 kilometres per hour — there'll also be a second 340-metre run within the gardens, taking patrons zooming over the Melaleuca Lake. https://www.youtube.com/watch?v=AjjtLfALN48 The final section of the project will involve a guided indigenous experience across a new 335-metre suspension bridge that'll be built above JC Slaughter Falls, connecting to the treetop canopy tour and the new arrival centre on Sir Samuel Griffith Drive. And, so that everyone can get between destinations other than via zipline, there'll also be a shuttle bus linking various points. Brisbane City Council will put $1 million towards the zipline, which will be built by Zipline Australia — and, once it's finished, it'll be the longest zipline in the country. Both before and during the public consultation period, the project has also attracted substantial criticism about its potential environmental and noise impacts, especially throughout Mt Coot-tha's vegetation-heavy area — which will likely require some amount of clearing. In response to concerns, Brisbane Lord Mayor Graham Quirk advised The Courier-Mail that "extensive independent expert studies have been undertaken as part of the project to ensure the Mt Coot-tha zipline design is sensitive to the environment, including the natural habitat and Botanic Gardens". Images: Brisbane City Council.
Those living with a mental health issue within our community are often forgotten, or stigmatised because of reasons beyond their control. Fortunately, there are voluntary committees and fundraising ventures in place that aim to care for and assist those with mental health issues. You can do your part to help while indulging your love of live music by attending the Music for Mental Health Benefit Gig. This is a launch party to celebrate the work of 26 local artists whose talents are showcased on the Music for Mental Health album, the which all proceeds from sales will be donated to The Coffee Break Project. The Coffee Break Project encourages members of the community to donate the change in their pocket which they might have used on a store-bought coffee. All funds raised by The Coffee Break Project are directly donated to Group 61, a group of volunteers who care for the mentally ill. This evening of frivolity and charity will feature performances by Astrid & The Asteroids, Sahara Beck and Amanda Goddard. Buy your tickets now to support this worthy cause.
Sydney boys, Deep Sea Arcade, have found a home away from home in the UK over the past year and their indie pop tunes have been making waves in London. With their second album in the works and a brand new single, their Australian fans have definitely not forgotten about them and are eagerly awaiting their return. To celebrate their latest single, 'Black Cat', Deep Sea Arcade will be be playing an Australian capital city tour over September and October. The fast paced single is just short of three minutes but packs a punch with its psychedelic riffs, light vocals and driving drums. It serves to give listeners a delicious taste of what's in store on the album due for release in 2014. The lads make a pitstop at The Zoo this Friday joined by Hey Geronimo and other special guests.
Colin Hay might be the man who, despite being of Scottish upbringing, gave the world Down Under (which was definitely played at least seventeen times per square kilometre during Australia Day) but he’s also one of Australia’s most treasured musical icons, having released ten LPs over the past two decades as a solo artist, to critical acclaim. Hay’s said himself that his latest release, Gathering Mercury, may be his best so far. He noted, “The loss of my father last year brought an unavoidable emotional contingent to writing and recording. I don’t have a definitive belief in an afterlife, but I do feel like I had his help when I was working on this album, especially alone late at night, in the studio.” The result is a beautiful insight into Hay’s relationship with his father. Performing for one night at The Powerhouse, Colin Hay will be playing songs from Gathering Mercury, as well as old favourites. It’s an intimate, not-to-be-missed performance from one of Australia’s best songwriters and vocalists.
I can't even say the name of this eclectic dance troupe, but I'm sure as hell intrigued by their unique talents. They are coming from far and wide to tell the story of how the Great Lakes of Canada and USA came to be. And they aren't just doing this in your standard show and tell sort of way, the Anishinabek troupe have crafted a beautiful, rhythmic production just for Australian audiences. Much like our own Aborigines, the Anishinabek people are from indigenous land tribes and prefer to communicate through interpretive dance. In this never seen before stage show, the dynamic dance troupe will powerfully drum and sing in traditional costumes. It is a rare glimpse into the lives and stories of a people we know so little about. Let the Anishinabek group transport you to another world. Their cosmic and alternative stylings are sure to evoke a spiritual journey within anyone who witnesses this one-of-a-kind performance.
They are the conflicting voice that sang 'ooh la' to you, then told you you were so naïve, but that you should shine, shine, shine on, and they are in Brisbane for one night only. Britpop seems to have made such a killing these past few years – The Wombats, Arctic Monkeys – that it can be hard to distinguish between groups. One British band that are markedly different though are The Kooks, whose music is very distinctive, thanks to vocalist Luke Pritchard, despite being lumped into the Britpop category. Since touring here in Brisbane in 2009 for the Falls/Sunset Sounds tour, The Kooks have been busy reworking their signature sound, venturing into slightly unfamiliar territory than the jangly pop they are renowned for, but that doesn't mean it won't be upbeat. 'Junk of the Heart' is the product of experimentation and much deliberation to only slightly alter what so many have loved about The Kooks. Even though the new sound is a shift in their now three-album-strong catalogue, you know the album's good when one of the songs was written in an aeroplane bathroom, and that's not even sarcasm! I've taken a piece of advice from these Britishmen, I'm always where I need to be, and that is at this gig on Monday, and you should be too!
Rockhampton mightn't be known for much else but its beef cattle and being half-arsedly nicknamed Rocky, but I'm willing to bet that Busby Marou are going to start making a better name for the town. Rocky's Busby Marou kind of sound like Josh Pyke, without the pretention (hey, they lent themselves willingly to Nova) and if you have your finger on the pulse, you would've heard 'Biding My Time', which has enjoyed some pretty heavy rotation on Triple J and 106.9 FM here in Brisbane. They just finished up their sold-out headline tour but have also had the pleasure of hanging with Birds of Tokyo, KD Lang and holy shit balls – Miss Dolly Parton herself. Joining the modest duo is Brisbane boy Ben Salter, who has earned a solid rep as a founding member of no less than seven bands, including being a front man for the Gin Club. He is touring solo this time and is flanked by Sydney’s Winter People. It's the Australian (or, in this case, Brisbane) way to take a good thing and claim it as our own. Call shotgun on Busby when the What's Yours is Mine tour reaches Brisbane this Friday.
Oh ma gawd, do you remember the Super Happy Fun Slide on The Simpsons? It seemed so good at first, and then it ended tragically. This will definitely not be the case this Sunday as there'll be actual Super Happy Fun Times at The Zoo because Regurgitator are making a resurgence! Yay! Super Happy Fun Times, or known by its proper name (for shits and gigs) as SUPERHAPPYFUNTIMES2011XMASMASHUP, will not only eat my Caps Lock button alive, but it will also feature silly-named Ouch My Face and self-confessed 'idiot pop' group Cannon! Get excited, Brisbane, because it is only so often in our lives that we have chances to smile extra big that aren't in a dentist chair or because we are ruining a photo. There's a legit cause this time because the 'Gurge are back to celebrate their newest song 'No Show' doing great guns on the radio, and what better way than to round up a positively awesome year than to do it in a super fun way? These legends of Australian rock are known for being one-time recording artists in a glass box, and how they still haven't found a way to get 'Polyester Girl' out of our heads. The set for their XMAS2011MASHUP will cover everything from their album SuperHappyFuntimesFriends, all the way back through their catalogue and hopefully ending with complete euphoria amongst all attendees. If you're sick of being repressed in this sleepy town, then it's time to wake up with Regurgitator and their Funtimes Friends: it's gonna be one hell of a ride.
Motherhood and a mental asylum, home maker and knife wielder. Caught somewhere between Oscar Wilde and Virginia Woolf, she is of one of Australia's most intriguing writers. Watch, wait and be transfixed as the curious world of Eve Langley steps out onto the Metro Arts stage. It seems that many creative corners of Brisbane this month are rife with expressions and questions on women in contemporary society, and this production promises to add to the heap. Written and performed by theatre magnate and Matilda Award winner Margi Brown Asher, this one women show crosses time to look at what it is to stand in the in-between. Eve is the story, part truth and part fiction, of a Langley's life and the pitfalls of being an artist, and a women, in the early and mid Twentieth Century. She is suspended between the parchment she writes on, the walls of her home and, more so than either of those, the wanderings of her own mind. Ash will step into Langley's shoes to bring to life this vivacious character and, in a world of wacky fashion statements and cyber punks, show us what going against the grain really looks like. Prepare to laugh and possibly prepare to cry. Get your tickets fast!
Brisbane has long been dubbed the ‘poor cousin’ of fancy pants cities like Melbourne and Sydney, but Brisbanites know that the truth is we don’t need to brag- we know how good we are so there's no need to boast to our greater populated relatives. Our Brisbane Creatives are some of the best in the business and the Seven With Another project gives our creative greats the chance to collaborate together. Seven With Another was founded by super talented Brisbane designers Monique Kneepkens and Jessica Huddart. These ladies wanted to prove that being creative isn’t just about the medium. The project takes fourteen creative leaders from completely different fields, pairs them together and challenges them to combine their talent and produce an original artwork. Now in its fifth edition, this leg sees the bonding of a musician and a pattern designer, a director and a jewellery designer, a photographer and an architect, a graphic designer and a builder, a writer and a visual effects artist, a product designer and an artist and a lighting designer and a fine artist. The duos will put their creative heads together and take on the challenge of creating an original artwork. Showing for the first time at the Powerhouse from May 10-16, Seven With Another is an art exhibition like no other. Don't miss this opportunity to bask in in the best of our local talent.
Winter is coming to Paddington’s Kookaburra Café, in the form of a play reading of Shakespeare’s The Winter’s Tale. Part psychological drama, part comedy, and a real ‘problem play’. It tells the story of King Leontes of Sicilia who becomes paranoid that his wife is having an affair with his friend Polixenes. In true Shakespearean fashion, actions are made, consequences are received, and revelations emerge. Hosted by the Queensland Shakespeare Ensemble, each month will feature a play reading event for members. It's a casual sit-down reading with no pre-casting. Don't think you need to prepare as all of the roles are drawn out of a hat on the night. You never know who you may be cast as! If you'd prefer to just sit and listen rather than reading along, that's fine too, but the fun is in speaking the words! Bring a copy of the script if you can - the more, the merrier! All members are welcome, and if you're not a member already, you can join on the spot for $20. Come along this Sunday to help give new life to this play text with like-minded Shakespearean connoisseurs.
Platform 2013, a celebration of the works of artists in the Australia and Asia Pacific region, will once again be bringing together installation and large-scale artworks. The exhibition forms part of the Metro Arts annual Galleries Program, in partnership with Metro Arts and Jan Manton Art. This year’s showcase will include the works of Brisbane-based artists, Judith Wright (from her ongoing series Destination), Carl Warner (and his large-scale, urban landscape photographic works), Shayle Flesser (with her depictions of living creatures and the ‘landscape’ of the human body), Indonesian-born artist Jumaadi (presenting 13 figurative bronze sculptures), and Chinese artist Miao Xiaochun (with his video works Restart and Disillusion forming one of the highlights of the exhibition). The exhibition will be officially opened by Paul Spiro, partner at Gadens Lawyers, on August 15. Tours will be available on Thursdays throughout the exhibition, hosted by curator Jan Manton.
English comedian Russell Brand is in town on Monday for a night of belly laughs. This December sees Brand return to Australia for his first full national tour entitled, I Am A Walrus. Brand first broke onto the scene as the stand out character Aldus Snow in Forgetting Sarah Marshall. Since then, he has a list of successful movies and books under his belt and an equally long list of celebrity flings. However, Brand is no stranger to stand-up comedy and his history of stand-up runs back to 2003. The I Am A Walrus tour will be the last time that Brand will feature in the spotlight for a while as he plans to have a crack at directing and weave his magic behind the scenes. Make sure you catch the show and prepare for an onslaught of hilarity. Brand has led a colourful life and is now a former sex and drug addict, so, keep in mind that the show will contain strong adult themes and coarse language.
If you caught The Danger Ensemble's most recent productions, The Hamlet Apocalypse and Loco Maricon Amor you would know that these guys put on a great show. Their last productions were critically acclaimed and their newest play promises to be just as spectacular. Their latest offering, Children of War, puts the spotlight on the children who have faced horrors and suffered in silence. This performance spans the generations and takes stories from various points in history, all the while looking through a child's eyes. The Danger Ensemble have paired up with Vanguard Youth Theatre to give a voice to the voiceless and portray the difficult relationship between children and war. This performance will ask difficult questions as it showcases what a cruel and frightening place our world can be. Make sure you see this special production, running from 14 November – 1 December.
Well-versed trio The Necks are often pinned as a jazz mini-ensemble, other times characterised by their not-quite avant-garde, minimalist, ambient sound. However you describe them, this group comprised of Chris Abrahams (piano), Tony Buck (drums) and Lloyd Swanton (bass) have come to be known as one of the great cult bands of Australia. They specialise in lengthy pieces, those which unravel themselves to reveal mesmerising, deep grooves only made possible by longstanding and well crafted chemistry. With sixteen albums to their name and a new release reigniting the flame of anticipation, The Necks are back with a sound worth reacquainting yourself with. They have received a long string of praise in the wake of their live shows, and are coming to our own Powerhouse Theatre for one night only.
In an attempt to reach the key demographic of 'women aged 14-400', The Place Beyond The Pines opens with a three-minute shot of Ryan Gosling topless. When he does eventually put on a shirt, it's only so that he can ride his motorbike with casually reckless abandon, thereby expanding that key demographic to... 'women'. Thankfully, though, this is not just another 'Ryan Gosling is nice to look at' movie, and as a result we're able to enjoy a far more nuanced and layered performance by the actor. Gosling plays Luke Glanton, a soulful carny whose heavily tattooed body (complete with dripping dagger beneath the eye) alludes to a troubled past that's never spoken of aloud. When an old flame (Eva Mendes) resurfaces and reveals they have a one-year-old son, Glanton quits his job and turns to robbing banks in an attempt to provide for the child. His accomplice and mentor is the reclusive mechanic Robin, played by Ben Mendelsohn — an actor who appears to have cornered the market in two-bit crims who drink, smoke and speak with protracted drawls. Eventually his and Glanton's activities lead to a run-in with the law, and it's at this point that the movie takes quite a turn. Instead of following the traditional three-act structure, The Place Beyond the Pines plays more like three chapters, each with their own distinct stories and characters. It's almost like an anti-Forrest Gump, in that instead of one man telling his story to three strangers at a bus stop, it's three strangers telling their separate stories to one man — the audience. In that respect, 'chapter two' follows Bradley Cooper as the earnest but ambitious cop Avery Cross. Like Glanton, he's a father of a one-year-old boy and, also like Glanton, his colleagues (Ray Liotta, Bruce Greenwood) and wife (Rose Byrne) seem to complicate, rather than complement, his life. Eventually Cross's story moves onto a third protagonist, at which point The Place Beyond the Pines attempts to reconcile all three vignettes into one neat, all-encompassing resolution that's either masterful or impossibly convenient, depending on who you listen to. The film was directed by Derek Cianfrance, whose last (and essentially plotless) film Blue Valentine was a far cry from the myriad of fateful encounters and interwoven acts of providence that take place in The Place Beyond The Pines. This is very much a film about fathers and sons, cause and effect and — some might argue — karmic destiny. It's an ambitious project (and, with a run time of 140 minutes, also a long one); however, Cianfrance and his actors manage to achieve enough drama and tension to maintain your interest right through to the end.
Hans van Vliet is a Brisbane-based electronic musician. He is recognised as a synth and beat craftsman who hand-draws his own waveforms, and his music combines chiptune samples, old-school gaming as well as live instruments, the result being a feast of aural pop music that presses all the right buttons. By day, Hans is a game and motion designer, recently creating a rhythm skateboarding game for iPhone, iPod, and iPad called Penny Time, the soundtrack to which he also wrote, and has been compared to the likes of Gotye and Foster the People. Now, his passions for music and digital art have combined to birth 7bit Hero. 7bit Hero is a bit-pop band that uses video games, audience interaction, and visuals that turn your smart phone into a joystick. You play alongside strangers in the crowd to perform as part of a band. It sees sound and technology perfectly paired, where music and video games high-five.
Inspired by the words of Miles Franklin award-winning author Alexis Wright, Dirtsong is a culmination of artists partaking in musical “conversations” about country, memories, nature, roles and community. Australia’s premier Aboriginal musicians alongside entrusted musical mavericks from the jazz scenes of Melbourne and New York will be brought together to present this latest production from Black Arm Band. Drawn from Aboriginal Australia, Dirtsong mixes traditional approaches and contemporary songs, existing repertoire and newly commissioned music to create an entirely new experience. The night boasts many talents, including Archie Roach, Lou Bennett, Emma Donovan, Deline Briscoe, Djolpa Mackenzie and William Barton, alongside guests Jimmy Barnes, Paul Dempsey (of Something for Kate), Nat Pa’ap’aa (of Blue King Brown) and Shane Howard (of Goanna). The performance is also the headlining event of Clancestry – a celebration of country by way of the arts and cultural practices of the world’s first nations peoples. It is showing one night only, and is sure to be a one-of-a-kind cultural show.
Father John Misty has been making quite the splash in the airwaves of late. Otherwise known as Josh Tillman, as well as the drummer of folk-pop group Fleet Foxes, he has been on the receiving end of rapturous critical acclaim worldwide for his smooth song writing, sweet melodies and thoughtful lyrics. Misty has wowed crowds at Splendour in the Grass, sold out shows at Sydney’s Oxford Art Factory as well as The Corner Hotel in Melbourne. Now, Father John is returning to Brisbane to continue his journey of mesmerising live audiences and captivating hearts. To Father John Misty, the performance is just as important as the music. Gig-goers are in for a unique treat—this charming entertainer brings an element of quirk to his songs, bringing them to life with the ease few can boast. Get in while you can.
If burgers are your thing then you must head along to the Red Robin Supper Club's latest pop-up night out. Chef Rory Doyle hosts ridiculously delicious nights out where he takes over a venue for the night and provides lucky Brisbanites with a taste of his favourite fare. Usually cooking with a homestyle American influence, the latest Red Robin Supper Club is certain to please burger aficionados. The food is so good that it brings a tear to the eye, and is also incredibly reasonably priced so if you're looking for a top feed and a unique experience on Saturday night head along to the Southside Tea Room for some mouth-watering morsels.
The Brisbane Society of Sound celebrates all things music and performance; though deep within their hearts rages the demon of rock and roll, and it’s begging to be released. For all your headbanging, thrash-dancing, foot-stomping needs, head along to Brisbane’s Beetle Bar to see local rock at its finest. On the bill are modern rockers Calais, the colourful pop-rock of Fushia, Skin and Bones, the mixed bag of post-hardcore, indie, blues and folk, and the ambient post-rock of Wolver. This is just one of the many events held by the Brisbane Society of Sound around Brisbane’s many music venues, and they’re the ones in the know when it comes to our city’s thriving music scene. Hot tip: check out their Facebook page for more information on this and other upcoming events. Tickets are best bought before the show as the intimate venue is likely to sell out.
Following standing ovations at the New York Burlesque Festival and general commotion at the Melbourne Comedy, Edinburgh Fringe, Glastonbury Music and Australian National Circus Festivals, The Birdmann returns to Brisbane with a new show. After blacking out, The Birdmann wakes to find himself cuffed and holding a single black stiletto. Cue flashbacks, montages, juggling of cupcakes and a one-man murder mystery of comic ingenuity. Joined by sideshow performer Tigerlil, this is sure to be an electrifying performance. Be sure to take advantage of the discounts for concession card holders and groups of six or more people. The Judith Wright Centre also offer a discounted parking deal. More info can be found on the event website.
With a classic, new-wave style, The Queensland University of Technology Art Museum brings together a collection that is pleasantly different. Centred around the idea that the best technology-based art doesn't always stem from the most high-tech or latest shiny gadget, Foundation's Edge: Artists and Technology teases out the raw creativeness that can emerge for the most basic of technologies. At the creative hands of artists Michael Candy, Lawrence English, Benjamin Forster, Caitlin Franzmann, Ross Manninng and Ken and Julia Yonetani, this display presents work that strays from the intended use of technological devices, pushing them to their potential as an art medium. Through the exploitation, deconstruction and the reworking of such commercial and recognised devices, these artists bring their work to a creative ends unexpected by the untrained eye. Be sure to check out this new and innovative collection of work – you'll be pleasantly surprised at the beauty technology can behold.
Writer-director Sarah Polley's follow-up to the much-loved drama Away from Her, Take This Waltz, follows the story of freelance writer Margot (Michelle Williams) as she meets a rickshaw driver from Toronto, Daniel (Luke Kirby). Margot shares with him an uncontrollable sexual chemistry, and when they realise they live just across the street from each other, the bombshell is dropped: Margot is happily married to sweetheart husband Lou (Seth Rogen), a gentle and caring cookbook writer. Margot finds herself in a complex and conflicting situation, not knowing whether her comfortable routine with her husband, whom she still loves, is enough in the face of the fiery desire of her alluring neighbour. She finds herself frequently trying to bump into the young man and testing the limits of her resolve by having late-night pool dips and sipping margaritas with him, yet not actually acting on the attraction. Far from being a shallow display of trivial conflicting desires, the movie poignantly illustrates the internal dilemma of whether familiarity and comfort will suffice when they come up against the temptation of exotic sex, romance, and art. Williams gives a heartwarming and evocative performance, making audiences sympathise and identify with her plight. Similarly moving displays from Rogen and Kirby work to make this film a heartwarming and complex production, which is a must-see for romantics and cynics alike. We're giving away tickets to Take This Waltz. Enter here. https://youtube.com/watch?v=xUQTNY5yaVk
Brisbane fashionistas will have a chance to get their fashion fix and support an amazing organisation at the Dress for Success Fashion Affair. Join a bevy of Brisbane beauties including Australia’s Next Top Model runner up Liz Braithwaite while they strut their stuff on the catwalk showing off the latest designs from Chi the Label. Love what you see on the catwalk? Get it into your wardrobe with pop up shops from Chi the Label as well as Oli Mac Heels, Jessica. T accessories, Endota Day Spa, Totally Baked and Wrapped with Style. All guests are asked to bring an accessory or item of clothing to donate to Dress for Success, a charity that aims to help unemployed women find work by providing them with business clothing and helping to build skills for the workplace.
Here lies an anecdote to the drab and often frosty clutches of the hump-month of June. The world of contemporary dance is having its boundaries challenged with the delightful commotion that is Essentially Dance. Passions will be stirred, borders crossed, desires ignited, and this will all be done with the sharp flick of some perfectly pointed bare feet. Queensland University of Technology boast the most vigorous dance program in Queensland and beginning on June the 5th, they are showcasing their talent and relentless work at the QUT Gardens Theatre. This original performance piece has been developed with the expertise of a collaboration of renowned choreographers, two aerial artists and the most promising group of aspiring dancers in the state. A far cry from the spectacle of swans and tiaras, this show is sure to be a tantalizing visual experience that will entertain and transfix you. Get your tickets quick! It’s only a hop, skip and a sashay away.
In a special celebratory show for their new single, Buffalo Grass, on rare 7” vinyl, Oh Ye Denver Birds will take to the Black Bear Lodge stage this Thursday, the 6th of September. On the back of their new album, Good Ivy, the Brisbane natives will be sure to please their home crowd with their energetic and joyous live sets. Riding high after having played with the likes of Toro Y Moi and Akron Family overseas, Oh Ye Denver Birds will be keen to keep their momentum going back home. With pop sensibilities as well as experimental conventions to their music, the band has matured over the past few years to deliver a mature, concise and clever debut album that will undoubtedly make up their set list. Supporting them will be Young Men Dead, Moses Gunn Collective and Feet Teeth.
To add a bit of twinkle to your Brisbane Festival experience, head along to South Bank’s Cultural Forecourt for the Brisbane Airport International Lantern Garden. Each night of the festival, the Lantern Garden will illuminate after 6pm. The free show will feature lanterns of all different cultures, as designed by celebrated creative director, Tony Assness. There is paid parking available at the South Bank Parklands and the Queensland Performing Arts Centre, both of which are a short walk away from the Cultural Forecourt, which is situated along the Brisbane River. Public transport is also ideal, with the Cultural Centre busway located nearby, as well as the South Brisbane train station. For your fill of "ooh" and "ahh" be sure to check it out.
Local literary force Holly Riding will celebrate the launch of the fifth printed issue of her debauched Nancy Zine at a very special laneway event. Nancy Zine is the often hilarious, sometimes outrageous brainchild of the young Brisbane writer. Casting her friends as contributors and featuring band interviews, tall tales and the ever-popular ‘whore-scope’ the limited edition printed piece will be distributed for free at the event. Winn Lane’s Atavist Books will play host to the launch, with live music provided by local punks The Kramers. As with previous Winn Lane Shop Late events local store’s including Outpost, EP by Easton Pearson and Ruby & Prankster will all remain open until 8:00pm and punters can enjoy refreshments at boutique eatery Flamingo Café.
With a running time of about five hours Generate invites you to witness a selection of Brisbane’s finest young musicians from the Queensland University of Technology, with acts and individuals ranging from those with contemporary, electronic, neo-folk and post-rock sounds. The perfect opportunity to discover your new favourite artist. With a sound often time compared to Julia Higgins, Gabrielle Aplin and Missy Higgins, Hannah Rosa plays a potent combination of catchy melodies with a warm and friendly stage presence that eases listeners into her world. A group of Brisbane lads that plays ballad centric folk-rock with interesting time signature changes, sweet harmonies and zingy melodies, Bandito Folk are a Jeff Buckley and Fleet Foxes influenced five-piece that play original music taken straight from the heart. With All My Efforts is a progressive music project that combines different effects and drum loops to create a strong, atmospheric sound that draws influence from artists like Explosions In The Sky, Mono and Giraffes? Giraffes! Other artists on the bill include Dear Anonymous, Gabriella’s Bands, Denmark, Matt Graham and Jess Bryne.
From Klimt’s portrait of Adele Bloch-Bauer to Vermeer’s Girl with the Pearl Earing, the history of art and the female form has taught us one pretty definite thing - it’s where the magic happens. Now, in a celebration of women in art, Graydon Gallery presents an exhibit of over 100 paintings and sculptures that immortalize a range of female beauties of every shape and form. The artists who’ve come together in their dozens to contribute pieces to this exhibit range in age, style and technique, but are all masters of their craft. From fine artists, such as talented Jackson Hambridge, to those more adapt with spray cans, the range put on display is only second to the exuberant quality of the overall exhibit. The female form is nothing short of complex, and each artist’s interpretation of it is a journey well worth investing in – don’t miss out.
