From unflinching violence to unbridled sexual passion, some of the most important films in history are the ones that dared to push the boundaries. Doubling down on last year's lineup of controversial cult classics, World Movies presents More Films That Shocked the World from Monday, March 17. This five-day selection of taboo-shattering cinema consists entirely of Australian television premieres. Each one of these films has been the subject of censorship in this country, and when you see them, you'll understand why. It's a program designed to challenge your expectations as well as your limitations, not to mention, at times, your stomach. Prepare yourself people; these films are not for the faint of heart. https://youtube.com/watch?v=vUd_6FF4AtM PINK FLAMINGOS (1972) The film that launched both director John Waters and LGBTQ icon Divine to the far-reaching fringes of the American cultural underground, Pink Flamingos was marketed as an exercise in bad taste; rarely has an ad pitch been so accurate. A pitch-black gross-out comedy, the film tells the story of an overweight transvestite (Divine) with a mentally disabled family who goes to increasingly depraved and then violent ends to defend her title of 'filthiest person alive'. Scenes of coprophagia, cannibalism, bestiality and anal acrobatics earned the ire of Australian censors while at same time helping the film become one of the most notorious midnight movies ever made. Monday, 17 March, 9.30pm https://youtube.com/watch?v=ZkCTSn8gcL4 I SPIT ON YOUR GRAVE (1978) Surely the nastiest pick in the week-long program, this hideously violent rape-revenge tale contains some of the most brutal scenes of sexual brutality that have ever been put to film. Director Meir Zarchi initially self-released the movie after no other distributor would do so. Once it received wider play, critic Roger Ebert labelled it "a vile bag of garbage", a pan that probably ended up helping the film at the box office. Many have debated over the years whether the film is a celebration or an indictment of the sexual violence it depicts. Now, if you dare, you can make up your mind for yourself. Tuesday, March 18, 9.30pm https://youtube.com/watch?v=IU3P6WXzvXU HENRY: PORTRAIT OF A SERIAL KILLER (1986) Based loosely on the crimes of Henry Lee Lucas, this grim, ultra-low-budget serial killer film spent more than four years on the shelf after being completed, as the producers were faced both by a hostile ratings board and the challenge of marketing what they had made. Eventually released in 1990, Henry: Portrait of a Serial Killer is not a particularly gory film yet remains disturbing to this day because of the casual and highly realistic fashion in which the protagonist commits his crimes. By being purposely unentertaining, Henry takes the glamour out of a genre that has fascinated us for decades, raising some pretty prescient questions about our obsession with serial murder. Wednesday, March 19, 9.30pm https://youtube.com/watch?v=g3hSsK61NsE EMMANUELLE (1974) Released at a time when pornography was flirting with the mainstream, this soft-core sexual odyssey follows the affairs of a young French woman living with her husband in Bangkok, and was sold as a classy alternative to the likes of Deep Throat and The Devil in Miss Jones. Although not well received by critics, the film was a massive hit in both Europe and the US, spawning six sequels and literally dozens of spinoffs, including eight made-for-TV movies set in space. Classy indeed. Thursday, March 20, 9.30pm https://youtube.com/watch?v=lj0BnsF1FXs CALIGULA (1979) A fitting way to end a week brimming with cinematic depravity. The disastrous story behind this porn-filled epic is more entertaining than the movie itself. A lavish biopic about an insane Roman emperor, the film was plagued by delays and ran horrendously over budget — and that was before producer and Penthouse founder Bob Guccione wrestled control away from director Tinto Brass and decided to shoot several unsimulated sex scenes to be included in the final cut. A perfect example of a production gone to hell, if you ever wanted to see Helen Mirren, Peter O'Toole and full penetration in the same movie, then Caligula should be right up your alley. Friday, March 21, 9.30pm
It's not often you get to see bears casually drinking next to cheetahs. New York-based artist Cai Guo-Qiang's first solo exhibition in Australia is something of a cross between The Lion King and Noah's Ark that way. The exhibition, titled Falling Back to Earth, consists of three large-scale, nature-inspired installations, two of which are commissions inspired by the artist's own experiences in Australia. Heritage (2013) features 99 lifelike animals from all around the world drinking from a blue lake surrounded by white sand. The other new work is Eucalyptus (2013), a long gum tree extending the length of the gallery, and the third piece on display is the artist's famous and fabulous Head On (2006), where 99 artificial wolves are shown in various stages of colliding with a glass wall. The exhibition has been hugely popular at GOMA, where opening hours have been extended on Wednesday nights for the last four weeks, until it closes on May 11. Thanks to GOMA, we have five double passes to give away that can be used at any of the Wednesday night viewings (16, 23, 30 April or 7 May). To be in the running, simply subscribe to our newsletter (if you haven't already), then email win.brisbane@concreteplayground.com.au with your name and address.
Tasmania's sinister winter music and arts festival Dark Mofo scrapped its 2020 festivities due to the pandemic, but that cancellation has turned out to be a one-off. The event returned in 2021 — amid controversy over an artwork that was announced and then ditched — and it has just confirmed that it'll be back again in June 2022, too. Next year's festival will run between Wednesday, June 15–Wednesday, June 22 in Hobart, if you're already thinking about how to spend the frostiest part of 2022. Run by the Museum of Old and New Art, it'll be funded by $2.5 million from the Tasmanian Government, plus another $2.5 million from MONA owner David Walsh. And, it'll also receive dedicated marketing support from Tourism Tasmania. The event's program won't be announced until sometime in autumn — usually it drops in April or May — but it's set to explore "the ideas of rebirth, reincarnation, and new life". "After the death of the 2020 festival, and a near-death experience in 2021, we're beginning the next era of Dark Mofo," said Dark Mofo Creative Director Leigh Carmichael. "As the world emerges from the darkness of COVID-19, we're hoping Dark Mofo 2022 will provide opportunities for us to reconnect and celebrate winter in the manner we'd become accustomed to prior to the health restrictions around travel and events." [caption id="attachment_800592" align="alignnone" width="1920"] Lusy Productions[/caption] Previous years' lineups have seen a fantastical combination of musical performances, performance art and large-scale installations come together. In 2019, the program featured the likes of artists Ai Weiwei and Mike Parr, American musician Sharon Van Etten and one of the world's largest glockenspiels, for instance. In 2021, the program included a vibrating chamber filled with light, guided night walks through Hobart led by teenagers, 49 search lights beaming up into the sky and multiple performances by Sonic Youth founder Thurston Moore. Dark Mofo will run from Wednesday, June 15–Wednesday, June 22 in Hobart, Tasmania. The 2022 program will be announced in autumn. Top Image: Jesse Hunniford.
It's only February but already it might be possible to name both the worst film and least funny comedy of the year. Fist Fight, starring Charlie Day and Ice Cube, is a monument to stupidity. Its characters are amongst the thinnest and most derivative ever constructed, its plot is simultaneously ludicrous and entirely dull, and its capacity for comedy exists almost solely as outtakes in the final credits. The film's first-time screenwriters rely exclusively on a three-tiered approach of dick jokes, incessant swearing, and a female teacher's desire to have sex with a minor, forever backed by Day's high-pitched stammering whine. Story wise, Fist Fight takes place on muck up day in a US public school, where the students run riot, the teachers are powerless (or apathetic, or both), and the school board is laying off staff to meet budgetary requirements. When Day and Cube's characters clash over an incident in which Cube takes to a student's desk with a fire axe, Cube challenges the diminutive Day to a fist fight in the school yard after class to settle things once and for all. That none of the faculty, campus security or police department demonstrate any interest in properly addressing either the axe-on-student incident OR the imminent crimes of: assault and battery, disturbing the peace, affray or disorderly conduct, somehow represents the least implausible part of this entire abysmal experience. Alongside Day and Cube are various actors of note in roles that are completely beneath them. Tracy Morgan plays an incompetent sports coach, Christine Hendricks plays a butterfly-knife wielding French teacher, and Jillian Bell plays a meth-addicted guidance counsellor determined to get herself some 'teenis' (teenage penis). The whole conceit is so laughably unlaughable that it's astounding the script ever caught a studio's attention. That actors willingly signed on, well...let's just hope the money was worth it. https://www.youtube.com/watch?v=9aIzXYo6VCE
If you find yourself thinking back on Law & Order re-runs, Quentin Tarantino's Reservoir Dogs or Heath Ledger's turn as the Joker in The Dark Knight, you're probably thinking about one particular type of scene. There's an art to a good on-screen interrogation — to seeing characters verbally spar back and forth, as one probes for answers and the other tries to avoid their questions — that's riveting when it's done well. It's also hilarious when it's done comedically (see Brooklyn Nine-Nine); however, nothing beats a grim, serious, eyes-blazing, nostril-flaring confrontation between a suspected criminal and a savvy detective who are both confined to the same small room. Netflix, in its seemingly never-ending quest to turn every single possible idea into highly binge-able streaming content, took this concept and ran with it in its anthology crime series Criminal — which first premiered last year. Love interrogations, but not so fussed about all the stuff around them? Then you'll want to glue your peepers to this, because it's all about heated chats in police interview suites. In fact, that's all it's about. And, after a first season that spanned dozen different tales across just as many 45-minute episodes — spending three episodes each focusing on cases in France, Spain, Germany and the United Kingdom — Criminal is coming back for a four-episode UK-based second season. While the first batch of episodes featured David Tennant and Agent Carter's Hayley Atwell among its British cast, this time around the show has enlisted Game of Thrones' Kit Harington, Catastrophe and Game Night's Sharon Horgan, The Big Bang Theory's Kunal Nayyar and Wild Rose's Sophie Okonedo to answer a barrage of tense questions. Once again, expect claustrophobic, cat-and-mouse-style confrontations — and twisty narratives that rarely go in the direction expected. The show's second season will hit Netflix on Wednesday, September 16. Check out the season two trailer below: https://www.youtube.com/watch?v=VtHBrjgDjes Criminal's second season will release on Netflix on Wednesday, September 16.
Launch into your weekend with some dirty work with Kent Florist The florist hosts a plant-oriented workshop every saturday. It could be ikebana, mini cactus garden making or DIY kokedama — that's Japanese for moss balls. Literally. But they're more appealing than this direct translation might suggest. The moss is the basis of a mini, hanging pot plant, featuring your favourite succulent, fern or the like. At the workshop, you'll learn the history of kokedama while making two of your own. Everything you need for each of the workshops is provided and you'll be sipping green tea and sampling Japanese sweets while you work. Book online in advance, and don't forget an apron to avoid post-plant grubbiness.
It's the exercise trend that has swept the world, and popped up in Sydney and Melbourne in the process. And yet, somehow silent yoga hasn't made its way to Brisbane. On September 11, The Urban Bliss Sound Off Experience will change that in one of the CBD's most central and visible public spaces. Yes, it's exactly what it sounds like: keen yogis will stretch and shoosh, with teacher Esther Wallace-Hill delivering cues regarding poses and movements via wireless headphones. Attendees will also listen to music piped straight into their ears during a 75-minute class that's open to yoga fans of all experience levels. Up to 250 people can participate — and while those that do will pay to take part, all proceeds raised will go towards a good cause. The event is designed to not only promote the latest yoga style, and help Brissie's stressed out citizens bend, stretch and breathe their way to inner bliss, but to raise funds for the Black Dog Institute's mood disorder diagnosis, treatment and prevention efforts. And if you're on the Gold Coast and can't attend, don't worry — you're won't miss out. Not just silent yoga but silent disco yoga is coming your way courtesy of Flow After Dark. It's clearly a great time to exercise as quietly as possible in the Sunshine State. The Urban Bliss Sound Off Experience takes place in King George Square. at 5.30pm on September 11. For more information or to buy tickets, visit the event's Facebook page.
When it comes to planning the next catch-up with your mates, anything bottomless is sure to be a winner. And, with bottomless lunches and dinners being all the rage recently, there's plenty of options to choose from. To make that choice even harder, The Kenmore is slinging bottomless sliders every Thursday night from 5.30pm. Kicking off from October 24, you can head down to the tavern's Public Bar for two hours of mini-burger goodness. At just $25 per person, it's the perfect choice for a cheap date or long-overdue catch-up. Plus, the Public Bar is reservation-free, so you won't have to worry about booking in advance.
Although Longtime hasn’t been on the scene for a very long time (geddit?), their contemporary Vietnamese share dishes have certainly made an impression. If you love seafood, sharing, gorgeous interiors and cocktails on arrival, this is the Good Food Month event for you. For $90 you can try a seafood smorgasbord, including soft shell crab bao, Moreton Bay bug curry, banana flower and egg salad nets, plus a cocktail and dessert to finish you off.
No matter what their colour, condition, or quality, Rutherford Chang wants your iconic 1968 Beatles 'White Album'. Although it was only sold as a limited edition item, the White Album sold over 3 million copies back in the day. The album was unique in its simplicity with a purely white cover and only an embossed script of the band's name and a serial number to distinguish it from a plain piece of cardboard. However, the period of 45 years proves to completely transform these indistinguishable albums into individuals each with their own personality. After a lifetime of differing experiences, alternate uses, and completely separate wears and tears, these plain white albums now share rich historical stories through the text written on their covers, the scratches in the music, the yellowing on the corners, and even the mould on the surface. These intricacies, these signs of love, rejection, kinship, or heartache are exactly what Chang is interested and why he was inspired to collect as many of these White Albums as possible for his exhibition: 'We Buy White Albums'. What he calls his 'anti-store' is set up in SoHo, New York and being featured by the artistic workspace Recess. Rather than selling these aged vinyls, Chang is offering to buy any White Album for a fixed price, no matter what their condition. Chang was fascinated by the concept of mass customisation. Although the white albums start off as homogenised products, each as identical and monotonous as the next , he "noticed how personalised every copy of the White Album has become over the course of the last half century and wanted to compare different copies.” While some copies may have been played religiously every night for a decade, some were played once then discarded and others may have been passed down a long line of buyers and sellers, rocked out at in clubs, provided background music for parties, or even experienced the blossoming of love or the breaking or hearts. Each individual album has been distinctly shaped through its history, which is evident through the imperfections in both its physical appearance and audio quality. The 'We Buy White Albums' Exhibition is on show until March 9; however, Chang is determined for it not to simply reach a standstill there. He has collated over 697 records to date and doesn't intend to simply discard the treasures like so many have before him. Following the closing of the anti-store, Chang will press a double LP of all the songs from 100 different albums layered together in a single audio sequence. Each discrete record has developed its own unique character with scratches and warps at various points in the songs. The resulting track will be like hearing hundreds of Beatles albums at once, with the individuality of each standing out above the next. Via Wired.
Spring, Brisbane and a scenic riverside spot — that's a great way to spend a Saturday. It's exactly what's on the agenda at the new Bulimba Street Food Festival, which heads to the Bulimba Golf Course on September 14. As well as a range of different bites, snacks and meals from a yet-to-be-revealed range of street food vendors, the fest will feature pop-up bars. All that's left is to grab your picnic blanket, gather the gang and settle in for a cruisy afternoon. With a beer or wine in hand, a plate of international cuisine in front of you, and the sun shining, you won't have a care in the world. Run by the Design Collective Markets, the fun runs from 3–9pm, and entry is free — which leaves you with more cash to splash on street food. There'll be live music as well, and this is an all-ages event, so expect families and littlies for company. Image: The Design Collective Markets and Events.
'Escape room' has been a bit of a loaded term for the past 18 months or so. We all know how crucial lockdowns are to stopping the spread of COVID-19, but we've all dreamed about escaping our own four walls during stay-at-home stints, too. And, if you're a fan of actual escape rooms — the themed spaces where puzzle buffs track down clues, solve mysteries and try to sleuth their way out the doors — you haven't had too many chances to enjoy your favourite pastime during the pandemic. You mightn't be able to head to a physical escape room at the moment — you could be in lockdown in Sydney or Brisbane, or it hasn't been a priority after Melbourne's last stay-at-home stretch, for instance — but one Australian venue wants you to keep enjoying its mysteries within your own house. Arcadium Adventures set up shop in Spring Hill in Brisbane in 2020, complete with a bar and different spaces for patrons to puzzle their way through. Now, it's also releasing online mystery kits for you to enjoy at home. A Most Mysterious Convention is the first kit in a planned series, and it'll task you with figuring out a secret message — all by printing out and reading the materials provided, and also by doing some cutting and punching of holes (with a hole punch, of course). You'll be solving puzzles in the process, too, with the whole experience expected to take between 90–120 minutes. View this post on Instagram A post shared by Arcadium Adventures (@arcadiumadventures) If you get stumped, you can also access the Arcadium Archives online for hints and clues as part of the $20 kit price. And, if you'd prefer to get a physical copy that you don't have to print out yourself, you can get one posted to you for $28. Obviously, you now have something else to add to your to-do list while you're spending more time at home. Yes, your streaming queue can wait for a few hours of puzzles. For more information about Arcadium Adventures' A Most Mysterious Convention kits, or to buy one, head to the venue's website. Top image: Arcadium Adventures.
With Australia's borders firmly shut, international travel has been relegated to the realm of dreams, and it looks like it'll be staying there for a good long while. But if you're happy to pretend you're taking a getaway, Qantas has been offering up several products to help. First, it sold its pyjamas, amenity sets and other in-flight goodies. Then, it moved onto fully stocked bar carts. Now, the Aussie airline has released a luxe range of athleisure wear — the type of thing you'd don if you were heading off on holidays, obviously. Launched in collaboration with Australian designer Martin Grant, the new collection has a retro feel, too — because fondly recalling better times gone by is another thoroughly 2020 pastime. A number of Qantas' vintage logos are splashed across range, so you can choose between old-school lettering or the famed kangaroo motif. The collection spans a cashmere jumper, a hoodie, sweatshirts, t-shirts and a beach tote. Colour-wise, the range highlights the company's red and navy colour scheme, as well as grey and wattle yellow. And yes, it's definitely designed to make you feel nostalgic. "This collection is all about classic shapes, comfortable styles and materials that are kind on the environment. But the hero of the designs are the iconic logos that evoke so many fond memories for Australians," said Grant. If wearing an airline logo will make you feel like you've jetted far, far away, a word of warning: this limited-edition collection doesn't come cheap. If you're paying cash, you can expect to fork out $425 for a yellow or navy sweater, $275 for a navy hoodie, $250 for grey sweatshirts, $150 for a navy or grey t-shirt, and $350 for a navy beach tote — or part with a heap of Qantas points. You can buy Qantas' athleisure-wear collection online, using cash or points.
Head to the Northern Territory at any time of year and Uluru awaits, as well as the Tjoritja gorges and Kings Canyon. So does stunning new nightly light show Wintjiri Wiru, plus Bruce Munro's Field of Light and Light Towers installations. But only a visit in April involves basking in Parrtjima — A Festival In Light's stunning glow — and, if you're keen to head along to its next event, the must-attend First Nations arts, culture and storytelling festival has just locked in its 2024 dates. The region's luminous Indigenous arts fest will return from Friday, April 12–Sunday, April 21, as once again set against the 300-million-year-old MacDonnell Ranges. It's too early for program specifics, but it'll look stunning as always no matter what's on the bill. There will be a big change, however: a different team delivering Parrtjima's 2024 events behind the scenes. While the details there haven't been unveiled as yet either, the new partner will combine "innovative technologies with traditional storytelling methods," as per the festival's announcement — and is also someone with "a proven track record in creating bold and creative experiences". Rhoda Roberts AO will still curate the festival, with 2024's theme set to focus on interconnectedness and its importance in Aboriginal cultures. "Everything is living in Aboriginal culture and in the old ways, the approach was one of sharing and working together," said Roberts. "Our ancestors were living under strict social structures and belief systems where everything was interrelated from the land and waterways to our sky country. Along with resilience that's tinged with laughter, interconnectedness blankets the wisdom of generations that we are reminded to experience and absorb." If you're new to Parrtjima, which just might be Australia's most luminous festival, it features installations in breathtaking surroundings, plus music, talks, films, workshops and more. 2023's focus was 'Listening with Heart', as inspired by the artwork surrounding the Statement from the Heart — with that piece depicting Uluru-Ku Tjukurrpa, the Uluru story of connection, as created by a group of artists from Multijulu as led by Maruku artist Rene Kulitja. So, Kulitja worked with other of artists for Parrtjima to turn the Statement from the Heart artwork into a large-scale immersive light and sound installation. Accordingly, Parrtjima attendees were plunged in the world of the Aṉangu people of the Aṉangu Pitjantjatjara Yankunytjatjara (APY) Lands surrounding Uluru. This year's festival installations featured ancient songlines, plus Indigenous viewpoints on Country, as well as connecting to First Peoples' strong links with the land, water and sky. Two things that are also always on the bill: two of the festival's regular annual attractions, aka a huge artwork that transforms a 2.5-kilometre stretch of the majestic ranges, showering it with light each night of the festival; and Grounded, the installation projected over the red dirt at tourism and conservation facility Alice Springs Desert Park. As for the music program, 2023's lineup overflowed with First Nations talent, including Docker River Band, Eastern Reggae Band, Emily Wurramara, JK-47, KAIIT, Karnage and Paul Ah Chee — and Radical Son, Richard J Frankland, Discovering Leerpeen Mara, Rowdy Birds, The Andrew Gurruwiwi Band and The Merindas. Details of each year's fest usually start dropping late in the year prior — we'll update you with more of what's in store for 2023 as it's announced. Parrtjima – A Festival in Light will return from Friday, April 12–Sunday, April 21, 2024, at venues around Alice Springs in the Northern Territory. For more information, visit the festival website. Images: Parrtjima – A Festival in Light. Feeling inspired to book a getaway? You can now book your next dream holiday through Concrete Playground Trips with deals on flights, stays and experiences at destinations all around the world.
"This is the captain…brace for impact". Of all the awful things you could hear while flying – crying babies, drunken tourists, Adam Sandler Movie Marathons – none come close to those seven simple words uttered by US Airways pilot Chesley "Sully" Sullenberger on January 15, 2009. After hitting a flock of birds mere moments after takeoff that caused in a catastrophic and unprecedented dual engine failure, Sully and his co-pilot Jeff Skiles were forced to execute a note-perfect ditching of their aircraft on the Hudson River. Their heroics saved all 155 souls on board and turned Sully into an overnight sensation. Directed by Clint Eastwood, Sully is an examination of the man behind the so-called Miracle on the Hudson. As such, the film opts to focus almost entirely on the days that followed Sully's astounding water landing – including with the National Transportation Safety Board investigations and media frenzy it precipitated – rather than honing in on the crash itself. That's not to say Eastwood omits it entirely. The harrowing sequence, when it finally comes, is a gripping and well crafted as any seen in film. But by prolonging its delivery and focussing on the lesser known story, the veteran filmmaker delivers a far more engaging and balanced tale than the more conventional drama Sully might easily have become. In the title role, Tom Hanks brings understated grace and dignity , albeit in a performance far more clinical (even analytical) than we're used to. The style befits the protagonist, a man whose impossible levels of composure enabled him to do what had never been done before, and all with a calmness of voice that defies belief (if you've not heard the official cockpit recording, try to imagine saying "We may end up in the Hudson" with the same level of poise most people evince when ordering a pizza). Aaron Eckhart, meanwhile, puts in an endearing turn as Sully's faithful co-pilot, while a solid supporting cast including Laura Linney, Mike O'Malley, Anna Gunn and Jamey Sheridan ensure the script by Todd Komarnicki stays on the right side of schmaltz – no matter how close Eastwood veers towards its limits. There's no question that Sully is unashamedly sincere in its portrayal not just of the extraordinary pilots, but also their crew, the passengers, the air-traffic controllers and the selfless New Yorkers who raced to their rescue without a moment's hesitation. Thankfully, Eastwood is the master of underplayed tributes to everyday heroes, especially those who shy away from the very notion of their own valour. Few could be more humble, or deserving of such a treatment, than the man who gives this remarkable movie its name https://www.youtube.com/watch?v=mjKEXxO2KNE
A friend of mine works in an op shop. A proper one, not an overpriced 'vintage' one. A few months ago she showed up to the pub with a collection of books which had been donated, one of which was a colouring book for medical students, complete with every element of human anatomy you'd ever need to know. We sat tipsily entranced by the semi-coloured-in pictures of lungs and kidneys and feet, the outspread arms of nerve cells and the fragile spiderweb-like bone structure of the hand. Bodies are funny things. We're often quick to forget what's under the surface, what's holding us together and propelling us forward. Japanese illustrator Wataru Yoshida has recently captured this idea in a startlingly beautiful way, in a series of posters entitled Composition of Mammals. The images combine photographs of different mammals, including humans, overlaid with the ethereal shadows of their skeletons and vital organs. The series was created as part of an imaginary exhibition at the National Musuem of Nature and Science in Tokyo, aiming to show the mystery and fascination of how delicate even the strongest of bodies is when you peel back the skin. [Via Design Bloom]
UPDATE, MARCH 18: Due to concerns around COVID-19, Disney has announced that The Woman in the Window will no longer release on its initially scheduled date of Thursday, May 14, 2020. At present, a new release date has not been announced — we'll update you when one has been revealed. To find out more about the status of COVID-19 in Australia and how to protect yourself, head to the Australian Government Department of Health's website. They start off in text, drawing in readers with their mysteries, twists and psychological thrills. They focus on women in murky situations, and make that fact known in their titles. Then, after literary success, they jump to the big screen. That's the path that Gone Girl and The Girl on the Train both took — for better in one case, for worse in the other — and now it's The Woman in the Window's turn. Based on the 2018 novel by AJ Finn, The Woman in the Window follows Dr Anna Fox (Amy Adams), a psychologist who also suffers from extreme agoraphobia. After befriending Jane Russell (Julianne Moore), the woman who lives across the street, she cries foul when her new pal disappears — but neither Jane's husband Alistair (Gary Oldman) nor the cops (including Widows and Child's Play's Brian Tyree Henry) are willing to listen. As well as firmly falling into clear genre — aka mystery-thrillers that reference women in their monikers — The Woman in the Window is obviously taking some cues from Alfred Hitchcock's Rear Window. And, in the just-released first trailer, director Joe Wright (Atonement, Hanna, Darkest Hour) doesn't shy away from that comparison. Whether it's worthy of being mentioned in the same breath as one of Hitchcock's best films or suffers a fate closer to The Girl on the Train won't be discovered until the movie releases in May, of course. But, The Woman in the Window has amassed a wide-ranging cast, with Jennifer Jason Leigh, Avengers' Anthony Mackie and Wyatt Russell (Overlord) all popping up. Check out the trailer below: https://www.youtube.com/watch?v=J0hTmzISOlQ The Woman in the Window was due to open in Australian cinemas on May 14, 2020; however it'll now release on a yet-to-be-revealed date — we'll update you when one is announced.
Not content with winning an Emmy, two Golden Globes and a pair of Screen Actors Guild Awards for playing Shiv Roy on Succession, Australian actor Sarah Snook has just added a 2024 Laurence Olivier Award to her mantle for her starring role in the West End season of stage sensation The Picture of Dorian Gray. Or roles, to be precise. The production, which hails from Sydney Theatre Company, tasks its lead with playing all 26 characters in the adaptation of Oscar Wilde's gothic-literature masterpiece. For her current stage date, which started earlier in 2024 and runs until May, Snook has stepped into a tale about a sinister portrait that lets its subject stay young and beautiful. This take on Wilde's work was first staged Down Under with Eryn Jean Norvill doing the honours, premiering in Sydney 2020, and also hitting theatres in Melbourne and Adelaide. "It's an incredible honour to be on the stage in the West End and this is not something that I thought would come along with that. It's billed as a one-woman show but it's not. It's the crew who are on stage with me all the time every night, and they are a vital and constant support and inspirational," said Snook when she received her award, with the ceremony taking place on Sunday, April 14 in the UK — so in the early hours of Monday, April 15 Down Under. "So thank you to the crew for being there in this show with me. A huge immeasurable thank you to Kip Williams and your very big brain, and your specificity and precision and your inspiration — and I just thank my lucky stars I get to play inside that mad world you've created every night," Snook continued. The Picture of Dorian Gray also won Marg Horwell an Olivier for Best Costume Design. Among the rest of the night's winners, Stranger Things: The First Shadow took home Best New Entertainment or Comedy Play, Sunset Boulevard nabbed Best Musical Revival, Dear England scored the award for Best New Play and Operation Mincemeat did the same for Best New Musical. On the page, The Picture of Dorian Gray is exceptional, as well as astute and unnerving, as it follows the selling of its namesake's soul in order to keep indulging every corporeal whim, urge and desire. There's a reason that it just keeps getting adapted for the screen and in theatres, after all. But there's never been a version like Sydney Theatre Company's, with the London run at The Theatre Royal Haymarket marking Snook's return to West End after debuting in the 2016 production of The Master Builder. This version of the story uses video and theatre to help its star play so may characters. Williams, who adapted Wilde's text into the phenomenal production and also directs, has travelled to the UK with the new season as well. Taking the show to London is part of a partnership between STC and Michael Cassel Group, which is all about sharing the former's works around the globe. A similar path — from Australia to the UK, but originating from the Griffin Theatre Company — worked out spectacularly for Prima Facie, too, with the British production starring Killing Eve's Jodie Comer winning Best New Play and Best Actress at the 2023 Laurence Olivier Awards. Check out a trailer for the West End season of The Picture of Dorian Gray below: The Picture of Dorian Gray is playing The Theatre Royal Haymarket, 18 Suffolk Street, London until Saturday, May 11, 2024 — for more information and tickets, head to the play's website. Images: Marc Brenner.
Over summer, plenty of folks spent their time getting reacquainted with their couches while watching gossip-fuelled, 19th-century-set antics. After launching on Netflix on Christmas Day, the first season of Bridgerton caught the attention of 82 million households around the globe in its first four weeks. Yes, that sounds like something Lady Whistledown would love to gossip about in her society papers. As a result — and to absolutely no one's surprise — more Bridgerton is coming. When you become Netflix's most-watched original show ever, beating out last year's favourites such as The Queen's Gambit and Tiger King and the debuts of older series like Stranger Things, that's bound to happen. But viewers can actually look forward to quite a few more episodes, with the streaming service just announcing that it has renewed the show for seasons three and four. No, the show's second season hasn't streamed as yet, and doesn't even have a release date at present. But Netflix is falling head over heels for its episodic adaptation of Julia Quinn's novels and committing to many scandal-filled instalments to come. That'll either give you even more chances to dive into Bridgerton's high-society hijinks, or give you a reason to see why everyone you know has been talking about the show this year. For the unacquainted, the first season follows the ins and outs of Daphne Bridgerton's (Phoebe Dynevor) quest to find a husband, her dalliances with the Duke of Hastings (Regé-Jean Page), the controversy in the Featherington household and all the other dramas that come with Regency London's marriage market — plus whatever else inspires Lady Whistledown to put pen to paper. Check out the trailer for the show's first season below: https://www.youtube.com/watch?v=gpv7ayf_tyE The first season of Bridgerton is available to stream now via Netflix. The show's second, third and fourth seasons don't yet have release dates — we'll update you when details come to hand. Top image: Liam Daniel/Netflix.
It's the creative breakthrough that had to happen — and it did, six decades ago. The more that popular culture started to surround artists via advertising, television and comic books, the more that they worked it into their pieces. Yes, that's how pop art was born. These days, we live in post-pop art times; however you just can't take the 'pop' out of modern society. You can interrogate, subvert, examine and reconstruct it, though. In fact, that's what group exhibition Pop Goes the Weirdo is all about. Sydney's Simon Lovelace and SKEL have joined forces with Brisbane's Clay Smith and Tiffany Atkin to bring highbrow thinking to their range of lowbrow works. Whether manipulating previously 'innocent' images and characters, mashing up well-known imagery to get to the heart of the human condition, giving poster art a surrealist edge or challenging the boundaries of femininity, their two-week show is much, much more than a collection of paintings of soup cans. Images: via Tiffany Atkin.
Quotes and observations about evil being mundane, as well as the result when people look the other way, will never stop being relevant. A gripping, unsettling masterpiece, The Zone of Interest is a window into why. The first film by Sexy Beast, Birth and Under the Skin director Jonathan Glazer in more than a decade, the Holocaust-set, Oscar-nominated and BAFTA-winning feature peers on as the unthinkable happens literally just over the fence, but a family goes about its ordinary life. If it seems abhorrent that anything can occur in the shadow of any concentration camp or site of World War II atrocities, that's part of the movie's point. It dwells in the Interessengebiet, the 40-square-kilometre-plus titular area that comprised and surrounded the Auschwitz complex, to interrogate how banal genocide was to those in power; commandant Rudolf Höss (Christian Friedel, Babylon Berlin), even gloats that his name will be remembered and celebrated for its connection to mass extermination. Höss was a real person, and the real Nazi SS officer overseeing Auschwitz from 1940–43. His wife Hedwig (Sandra Hüller, Anatomy of a Fall) and five children are similarly drawn from truth. But The Zone of Interest finds its way to the screen via Martin Amis' fiction novel of the same name, then hones its interest down from the book's three narrators to the Höss family; a biopic, it isn't, even as it switches its character monikers back to reflect actuality. This is a work of deep probing and contemplation — a piece that demands that its viewers confront the daily reality witnessed and face how the lives of those in power, and benefiting from it, thrived with death not only as a neighbour but an enabler. Camp prisoners tend the Höss' garden. Ashes are strewn over the soil for horticultural effect. Being turned into the same is a threat used to keep the household's staff in line. All three of these details, as with almost everything in the feature, are presented with as matter-of-fact an air as cinema is capable of. The film starts with idyllic river swims — with Rudolph and Hedwig taking their brood picnicking and frolicking like this isn't the 1940s, war isn't tearing apart Europe, and casualties at the Nazis' hands via their internment system aren't heartbreaking in their horror, cruelty and number. When the Hösses return home after their day out, a sight of domestic bliss awaits there, too. Hedwig isn't just proud of the multi-level house they've constructed, and the leafy grounds with a greenhouse and wading pool; when Rudolph is told that he'll be transferred, she's unwilling to leave. Theirs is a content existence. Glazer and cinematographer Lukasz Zal (an Academy Award contender for both Ida and Cold War) ensure that the barbed wire atop the adjoining wall with the camp is evident, however. Also, the filmmaker soundtracks the feature with rumbling ominousness from his Under the Skin composer Mica Levi, the sound of the furnaces, plus screams, howls and gunfire. The Zone of Interest doesn't plunge directly and visibly into Auschwitz's terrors, such as by moving its distanced camera over the barrier to spend time with detainees. It knows that its audience is already aware of the gutwrenching specifics, as the world should never be allowed to forget. But its approach — staring on at the Hösses primarily in mid shots, and choosing them as protagonists over the camp's inhabitants — is an act of matching its style and focus with one of the basic truths that it's unpacking. With its steadfast composure, which is resolute to an eerie degree, The Zone of Interest compartmentalises just as Rudolph and Hedwig do. When he approves crematorium designs, she tries on a fur coat that belonged to a prisoner, he sleeps with detainees and she fights to retain her perfect abode, each does so with zero thought for Auschwitz's involuntary populace as people. It's simple for a movie to restrict what it sees, of course, but magnifying the hideousness of humans doing the same to such suffering and savagery is another of the film's objectives. So much that fills Hedwig's days as the "queen of Auschwitz", as Rudolph calls her, is particularly pedestrian — and, as navigated so unflinchingly by Hüller in her second exceptional performance of the past year (and in one of two pictures that are 2024 Oscar-nominees), so far removed from any hint of concern or guilt over what's occurring next door. Landscaping, chores, parties, chatter and visits from relatives have rarely felt so disquieting. Unsurprisingly, The Zone of Interest isn't easy to watch for a second. Unshakeable dismay emanates from the disconnect between how the Hösses embrace their existence, and willingly, with the camp's grimness that's constantly heard. It isn't sighted but pondering the reverse, about prisoners listening to playing, splashing, laughing and cavorting ringing out from over the fence amid their pain and perishing, is as much of a blistering, bruising punch. Glazer understands that the human response is alarm and outrage even at the concept of Auschwitz and the Holocaust, let alone its echoes and shadows — reactions absent from those who profit personally and professionally from its brutality, and treat it with both ignorance and apathy. For all of its exacting gaze at sheer inhumanity, The Zone of Interest does depart from Rudolph, Hedwig and their kids in fits and spurts. Cutting to pure white, red and black makes a statement. Also, as lensed with night-vision cameras — the entire film only uses natural light, switching to heat when light genuinely couldn't be seen — the movie spies a Polish girl leaving food at detainee worksites each evening. There's hope in her deeds, with the character also based on a real figure. These moments underscore Glazer's commitment to seeing this story with modern eyes, too. The production design all-round is gleaming. The technical feat, with cameras wired into the set, is pure 21st-century. There's no dismissing what's being depicted as mere history, then, which a late jump to the Auschwitz-Birkenau State Museum now, as explored in documentary-esque footage, emphasises. For the bulk of the picture, Glazer's tech setup means that his actors, as led by Friedel and Hüller at their best, build their portrayals in lengthy takes and at a physical remove from the audience. He conveys the monotony of someone so influential in such awfulness, she taps into the subconscious refusal to engage with the truth of her surroundings, but getting truly close to Rudolph and Hedwig is never the aim. The Zone of Interest could never be about empathising with its points of interest, or redeeming them. As it observes their behaviour, it plummets into a nightmare that's all the more insidious and distressing for how commonplace its protagonists' lives and attitudes prove. In the process, this unforgettably potent and piercing movie also turns its window into a mirror, chillingly asking about today's equivalent of blocking our ears to shrieks and conflict, putting our own comforts ahead of what's right, striving to get ahead at work no matter the cost, and avoiding and disregarding what's over the wall.
A fresh batch of street art has popped up across Brisbane, brightening up the city's laneways and public spaces. And it's not any old outdoor exhibition, with Women's Work highlighting large-scale pieces by 12 female artists. On display until Sunday, December 1, this is a huge showcase in several ways. Each of the towering artworks earns that description, as does the the exhibition's sprawling inner-city footprint — spreading over Eagle, Edison, Irish, Hutton and Fish Lanes, as well as along Edward Street, through the King George Square Car Park and on the William Jolly Bridge. And, there's also the fact that it's Brisbane's largest display of women's street art. The idea behind the exhibition is hefty, too — tackling gender equality in the industry, showcasing the efforts of more than just the usual suspects and shining a spotlight on ace ladies. Courtney Brims, Claire Tracey, Dominique Falla, Emma Wright, Lusid Art and Mosessa rank among the artists, designers and practitioners involved, as do Nicola Holly, Rachael Sarra, Rae Cooper, Sarah Hazlehurst, Tori-Jay Mordey and Zoe Porter. Women's Work is the work of The Culprit Club, in collaboration with BAM - Brisbane Art Matriarchs, Brisbane City Council, and Griffith University's Queensland College of Art. Over the course of its run, the exhibition will also include curated walking tours, talks and events.
Brisbanites, it's time to dance, sing, tap your toes, make shapes, feel the rhythm, and appreciate a mighty fine tune or several. From Friday, July 5 to Sunday, July 28, the biennial Queensland Music Festival returns to make the state, and Brisbane, come alive with the sound of music — and, with this year marking QMF's 20th, the fest has put together a suitably massive program. Highlights include Archie Roach singing up a storm, a celebration of the women who sang at Woodstock, a series of Sunday afternoon classical concerts by the river and the grand opening of the new Fortitude Valley Music Hall. If you love opera, or you've always wanted to give it a whirl, spend a day soaking in arias at Jimbour House. Fancy hearing Australia's history of star navigation through music? Or discovering the melodies of the night parrot, which was thought to be extinct until recently? They're on the bill as well. Eager to do more than just watch and listen? That's where Play Me, I'm Yours comes in — and its 20 pianos, which have all been painted by British artist Luke Jerram and other creatives, then scattered across Brisbane. They're waiting for you to find them, then tinkle their ivories, so bust out whatever song you can muster (ideally, something other than 'Chopsticks', though).
Director Terry Gilliam goes back to the future in the third and final chapter of his so-called Orwellian triptych. An existential tragedy in the guise of a sci-fi black comedy, The Zero Theorem explores many of the same dystopian concepts seen in Brazil in 1985 and 12 Monkeys a decade later. This is unmistakably the weakest of the trio, although in fairness the other two are amongst the best science fiction films of each of their respective decades. It's a messy and sometimes frustrating film, full of big ideas that don't always get the treatment they deserve. You certainly can't fault Gilliam's ambition though, nor the quality of the pieces with which he's working. Christoph Waltz, minus his eyebrows, plays an agoraphobic computer programmer by the name of Qohen Leth. Employed by the omnipresent ManCom Corporation, Leth's sole duty is crunching the numbers on the Zero Theorem, an intricate mathematical equation that, if solved, will prove that life in inherently meaningless. For the shut-in Leth, whose nightmares are already dominated by a terrifying black hole, the task soon transforms into an obsession. Theorem sees Gilliam, a satirist at heart, aim his guns squarely at the commercial establishment. Bucharest masquerades as futuristic London, a city in which advertisements will literally chase you down the street. Visually, the director draws on everything from Metropolis to Lewis Carroll, not to mention, of course, a healthy dose of Nineteen Eight-Four. The world he creates is full of absurd whimsy, yet a lingering sense of oppression always remains. It an environment we only see in glimpses, however. The bulk of the film takes place in Leth's home, a dank, rat-infested, fire-damaged church. It's here that he toils, the Quasimodo of the future, observed via surveillance camera perched atop a headless statue of Christ. It's not what you'd call a subtle visual, but then again, no one ever accused Gilliam of being subtle. Nor would you call him a particularly focused filmmaker. At times there's a sense he's throwing everything at wall in the hope that some of it will stick. Questions of faith, purpose and reality are interesting in their own right, but never quite coalesce into an entirely satisfying whole. In his first true starring role, Christoph Waltz gives a fantastic performance that's quite different to what we've seen in his collaborations with Tarantino. French actress Melanie Thierry, meanwhile, seems likely to break out as Leth's potential love interest, a mysterious cyber-seductress named Bainsley. Their dynamic gives the film some much-needed emotional stakes. Yet the plot that surrounds the relationship remains oddly lacking in momentum. The Zero Theorem is nowhere near Gilliam's best. At the same time, in a lot of ways it feels like his most definitive film, in that it represents all of his good and bad tendencies simultaneously. It's as bold and intriguing as it is cluttered and confused. In the end, it contains just enough interesting elements to justify the cost of a ticket. https://youtube.com/watch?v=rae7_O_6EtU
Dive into a box of Lego, drink a few beers — it's the kidulting dream. Really, it's the best of both worlds, because getting older doesn't mean farewelling fun. While a dedicated brick bar popped up in Brisbane last year, that's not your only chance to build whatever your heart desires while knocking back tipples. Semi-Pro Brewing is also getting in on the action, hosting regular Bricks and Beers nights on the last Thursday of each month. From 6pm, you'll spend an hour working to a theme — and competing to construct the best Lego creation you possibly can. Three rounds will take place, each spanning around 30 minutes. If you've always wanted to make your mark in tiny plastic blocks, then go forth and do so. The next one takes place on Thursday, February 27. Prizes will be awarded for creativity in both categories, and drinks will be flowing. Entry is free, all Lego is supplied, so no need to raid anyone's toy box. But bring your wallet for beverages — and your doggo for company. Updated February 27.
By the time that 2022 is out, lovers of Studio Ghibli's films (aka everyone) will have two places to visit if they'd like to get as close as humanly possible to walking into the animation house's gorgeous frames. Already, you can head to the Studio Ghibli museum in Mitaka, a city on the western outskirts Tokyo — and you really should; it's as magical as it sounds, giant catbus and all — but now Ghibli's very own theme park has officially set a November launch date. Come November 1, the new location in Nagoya's Aichi Prefecture — which is around a three-hour train trip from Tokyo — will start spiriting away Ghibli fans across its 200-hectare expanse. The studio initially announced that it was creating its own theme park back in 2017, and originally planned to open in 2020. Then, in 2018, it pushed back its launch timeline to 2022; however, this is the first time it's set a specific date that everyone can mark in the calendars. The opening day of the Ghibli Park was announced today. pic.twitter.com/01vhPGuJgq — スタジオジブリ STUDIO GHIBLI (@JP_GHIBLI) January 27, 2022 The Aichi Prefecture Expo Park spot is already home to a replica of Satsuki and Mei's house from My Neighbour Totoro, and it's gaining plenty of other attractions as it becomes a fully fledged Studio Ghibli thee park. Totoro features heavily, understandably, with the site even initially described as having a My Neighbour Totoro focus. However, you'll also be able to check out a life-sized version of Howl's Moving Castle, the antique shop from Whisper of the Heart, Kiki's home from Kiki's Delivery Service and a village area that pays tribute to Princess Mononoke. Also slated to feature: nods to the cat from Whisper of the Heart and The Cat Returns, buildings with design elements that take their cues from Laputa: Castle in the Sky, and a super-sized garden that'll make you feel like you're one of the tiny characters in Arrietty. There'll also be a permanent exhibition room, a special exhibition room, a video exhibition room, a playground, and a shop and cafe, so you'll have plenty of places to explore, eat and browse. Expect more nods to Ghibli's various features to follow, recreating other aspects from its three-decade-old body of work — and possibly its most recent movie, Earwig and the Witch, too. And if the end result is even half as wondrous as the studio's aforementioned museum, then fans are in for a treat. There, you can also climb up to the building's rooftop garden to see one of the robots from Laputa: Castle in the Sky, and watch exclusive shorts (including a sequel to My Neighbour Totoro) in a cute little cinema. Indeed, the museum is such a tourist attraction, you have to buy tickets over a month in advance — and experiencing the rush of folks in the merchandise-packed gift shop will make you feel like a susuwatari (Totoro's gorgeous little balls of floating soot). [caption id="attachment_799539" align="alignnone" width="1920"] Studio Ghibli[/caption] Incorporated into the existing parklands, the Studio Ghibli theme park will be heavy on greenery and the natural surroundings, which matches the environmental messaging that plays a prominent part in Ghibli's movies. The site will also encourage "enjoying walking", according to the draft concept outline, while aiming to offer "a one-of-a-kind park loved by more people". We don't think either will be difficult. If you're now planning a Ghibli-centric holiday, you'll need to cross your fingers that Japan's border rules change before November to allow foreign nationals to enter the country — something that's currently suspended until at least the end of February 2021. And if you won't stop dreaming about the Studio Ghibli theme park anyway, the Aichi Tourism Bureau has released a trailer — which is largely an ad for the surrounding area, but also features Satsuki and Mei's house prominently. Check it out below: The Studio Ghibli theme park is slated to open on November 1, 2022. For more information, keep an eye on the animation company's website.
In attempting to engage the lucrative teenage market, a film could do worse than conclude its opening monologue with the line, "Everybody knows where they belong... except me". "Oh my god," say those teenagers, "that's basically what I think! I need to get all my friends and see this movie eighteen more times!" There's a reason more than 17 million copies of the novel by Veronica Roth are in print worldwide with no signs of slowing down. Sure, there's the plot about a post-apocalyptic, dystopian world in need of courageous teenagers to save humanity, but at its heart, Divergent remains a simple story about teenage isolation and the possibility that a cute boy might actually like you. Set 'after the war' (that's as much detail as we're given), the survivors of this Chicago 2.0 have instituted a new form of social order to ensure the sustained peace. The community is divided into five factions: carers, pacifists, protectors, thinkers and truth-speakers. When the teenagers come of age, they're subjected to a series of tests to determine their factional predisposition, and while 99 percent of them fall clearly into one group or another, every so often a 'divergent' individual comes along whose skills and feelings cross into multiple factions. A simple but boring version of this idea would be: In a world of left-handers and right-handers, some people are ambidextrous. And then those ambidextrous people are hunted down and murdered. The problem with divergents, you see, is that they can't be controlled. They're a threat to the system because they don't play by the rules. So now, in addition to cute boys and isolation, there's a heady dose of 'screw you mum — you can't tell me what to do!' The divergent in this instance is 15-year-old Beatrice (Shailene Woodley), a daughter of two 'Abnegation' parents who dreams of being one of the 'Dauntless' caste, the fearless (if also reckless) group charged with maintaining order in the city. But some, like Erudite leader Jeanine (Kate Winslet), believe the system is broken, and as the balance of power begins to shift with dictatorial-like qualities, 'Tris' finds herself having to choose between faction and family. Woodley is the standout in Divergent; an undeniably talented young actress whose performances since The Descendants have shown both range and maturity beyond her years. She commands attention in every scene and convinces as the conflicted heroine who prefers not to pull the trigger but can and will without hesitation if necessary. Around her is a substantial supporting cast, including Ashley Judd, Jai Courtney and Zoe Kravitz, with Theo James as her sufficiently attractive and brooding love interest, Four. In the end it's all very Hunger Games Lite, mixed in with a bit of Brave New World for good measure. With much of the film centred around Tris's training instead of any actual conflict, it suffers from a lag that struggles to shake free until well into the second hour, by which time what action there is feels rushed and unsubstantiated. Fans of the books will be happy, especially given the film's fidelity to the material; however, newcomers may struggle to get on board. https://youtube.com/watch?v=336qJITnDi0
Bill Murray. Zombies. As movie-goers learned ten years ago, it's a winning combination. But Zombieland is no longer the only way to see the beloved film star enter the realm of the shuffling undead. Thanks to upcoming comedy The Dead Don't Die, Murray dwells in a world of re-animated corpses once more — and it's now his job to fight them. The latest flick from filmmaker Jim Jarmusch, this zom-com spends time with a trio of small-town cops (Murray, Adam Driver and Chloë Sevigny), who discover that their new case has quite the twist. As the movie's first trailer tells us, "in this peaceful town, on these quiet streets, something terrifying, something horrifying is coming". Yes, that something is zombies, the undead or ghouls, as Driver's character explains. Cue plenty of comic battles against brain-munching foes, as well as plenty of appearances by famous folks — including Tilda Swinton, Steve Buscemi, Danny Glover, Caleb Landry Jones, Rosie Perez, Sara Driver, Selena Gomez and Carol Kane, plus Iggy Pop, RZA and Tom Waits. Murray (Coffee and Cigarettes, Broken Flowers), Driver (Paterson), Swinton (Only Lovers Left Alive) and Buscemi (Mystery Train) have all worked with Jarmusch before, as has the movie's trio of musicians, but don't go expecting something familiar here. As all of the above flicks have shown, and Night on Earth, Dead Man, Ghost Dog: The Way of the Samurai and documentary Gimme Danger too, the writer/director has never been fond of making the same film twice. The Dead Don't Die will hit Aussie cinemas on October 24. But if you're in Sydney, you can catch it at this year's Sydney Film Festival, where it will screen over three sessions on June 14, 15 and 16. There are still tickets available to them, so we recommend booking them in now. In the interim, prepare for a wacky yet deadpan addition to the zombie fold, complete with Murray hanging out in a cemetery and Swinton playing a sword-wielding mortician. Check out the deadly trailer below: https://www.youtube.com/watch?v=bs5ZOcU6Bnw The Dead Don't Die will hit Australian cinemas on October 24, 2019. It will also screen at Sydney Film Festival on June 14, 15 and 16. You can get those tickets here. Updated: May 20, 2019.
For two nights in March, your plans can include checking out more than 100 motorbikes, drinking, tapping your toes to DJs and listening to live music. That's all on the agenda at The Motorcycle Up Late, because the Gallery of Modern Art is doing what it usually does whenever it hosts a major exhibition — that is, throwing a couple of huge after-hours parties. Until the end of April, The Motorcycle: Design, Art, Desire is on display across GOMA's floors and walls. You can see the results everyday over the next few months, in fact. Or, you can head along from 6pm on Friday, March 19 and Saturday, March 20, wander the gallery, get revved up, watch performances, grab a bite and enjoy a few beverages. There'll various bars around the place, so a drink won't be hard to find. On Friday evening, you'll also be able to listen to tunes by The Hi-Boys, Tia Gostelow and WAAX, with Black Amex, Lori Lee and Sweaty Baby on DJ duty. If Saturday better suits your diary, prepare for JK-47, Tex Perkins and Friends, and VOIID, plus Eamon Sandwith, Paolo and Patience Hodgson on the decks. Tickets cost $34–38 for one night and $57–64 if you're keen on going to both. If you'd like to wear a leather jacket, that's up to you. Images: Installation view The Motorcycle: Design, Art, Desire. Gallery of Modern Art, Brisbane. Photograph: Chloë Callistemon, QAGOMA
Take Dawn of the Planet of the Apes and add it to the rare list of sequels that transcend their predecessors. Picking up the story around ten years after Rise of the Planet of the Apes, the opening titles paint a bleak picture of a world brought to the brink of extinction via the so-called 'Simian Flu'. Brink of extinction for humanity, that is, because the apes, by contrast, have flourished. Under the strict yet compassionate leadership of Caesar (once again made inconceivably lifelike thanks to Andy Serkis's performance and the remarkable team at WETA), the apes have now adopted a number of human traits and habits: communication through sign language, horse riding, spear wielding and even the establishment of some rudimentary written rules — chief amongst which is: APE NOT KILL APE. Given the descent into murderous anarchy by the scattered human survivors of the virus, that proclamation is intended as a critical point of difference for Caesar, a mark of pride and proof of primate primacy. It's also, unfortunately, delusory, and it is in that realm of 'innocence lost' that Dawn spends most of its time. With rivalries and jealousies brewing between both father and son and leader and lieutenant, Dawn of the Planet of the Apes is something of a modern-day Richard III. What makes it so compelling is that none of the villains — ape or human — are without their justifiable reservations and prejudices. Koba, for example, is Caesar's unfailingly loyal friend and bodyguard, yet he bares the scars of cruel human testing and holds no affection for the survivors. On the human side, the leader of the survivors' colony (Gary Oldman) sees only the faces of his dead wife and children whenever confronted by apes, and his determination to restore power to the city has no room for the kind of simian compassion shown by his lieutenant (Jason Clarke). Dawn of the Planet of the Apes is smaller in both scale and ambition than Rise yet feels so much bigger and more satisfying. It's an 'us and them' tale, a prelude to war where neither side is as unified as they might think. The direction by Matt Reeves (Cloverfield) is technical and delicate, aided by sumptuous cinematography and special effects that are nothing short of exquisite, with even the most intense closeup failing to betray even the tiniest flaw in design. If anything, the CGI apes outperform the humans in almost every scene in which screen time is shared. Tender, tense, intelligent and morally complex, Dawn of the Planet of the Apes is an outstanding film and a genuine contender for blockbuster of the year. https://youtube.com/watch?v=3sHMCRaS3ao
It has been almost two years since a Marvel movie hit the big screen. If you're a fan of the Marvel Cinematic Universe, you've probably been feeling their absence. But, since the beginning of 2021, you've likely also been heading to Disney+ to check out a few new small-screen adventures. First came WandaVision, which focused on Wanda Maximoff/Scarlet Witch (Elizabeth Olsen) and Vision's (Paul Bettany) story after Avengers: Endgame. It added something different to the MCU, overtly aping classic sitcoms such as I Love Lucy, Family Ties and Malcolm in the Middle as it puzzled its way through Wanda and Vision's small-town life — and had everyone wondering why Vision was even walking and talking post-Endgame at all. Now, The Falcon and the Winter Soldier is also telling a story set after the last Avengers flick, this time with Anthony Mackie and Sebastian Stan's eponymous characters. Based on its first episode so far, it's much more conventional than WandaVision. It doesn't boast a fabulous performance by Parks and Recreation's Kathryn Hahn, either. But, it does explore the everyday existence of both Sam Wilson and Bucky Barnes, who'll team up over the rest of the show's six-episode season. It seems that plenty of people were keen to see what happened next for Wilson and Barnes, and to keep adding a new Marvel episode to their weekends after WandaVision wrapped up. Debuting last week, on Friday, March 19, The Falcon and the Winter Soldier's first episode has become Disney+'s most watched premiere ever. Although the streaming platform hasn't given any actual numbers — which tends to be the case when such services boast about their viewership, as Netflix has also demonstrated — it has announced that The Falcon and the Winter Soldier earned the feat between Friday and Sunday, and was also the most-watched title overall globally over the three days. That means that more folks took a look than when WandaVision premiered, and when Star Wars series The Mandalorian did too, although those shows sit second and third on Disney+'s list of biggest opening weekends. Over The Falcon and the Winter Soldier's remaining five episodes, the series will bring back Daniel Brühl as Baron Zemo and Emily VanCamp as Sharon Carter. As seen already, Wyatt Russell (The Good Lord Bird) is also joining the MCU as John Walker. And yes, the MCU's fourth phase will include more TV shows after this — such as Loki, which hits in June; Secret Invasion, starring Samuel L Jackson as Nick Fury; and a series set in Wakanda. For now, if you haven't viewed the first episode of The Falcon and the Winter Soldier already, you can check out the trailer below: https://www.youtube.com/watch?v=IWBsDaFWyTE The first episode of The Falcon and the Winter Soldier is available to stream now on Disney+, with new episodes added each Friday for the next five weeks. Top image: Marvel Studios 2021. All Rights Reserved.
UPDATE: May 24, 2020: Child's Play is available to stream via Amazon Prime Video, Foxtel Now, Google Play, YouTube and iTunes. Black Mirror, meet 80s cinema's favourite flame-haired, knife-wielding plaything. That's Child's Play circa 2019 straight out of its gleaming box. Chucky has never gone away, with the last flick in the initial seven-film franchise hitting home entertainment just two years ago. An eight-part series called Chucky is headed to TV screens next year, too, from the original movie's Don Mancini. But updating the carnage-inflicting toy for today's incessantly-online, internet-of-things environment was always going to happen, jettisoning the notion of a doll possessed by a serial killer for something considerably more high-tech. It's a premise rich with possibilities — dissecting humanity's growing subservience to technology, our fear of artificial intelligence, the reality that all-powerful companies may not have customers' best interests at heart, and showing how increasingly aggressive times can create a dangerous and deadly loop of vicious behaviour. Sadly, although the new Child's Play doesn't shy away from its many timely ideas, it doesn't do anything more than push them through a horror assembly line. A standard slasher flick made from well-worn parts remains just that, even when it has been given a famous name, plenty of topical talking points and a slick visual makeover. In fact, the fact that this do-over tries so hard to pair its murderous robotic figurine with timely observations, while also happily sticking to a bland, broad, surprise-free playbook, is its most grating trait. Perhaps it's simply peddling another piece of social commentary: that movie studios, like toy corporations, can release whatever generic fare they like as long as they make it appear shiny enough, and consumers just have to stomach the resulting havoc and dreck. Whether you're buying the latest gadget or heading to the cinema, that's the cost of making a purchase today. Single mother Karen Barclay (Aubrey Plaza) doesn't actually hand over any hard-earned cash for a walking, talking Buddi doll (which speaks with the voice of Mark Hamill). Instead, the department store employee convinces her boss to let her take one of the returned, malfunctioning toys home as a gift for her hearing-impaired son Andy's (Gabriel Bateman) birthday. Almost a teenager, the boy is hardly overjoyed about his present. Still, he's lonely and in a new city, the computerised plaything clearly adores him like it is programmed to, and it also helps him befriend a couple of neighbourhood kids (Ty Consiglio and Beatrice Kitsos). That said, that something is astray is clear from the moment that Andy's plastic buddy decides its own name is Chucky. As the movie's opening scene shows, a disgruntled sweatshop worker has removed the figurine's appropriate language and anti-violence filters in an act of employee-level corporate vengeance. So while Chucky might seem like little more than an eccentric and clingy android BFF to Andy, the smart doll is willing to do whatever it takes to keep their friendship alive — including slaughter anyone who gets in the way. If first-time feature director Lars Klevberg and debut screenwriter Tyler Burton Smith are trying to pre-empt criticism by having their mechanical villain love something so much that it turns into a toxic fan, slaying everything in its path irrationally and indiscriminately, that's one of their big swings and misses. It's better reading into their other big theme, and one that Chucky demonstrates again and again in trying to resolve Andy's woes with a knife: being careful what you wish for. For material so rife with potential, Child's Play remains content to make the easiest and most apparent statements in routine and uninspired ways. It's also happy to follow cookie-cutter characters, throw in the expected deaths and just generally follow the operating manual. And while there's undeniable pleasure in hearing Parks and Recreation alumni Plaza say the name 'Andy' repeatedly, she headlines an entirely wasted cast. Playing a cop whose mother lives in the same building as Karen and Andy, Atlanta's Brian Tyree Henry falls into the same category. So do Hamill's creepy but never overly menacing vocals. When Chucky keeps killing over and over again with a single-minded focus, Child's Play begins to resemble another tech-heavy, needlessly rebooted, never-say-die franchise: the Terminator. It's not that these sagas don't know when to end; rather, they keep kicking on without justifying why. The same can be said for recent instalments in other long-running series, such as X-Men and Men in Black. But, simultaneously glossy and formulaic where its predecessors were gleefully makeshift and off-kilter, Child's Play couldn't try harder to stress that it's a new beginning. It is, and yet starting over again isn't always a good thing. Credit where credit is due, however. Who dies, and when, never comes as a shock, but this horror flick does value a great bit of gore. While the bloodshed takes time to splatter across the screen, when it comes, it's memorable. If only Klevberg and Smith had expended the same energy and inventiveness on the rest of the film as they do on Chucky's growing pile of bodies. Their one other playful attempt arrives via the movie's blackly comic tone, endeavouring to ape The Texas Chainsaw Massacre 2, and even using clips of the 80s slasher sequel to teach the picture's homicidal robot how to stab, slice and snatch people's faces off. If you're thinking the obvious, though, you're right — whether it's reimagining its source material, adhering to topical and filmmaking trends, or nodding to other genre fare, Child's Play follows poorly in everyone's footsteps. https://www.youtube.com/watch?v=PeHNLikDiVw
Gone are the days when travellers checked into hotels with the sole purpose of sleeping. It seems everyone wants a bit extra with their holiday, be it a gardening course, an onsite brewery or a window onto the underwater world. And while those types of overnight experiences are all well and good, if you're a pop culture fan, you might want to set your sights on Walt Disney World's 360 vacation concept in Orlando. The latest addition to the globe's accommodation wonders, it'll let you live, breathe and sleep Stars Wars — staying not only in a themed hotel, but onboard a spaceship. To answer the obvious question: no, you won't actually be going into space (although that idea isn't as out-of-this-world as it may sound). You will have a blast pretending that you're headed to a galaxy far, far, away, though. We're happy to report that the resort is taking the immersive part very seriously, with the new hotel — called Star Wars: Galactic Starcruiser — allowing patrons to embark upon a two-night adventure on the starcruiser Halycon. Disney first announced this addition to its growing theme park realm back in 2017; however the huge entertainment company has just dropped specific details for all those wannabe Jedis clamouring for a unique holiday. First step: leave your real life at the door. Upon check-in, guests become a citizen of the galaxy — which means that, every minute of every day of your stay, you're a part of the Star Wars story happening around you. You'll hang out in the Atrium, where crew and passengers gather; operate the Halycon's navigation and defence systems, with plenty of guidance; and learn how to use a lightsaber, because an immersive Star Wars-themed stay wouldn't be complete without wielding a glowing weapon. You'll also sleep in spaceship cabins, drink in the passenger lounge and try to sneak into the crew-only engineering rooms. Star Wars: Galactic Starcruiser will form part of Star Wars: Galaxy's Edge, Walt Disney World's new sprawling zone dedicated to the space-set franchise — which, after opening at Disneyland in California earlier this year, is now open in Orlando as well. For now, the hotel doesn't have an opening date, although you can sign up to register your interest. If you're keen, you'll have to be committed to the experience, as the "every minute of every day" comment may well include sleeping hours — the dark side never sleeps, after all. Image: Disney/Lucasfilm via Disney Parks Blog.
The Australia Day debate has again erupted, with a Melbourne council voting to drop all references to Australia Day and to ditch its annual citizenship ceremony in favour of a culturally sensitive event that acknowledges the loss of Indigenous culture. Yarra Council made the call at last night's town hall meeting after ongoing discussions with local Indigenous representatives. "The overwhelming sentiment from our Aboriginal community is that January 26 is a date of sadness, trauma and distress. They have told us that this is not a day of celebration, but a day of mourning," said Yarra Mayor, Cr Amanda Stone in a statement. The council had also commissioned a survey of nearly 300 non-Indigenous people in Yarra, which showed that 78.6 percent of respondents supported the concept of a January 26 event to acknowledge Aboriginal experiences. "In the last 12 months there has been a groundswell of community support for change from both Aboriginal and non-Aboriginal people across the country. The community is looking for leadership on this issue," said Cr Stone. "People can still have their barbecues and parties on the January 26 public holiday, but I hope our stance encourages people to stop and think about what this date really means in the history of our nation. "A celebration of national identity should be inclusive of all Australians. 26 January is not an appropriate date because it marks the beginning of British colonisation and the loss of culture, language and land for Australia's First Peoples." However, Prime Minister Malcolm Turnbull has voiced his disapproval, criticising Yarra Council. "An attack on Australia Day is a repudiation of the values the day celebrates: freedom, a fair go, mateship and diversity," the PM said in a statement, reported by the ABC. "I recognise Australia Day, and its history, is complex for many Indigenous Australians but the overwhelming majority of Australians believe the 26th of January is the day and should remain our national day." The council vote has seen a swag of recommendations approved, including adopting a communications plan to better educate people on the Indigenous experience surrounding January 26, and referring to the day as January 26 until there's a nationally adopted term to use in its place. Yarra Council's also moved to use their publications and social media channels to officially support the #changethedate campaign, and will explore ways to lobby the Federal Government on the issue. The controversial decision follows on from Fremantle Council's move to hold its official 2017 Australia Day celebrations two days later than normal, on January 28, though it looks as though these changes by the Yarra Council will be the most extensive we've seen yet. Image: City of Yarra.
There are few pleasures more simple or satisfying in this life than a great meal with great company. It's with that fact in mind that we again find comedians Rob Brydon and Steve Coogan bouncing from one tantalising meal to the next in the third installment of Michael Winterbottom's gastro-comedy series The Trip. Beginning in 2010, the original Trip was a 'best of' that drew from Winterbottom's six-part series for the BBC in which Brydon and Coogan travelled the UK's Lake District 'reviewing' restaurants for their respective publishers. It featured a threadbare fictional storyline that served only to place these two astoundingly witty and sardonic impressionists opposite one another – verbal sparring partners forever determined to fell the other with a devastating barb. The result was a delightful laugh-out-loud comedy that never once threatened to veer towards the gross-out or foul-mouthed gags so common in contemporary Hollywood comedies. The first film's success spawned a sequel, The Trip to Italy, four years later. Now we're greeted with the third course in The Trip to Spain. It's all very much business as usual, with close-ups of mouth-watering food porn breaking up the otherwise largely static shots of Coogan and Brydon facing off against one another, backed by breathtaking scenery and captivating architecture. There's a little history thrown in throughout the film, as well as the occasional food review, but at its heart The Trip to Spain knows where the gold lies and it rarely strays far from the path. Some of you may already be familiar with the common personality quiz question that asks what two people you'd most like to have over for a dinner party. If nothing else, you'd be hard pressed to find a better return on investment than Brydon and Coogan, given how effortlessly the two become 20. Many of the same impersonations from the first two movies return here, including Al Pacino, Michael Caine and Roger Moore. But it's the new entries – David Bowie, Mick Jagger and Sir Anthony Hopkins – that earn the biggest laughs. That these impressions are so often inspired by real life encounters or precious personal moments with their subjects gives what might otherwise feel like a tired parlour trick a critical grounding in tenderness – especially in the case of the Bowie exchange. If there's a complaint to be made this time round, it's that the fictional storyline brings the film to a close on a note that's both abrupt and rather bizarre. The likelihood of another follow-up seems assured given the left-field cliffhanger, but it's so at odds with the class and character of the series that one almost wishes the fictional narrative could be dispensed with entirely. Either that, or shift away from the episodic format of television and become an out-and-out film series. We'll just have to wait and see. For now, at least, we've got some more sumptuous comedy to enjoy, along with course after course of delicious food to match. https://www.youtube.com/watch?v=fTvy8ab1NSo
Christmas, jingling bells and gingerbread tempting the tastebuds all go hand in hand. At Riverbar & Kitchen, so does festive season and sipping gin — in 2024, at least. In the lead up to the jolliest day of all, the Eagle Street watering hole is getting merry with a seasonal pop-up. There's gin to drink, plus dishes using gin to tuck into. Gin and limoncello soft serve, anyone? Across Saturday, November 30–Tuesday, December 24, the Gin-gle Bar is in full swing — and expect the $15 meringue soft serve to be one of its most-popular dishes. It features Bombay Sapphire gin, limoncello, passionfruit and meringue. Need something to knock back with it? Try the Gingerbread Fizz for $21, which features gin, gingerbread, passionfruit, vanilla and bubbles. Also on the menu: the $18 Elfed-Up Sour (aka gin, mango wine, matcha, citrus and egg whites); to share, $39 jugs of Gin-gle Juice Jug (Bombay Bramble, pomegranate, cranberry, peach and bubbles); and gin-cured salmon bruschetta with crème fraiche, capers and dill for $17. Gin-gle Bar is a collaboration with Bombay Sapphire, hence the brand's tipples featuring heavily. Riverbar is also looking the part with festive decorations — yes, it's decking its halls appropriately. Entry is free, but booking a table in advance is recommended. Images: Markus Ravik.
It's hard to pick which is more horrifying in Happening: the graphic scenes where 23-year-old literature student Anne Duchesne (Anamaria Vartolomei, How to Be a Good Wife) takes the only steps she can to try to regain control of her life, or the times she's repeatedly told by others, typically men, to accept a fate that only ever awaits her gender. Both hit like a punch, by design. Both are wrenching, heart and gut alike, and neither are surprising for a second. Also leaving a mark: that few care that Anne's future is now threatened in this 2021 Venice Film Festival Golden Lion-winner, because that's simply a consequence of having sex for women in France in 1963, the movie's setting. There's another truth that lingers over this adaptation of author Annie Ernaux's 2001 memoir of the same name, which uses her own experiences at the same age, time and in the same situation: that in parts of the world where pro-life perspectives are entrenched in law or regaining prominence, Happening's scenario isn't a relic of the past. Late in the movie, Anne describes her circumstances as "that illness that turns French women into housewives". It's a blunt turn of phrase, but it's accurate. It also speaks to how writer/director Audrey Diwan (Losing It) and co-scribe Marcia Romano (Bye Bye Morons) approach the film with the clearest of eyes, declining to indulge the idea that forcing unwanted motherhood upon young women is a gift or simply a duty, and likewise refusing to flinch from showing the reality when the personal freedom to choose is stripped away. This is a feature made with the fullest of hearts, too, compassion evident in every boxed-in Academy ratio frame that rarely leaves Anne's face. It spies the appalling options before her, and sees the society that's okay with stealing her choices. And, it stares deeply at both the pain and determination that've understandably taken up residence in Anne's gaze. The second of Ernaux's works to hit screens of late after the also candid and moving Simple Passion, Happening begins with hope, with Anne and her Angoulême college dormmates Hélène (Luàna Bajrami, The Hill Where Lionesses Roar) and Brigitte (Louise Orry-Diquéro, Occidental) getting ready for a dance. They're filled with the excitement that comes with believing anything could happen — there's fun to be had, men to meet and lives to be changed — but, once there, it's obvious that these kinds of nights always follow the same pattern. Their university's resident mean girls glare on in judgement when Anne even talks to a guy, but she doesn't let that stop her. She isn't one to weather their bullying, gossip and slut-shaming, including once she discovers she's expecting three weeks after a casual fling. The only thing that terrifies the ambitious and bright working-class student: losing the ability to live the life that she's been working towards. The alternative is highly illegal, so much so that securing help from medical professionals, friends and family is overwhelmingly difficult. Delivering the surprising pregnancy news, Anne's family doctor (Fabrizio Rongione, Azor) is sympathetic to the stark scenario facing his patient, knowing the stigma that'll come her way for being an unwed single mother, and that her dreams of teaching will be derailed. Still, given that prison is the punishment for illicit terminations, he shuts down any notion of lending a hand. Even chatting about abortion hypothetically with Hélène and Brigitte before they know she's with child earns the same dismissive response. The baby's father (Julien Frison, Lover for a Day), a visiting student, just wants the situation handled, and asking a flirtatious classmate (Kacey Mottet Klein, Farewell to the Night) for assistance just ends with him hitting on Anne; she's already pregnant so he figures she'll be up for it and there'll be no consequences. Diwan's film is patient and precise as it marks the passing time with text on-screen, each successive week making Anne's situation more precarious and her hopes of avoiding parenthood less likely. It's a straightforward touch, but such overt tracking helps achieve Happening's key aim: immersing viewers in Anne's distressing emotional, physical and psychological rollercoaster ride. She knows what she wants, and what she definitely doesn't. As weeks flit by, though, and every potential avenue for support either crumbles or deepens her struggle, the ordeal takes its toll. Anne persists, searching for acquaintances of friends of friends who can guide her in the right direction in whispers, and Happening is committed to depicting the loneliness, hurt and despair that follows. Whether involving injections, knitting needles, secret procedures and stifled anguished cries, or just the grim tenor of her words and posture, the result is harrowing and unsettling. Vartolomei's on-screen credits date back more than a decade, but this is a career-catapulting performance — and film-defining. She's saddled with a mammoth task, with cinematographer Laurent Tangy (OSS 117: From Africa with Love) rarely peering elsewhere, and she ensures that every feeling coursing through Anne's veins reverberates through the lens. Vartolomei is furious, agitated and panicked all at once. She's resolute and resourceful as well, and also frightened and exhausted. Her inner state gets its own echo in the mood-setting score by Evgueni and Sacha Galperine, who also made 2021 TV miniseries Scenes From a Marriage sting with tension, but she'd leave the same heartbreaking impression if Happening didn't feature a note of music. And while her portrayal is all her own, it's as instinctual as the last exceptional performance in the last phenomenal award-winning drama about abortion, aka Sidney Flanigan's in 2020's Never Rarely Sometimes Always. It doesn't escape attention that Diwan almost plays it coy with period details; if you didn't know going in that Happening is set in the 60s, it isn't quick to point it out. The fashion nods that way — in having Anne frequently seen in the same dusty red top, the film also uses costuming to convey her modest background and urgent focus on much more important things than clothing — and there's a clear lack of phones, of course. Expressing that this type of tale still rings true today is another of the movie's objectives, however, and it's as compelling a move as Diwan makes. Happening is haunting and shattering, immaculately crafted, unwavering in its honesty, and as confronting as it needs to be, and it wields all of the above with passion and purpose. And yes, picking what's more horrendous — Anne's many physical traumas, or the contempt that women are held in for having uteruses, liking sex and seeking agency over their futures — is impossible.
Whatever art form inspires and excites you or just generally takes your fancy, a festival dedicated to your preferred type of creativity always feels like Christmas. From September 2 to 6, that most joyous time of the year comes around for fans of all things written, spoken and otherwise letter related. Yes, it’s Brisbane Writers Festival time, aka the five days each annual calendar where indulging in your inner word nerd isn’t just acceptable — it is expected. While the program is overflowing with literary goodness, including many a session mining the brilliant minds behind many a book favourite, here’s our five picks of the must-attend events of BWF 2015.
Gelato Messina first introduced its cookie pies to the world in 2020, and tastebuds across Australia thanked them. Then, it kept bringing the OTT dessert back when we all needed an extra dose of sweetness across the year. In fact, the dessert fiends have been serving them up for exactly 12 months now. That's a milestone worth celebrating, which Messina is doing by releasing a new birthday cake cookie pie. Chocolate chips are involved, as they usually are, but this dessert also includes a layer of vanilla custard, plus birthday cake crumbled on top. Yes, sprinkles feature as well. Of course they are. Hang on, a cookie pie? It's a pie, obviously, but it's made of cookie dough. And it serves two–six people — or just you. You bake it yourself, too, so you get to enjoy that oh-so-amazing smell of freshly baked cookies wafting through your kitchen. This time, you'll enjoy the scent of vanilla and birthday cake as well. The new pies will be available for preorder from 9am on Monday, April 12 — which is your chance to get yourself a piece of the pie. On its own, the indulgent birthday cake cookie pie will cost $25. But to sweeten the deal, the cult ice creamery has created a few bundle options, should you want some of its famed gelato atop it. For $35, you'll get the pie and a 500-millilitre tub, while with a one-litre tub or a 1.5-litre tub, it'll cost $41 and $45 respectively. The catch? You'll have to peel yourself off the couch and head to your local Messina store to pick up your order. They'll be available for collection between Friday, April 16–Sunday, April 18. You can preorder a Messina birthday cake cookie pie pie from Monday, April 12, to pick up from April 16–18.
Everyone should have a go-to wine bar within a stone's throw of their house — the kind of spot that's compact but inviting, sports a highly curated vino list and boasts plenty of folks who know what they're talking about while you're getting sipping. Ardo's is that type of place, and it's seemingly on a mission to give every wine lover in Brisbane their own local outpost. Now open in Hawthorne, the chain is up to three sites in 2023 — and it's only August. Hailing from the City Winery crew, Ardo's first arrived in Carl's Bar and Bistro's old Newstead digs to start off 2023. Then, it hit Graceville midyear. When that second venue launched, the brand had already announced that that Hawthorne would be next — and that's exactly where you can now grab a glass of vino. The experience at each Ardo's is the same, just in different areas of Brisbane. So, wine fans in Brisbane's inner east now have easy access to the plonk-slinging chain's carefully selected range of vino, including over pintxos, cheese and charcuterie, on Lindsay Street just off Hawthorne Road. Like its sibling sites, Ardo's Hawthorne is welcoming in patrons in for a glass and a bite, and will also let folks pick up their favourite tipples — or a new discovery — to take home. Offering a selection that you wouldn't just find at any bottle-o is a big source of pride, with Ardo's staff on-hand to chat you through its drops, help you make a choice and impart their expert knowledge. Here, customers can enjoy wines by the glass and the bottle. The lineup rotates, but everything you see on the shelf is able to be drunk on the premises or taken away. As you're getting cosy, you'll also be surrounded by vino all across the walls, plus a wine tap that looks like an altar. And, you'll be tucking into seasonal snacks. There are a couple of new inclusions for Hawthorne, too: gourmet seafood preserves from Conservas, which you can eat into bread and butter, or as a part of a pintxos platter; and Woombye Cheese's dairy goods. Brisbane has embraced more than its fair share of trends in the past — doughnuts, burgers and rooftop bars, to name just a few — and a spate of neighbourhood wine bars is up there with the best of them. Find Ardo's Wine Bar at 7 Lindsay Street, Hawthorne. Keep an eye on the venue's website for more details.
When Portside Wharf announced that big changes were in the works back in late 2022, complete with exciting new eateries on the way, the riverside precinct wasn't kidding around. Also last year, the restaurateur behind Opa Bar + Mezze, Massimo Restaurant, Yamas Greek + Drink and George's Paragon revealed plans to open a seafood venue, Fosh, at the Hamilton spot this coming March. And, from April, the waterside space will now welcome the Gold Coast's Rise Bakery as well. Rise Bakery first launched at Sanctuary Cove back in 2022, with its French-style pastries quickly proving a hit on the coast. So, French-born chef pâtissier Adrien Marcinowski and fellow chef Maxime Bournazel are doing what plenty of popular eateries on the Glitter Strip have in the past: capitalising upon that success by expanding up to Brisbane. This will be the first Brissie outpost for the company, which means bringing its croissants and other pastries to the River City. Customers can expect pains au chocolat and artisan bread as well, all served up in a space that'll span across 75 square meters indoors and an extra 80 square metres over an al fresco terrace — to make the most of the waterfront location. Even better: Rise Bakery's Portside venue will feature a champagne bar for sips over croissants and cakes. "Enjoying a freshly made pâtisserie with champagne is something everyone should experience," said Bournazel, announcing the bakery's Brisbane move. "Rise Bakery was born out of our desire to recreate an authentic experience of visiting pâtisseries and boulangeries with loved ones, just like we did growing up in France, from design and atmosphere to taste," Bournazel continued. "We have been fortunate to be able to do this with Rise Bakery on the Gold Coast and look forward to offering the same experience to Brisbane customers at Portside Wharf." Marcinowski and Bournazel were drawn to Portside because it reminded them of the French Riviera, and Rise's new location will feature design nods in the same direction. The interior will go big on white and soft pink hues, plus gold accents — both indoors and out. Drinks-wise, as well as champagne, Portside visitors will be able to sip Tavalon's tea, as well as locally roasted caffeinated brews from Bear Bones Coffee. Find Rise Bakery at Portside Wharf, 39 Hercules Street, Hamilton, from sometime in April 2023 — we'll update you with an exact launch date when one is announced.
Fresh from making two of his last four films in Australia — Lion and Hotel Mumbai — Dev Patel is heading somewhere completely different. Stepping back to medieval times, he's jumping into the fantasy genre, messing with Arthurian legend and swinging around a mighty sword, all thanks to the dark and ominous The Green Knight. Based on the 14th-century poem Sir Gawain and the Green Knight, The Green Knight casts Patel as Sir Gawain. Nephew to King Arthur (Sean Harris), he's a knight of the Round Table and fearsome warrior. The character has popped up in plenty of tales, but here, he's forced to confront the green-skinned titular figure in an eerie showdown. As the poem explains, the Green Knight dares any other knight to strike him with an axe, but only if they'll then receive a return blow exactly one year and one day later. Just how closely this film adaptation will stick to that story is yet to be seen — however the just-dropped first teaser certainly looks more than a little moody, brooding and creepy. Patel is in great company, with The Green Knight also starring Alicia Vikander, Joel Edgerton and Dunkirk's Barry Keoghan. Games of Thrones' Kate Dickie pops up as Guinevere, while her co-star Ralph Ineson — whose also known from the Harry Potter flicks, The Witch and the UK version of The Office — plays the Green Knight. And, it's the latest film by an impressive — and always eclectic — writer/director, with David Lowery's filmography spanning everything from Ain't Them Bodies Saints and Pete's Dragon to A Ghost Story and The Old Man and the Gun. Check out the teaser below: https://www.youtube.com/watch?v=VoJc2tH3WBw The Green Knight will release in the US sometime over America's summer, but it doesn't yet have a release date Down Under — we'll update you when it does.
Alongside its huge Japan Supernatural: 1700s to now exhibition, the Art Gallery of NSW is hosting another exceptional show this summer — and this one's free. From Saturday, November 9 until February next year, the gallery is dedicating an entire exhibition to celebrated contemporary Australian artist Ben Quilty and his work over the past 15 years. Simply entitled Quilty, more than 70 pieces will showcase his work from the early 2000s onwards — including his intimate looks at his own reflection, his time spent as an official war artist in Afghanistan, poetic visions of the Australian landscape and his response to other topical events, including the last American election. Quilty's expressive portraits, both of himself and of others — such as executed Bali Nine drug smuggler Myuran Sukumaran — are quite a striking sight. His Rorschach paintings are too, unsurprisingly. And, they're designed not just to catch the eye, but to explore the dark undercurrent of violence and themes of displacement. Including paintings inspired by his visits to Lebanon, Syria and Greece, the exhibition marks the first major survey of Quilty's artistic output in a decade. On Wednesday, November 13, Quilty will be in conversation with ABC Radio presenter Robbie Buck in a special edition of Art After Hours. After the talk, you can catch some live tunes, too. Image 1: Photograph: Daniel Boud. Image 2: Ben Quilty. Rorschach after von Guérard. 2009. Oil and synthetic polymer paint on linen (12 panels) / 230.0 x 804.0 cm (overall). Acquired 2009, TarraWarra Museum of Art. Courtesy the artist. Photograph: Jeremy Dillon.
Igloo season has hit southeast Queensland, with winter's arrival seeing plastic domes popping up at bars around the region. Some pitch their see-through spaces on a rooftop. Others welcome folks in by the river. On the Gold Coast, you can hang out in a beach-themed bar that's given itself a winter lodge makeover. Or, there's Bribie Island Hotel's version: garden pods. No one is pretending to be in icy climes at this northside pub, but it is only unleashing its newest addition for the frosty season. The garden pods are residing in the venue's fairy light-lit beer garden from June till the end of August, and they're exactly what they sound like. These domes come decked out in greenery and florals, furniture and cushions to look the part, and even feature a few plastic flamingos. There's six pods in total, each catering for up to eight guests for two-hour sessions. If you're keen, you'll need to book in a package, which starts at $60 per person and covers a share-style menu, plus a drink on arrival. You'll tuck into an antipasto platter filled with meats, cheeses, olives, arancini, chargrilled vegetables, dips and toasted sourdough — as well as grilled teriyaki beef skewers, buffalo chicken wings and barbecue pork ribs with roasted potatoes, parsnip, and salads as sides — with seafood available for an extra $35, and chocolate lava cake for $10. The pods give Brisbanites their latest excuse to hit up the waterside pub, which scored a makeover at the end of 2021. As part Australian Venue Co's current renovation spree across Queensland — see also: Riverland, The Wickham, Cleveland Sands Hotel, Salisbury Hotel, Koala Hotel and the Crown Hotel in Lutwyche, with Nundah's The Royal also getting the same treatment — it spent $2.2 million to give the venue a facelift. Courtesy of the revamp, Bribie Island Hotel is now home to a hefty outdoor space decked out with grass, white picnic tables and shady umbrellas, as well as a a new-look bistro that serves up pub classics. So, you can grab a beer, tuck into a chicken schnitzel, play lawn games and sit under a brolly — and, for a few months, now hang out in a leafy garden dome. Find Bribie Island Hotel at 29 Sylvan Beach Esplanade, Bellara, open daily from 10am–3.30am — with the hotel's garden pods popping up until the end of August. For further information, head to the hotel's website.
After 2009's piss-poor X-Men Origins: Wolverine, this latest instalment (now the sixth for Hugh Jackman's indestructible mutant) really didn't have a whole lot to live up to. That meant director James Mangold (Walk the Line) could take the story wherever he wanted, and it turns out, he wanted Tokyo. The Wolverine hence takes its plot from one of the character's better known comic book series, 'Wolverine', written by Chris Claremont and Frank Miller all the way back in 1982. It opens with a surprisingly unsettling scene just minutes before the bomb is dropped on Nagasaki, with Logan (Jackman) trapped nearby inside a Japanese POW camp. As the blast-wave spreads, he manages to save his captor's life and sets in motion a chain of events that will see the pair reunited decades later. That surviving soldier — now an elderly billionaire obsessed with his legacy — summons Logan to his deathbed in Tokyo. He craves Logan's healing powers whilst promising in return the one thing Logan can never have: death. "This is my gift, my curse" said Tobey Maguire's Spiderman back in 2002, enunciating the most compelling theme that underscores all good superhero stories. For Logan, immortality is now his torment, but he is not alone in his suffering. His Harajuku-girl escort, Yukio (Rila Fukushima), possesses the ability to foretell a person's death; a mutation that imbues her with a truly haunted existence and makes her character both tragic and engaging. Sadly, she's under-utilised by Mangold, and the only other mutant of note in the film is a statuesque blond known as Viper (Svetlana Khodchenkova), whose reptilian mutation is as forgettable as her scenes. Perhaps it's Mangold's background in drama, but the action in The Wolverine was remarkably dull, save for one entertaining sequence on the roof of a bullet train. The problem is, so long as Logan is invincible, the stakes sit at zero, yet when he's vulnerable, he loses the one thing that makes him interesting. By contrast, the quiet, intimate scenes in The Wolverine were much more enjoyable, effectively taking the Wolverine out of the movie and focusing on the man, Logan. And that's what it all boils down to: the Wolverine is a classic loner, a gruff recluse favouring the company of his own haunted memories to that of any other humans, mutant or otherwise. Throughout this franchise he has actively rejected the 'team' and only ever begrudgingly formed unions when circumstances required it. And yet, he is almost certainly that franchise's most popular character. His charmlessness is, in effect, his charm; however, the problem with movies focusing just on him is that his loner persona plays best as part of a wider ensemble. He is never more appealing than when sparring with other X-Men because it gives his isolation context. The promotional material for The Wolverine describes it as "The Wolverine movie fans have been waiting for", and certainly that is factually accurate, since it is the only Wolverine movie currently in cinemas, and until it came out, fans had to wait for it. But was it the one they'd been hoping for? Doubtful; however, if they stay beyond the credits, they'll find good cause to be excited about the next one: X-Men: Days of Future Past. https://youtube.com/watch?v=WEbzZP-_Ssc
Calling all dumpling fiends — and wonton, gyoza, jiaozi, shishbarak and momo fans too. That most wonderful of encased foods and its many, many varieties are getting a whole day to call their own, showcasing the types and flavours of Asia while celebrating the lunar new year. From 10am to 4pm on February 17, Wandering Cooks will dedicate its South Brisbane space to the tasty heated parcels that everyone loves. In a day certain to end in food comas, everywhere from Tibet to Palestine will be represented. Not only can you buy and devour your favourite kind — or kinds, lets be honest — but you can also learn how to make them. Entry into the event is free, but registration is required. And if you're wondering why Brisbane is being treated to such a glorious occasion, it's all part of the BrisAsia festivities. You can't revel in the wonders of Asian culture on an empty stomach, after all.
After a horror run over the last three years, another major cancellation has hit the Australian festival scene. This time, The Grass Is Greener has been forced to cancel its new Canberra and Geelong gigs, and four of its acts won't be appearing at the remaining Gold Coast and Cairns dates. 2023 was slated to be a big year for the fest, which made its debut in Cairns back in 2016. This year, it was due to expand outside the Sunshine State, including heading to Canberra and Geelong as part of its planned four-date run — and, it had locked in multiple international headliners. The festival has sadly had to scale back last-minute, citing a range of reasons including weather forecasts, rising costs and the event industry post-COVID. "The reason for cancellation doesn't rest upon a single factor. Rather, it's related to the culmination of multiple elements that have affected not only us but our industry partners and siblings across the entire event industry in the COVID/post-lockdown period," a statement from The Grass Is Greener team reads. [caption id="attachment_856350" align="alignnone" width="1920"] Curdin Photo[/caption] The statement continues: "From an event standpoint, especially heading into these new markets, a festival team relies on certain milestones to enable us to run events successfully. What's more, the weather warnings we're receiving from Canberra and Geelong have also played a large role in this decision. While the shows were selling slower than predicted, we still had full intention of seeing them through — loss or otherwise. However, when coupled with the chance that sites might not even be built due to the impending weather, we knew we had to make a call as soon as possible." While this is sad news for those in the ACT and Victoria, it's not all doom and gloom. The festival will still be going ahead in the Gold Coast on Saturday, October 22 and Cairns on Saturday, October 29 with the likes of YG, PNAU, Alok, Wafia, Boo Seeka and Wongo. ONEFOUR, Ty Dollar $ign, Zhu and Maya Jane Coles have dropped off the bill, however, and won't be playing the Gold Coast or Cairns. [caption id="attachment_856349" align="alignnone" width="1920"] Mitch Lowe[/caption] Refund information for folks with tickets for the two cancelled dates will be made available in the next 7–14 days, or Canberra and Geelong ticketholders can use their tickets to gain access to the Gold Coast and Cairns festivals. The festival's statement also mentions that tickets will be valid for YG's Melbourne sideshow on Monday, October 31. YG was billed to appear with Ty Dolla $ign at his Margaret Court Arena show on that date. Be sure to check the festival and YG's Instagram pages for up-to-date info on this sideshow. [caption id="attachment_812356" align="alignnone" width="1920"] PNAU. Image: Pat Stevenson[/caption] THE GRASS IS GREENER 2022 LINEUP: Alok Aluna Boo Seeka Brux Crush3ed Little Fritter Wongo Market Memories Mood Swing & Chevy Bass Pnau Sidepiece Sticky Fingers TDJ YG + more THE GRASS IS GREENER 2022 DATES: Saturday, October 22 — Doug Jennings Park, Gold Coast Saturday, October 29 — Cairns Showgrounds, Cairns The Grass Is Greener has cancelled its Geelong and Canberra dates. It will now hit the Gold Coast and Cairns with reduced lineups this month. Head to the festival website for more information. Top image: Mitch Lowe.
Just over two weeks ago, the Australian Government announced a ban on non-essential mass gatherings of more than 500 people. Tonight, Sunday, March 29, that number has dropped to two. During an announcement made after the latest national cabinet meeting, Prime Minister Scott Morrison said that any public gatherings should be limited to two people, excluding family members. If you're not with those you live with — your parents, children or partner, for example — you should only be with one other person. The previous limit was ten. States and territories will decide if this is an enforceable limit. On-the-spot fines are currently in place in NSW, Victoria and Queensland, for individuals and businesses not following other COVID-19 containment regulations, such as self-isolation and unlawful mass gatherings. It was also announced that public playgrounds, outdoor gyms and skate ramps will close from Monday, March 30. The new two-person limit on public gatherings does not apply to weddings (which have a current limit of five people) and funerals (which have a limit of ten), but it does apply to group bootcamps. The Prime Minister also reiterated that Australians should only be leaving their homes for one of four reasons: shopping for what you need — such as food and other essential supplies — "as infrequently as possibly"; for medical care or compassionate reasons; to exercise, in-line with the new two-person limit; and for work or education if you cannot work or learn remotely. Another new announcement made tonight and set to be expanded on by individual states and territories over the coming days is a moratorium on evictions for the next six months. Which means that individuals and businesses cannot be evicted from their residential or commercial properties for not paying rent. The Australian Government also urges anyone that does leave their house to follow its social distancing guidelines. To find out more about the status of COVID-19 in Australia and how to protect yourself, head to the Australian Government Department of Health's website. Top image: Kimberley Low
Again and again, fans of slasher films have seen the one about the unhinged murderer butchering teen victims. They've seen more than one, in fact. It's a horror convention: take a bunch of young adults, then dispense with them person by person as a killer works through childhood trauma. Penning and helming his first feature — his short Z Is for Zygote was included in The ABCs of Death 2, and he did special effects work on Psycho Goreman, too — writer/director Chris Nash knows the basics of his chosen genre as much as any other diehard viewer. He's just as aware of the great, and greatly influential, flicks gone by such as Halloween and Friday the 13th. He's well-versed in their tropes in storytelling and in form alike. Making his full-length debut with a picture called In a Violent Nature, he's also clued up on what happens when someone sinister gets a-stalking in scenic surroundings. Plot-wise, Nash isn't trying to break the mould with his account of Johnny (Ry Barrett, Massacre at Femur Creek) and the folks who are unlucky enough to fall across his path. But the filmmaker asks a question: what if a rampaging slaughterer's terrors came not with a score heralding their every menacing move (even when those tunes can become iconic, as John Carpenter's Halloween music has), but with the ordinary silence of everyday life in nature punctuated only by noises just as commonplace, and then by the sounds of a killer at their insidious worst? In its imagery, In a Violent Nature adds another query: what if the audience wasn't biding its time with those likely to perish, tension dripping from not knowing when and where the murderer would strike, but was stuck at the side of the force causing such gruesome mayhem as the inevitable approaches? There's seldom any escape from a slasher; however, Nash finds a new way to take that idea literally. Let's call it the bang-and-whimper method of tackling the genre, because lives cease here with each given as much attention. Johnny still metes out big kills that create a din and sear themselves into memory. One inventively grisly death in particular can never be erased from brains, and ensures that everyone watching is incapable of contemplating its setting or the pastime involved in the same way ever again. Another sequence suggests that it's going a similar way, but becomes unforgettable for the fact that it holds back on grim expectations. And, of course, mewls of pain are hardly new to horror. Here, though, Nash's commitment to the film's ambience gives both its bangs and its whimpers extra impact. This is the way that the world ends for Johnny's prey: not with just a bang or solely a whimper, but with the haunting, echoing combination of the two that compels In a Violent Nature's viewers to reckon with them in the moment. Nash's understanding of horror at its most stock-standard commences with In a Violent Nature's opening, where wandering campers chat while stumbling across a grave beneath an old fire tower. A gold locket hangs in plain sight, which leads Troy (Liam Leone, Eli Roth Presents: A Ghost Ruined My Life) to pocketing the jewellery, opting for the kind of stupid decision that people in a slasher flick love. Yes, it'll come back to taunt him. So awakens Johnny from the earth. So stirs his ire as well. But how the audience might anticipate that this plays out from the above description isn't ever how the feature stages it. The focus is rarely on those potentially awaiting a date with the heavens, to the point that their faces aren't the picture's most-common sight. Neither is Johnny's, whether or not it's under a smoke helmet. Nature isn't merely a location, but the expanse that fills cinematographer Pierce Derks' (Frankie Freako) frames — sometimes in close shots, sometimes sprawling. As Johnny sets off, there's not a shred of doubt lingering that he'll indulge his violent urges — the reasons for which get a backstory layered in, details that are knowingly by the book — via a relentless frenzy. Nash and Derks aren't in a hurry, largely lurking behind their killer with patience as he turns the wilderness into his hunting ground. He walks. He slays. Sometimes the results are splattered across the screen with slaughterhouse-esque gore and guts. Sometimes a savvy cut by editor Alex Jacobs (V/H/S/85) conveys what has happened instead of getting blatant and bloody. The camera remains static more than it roves, and peers on from long-held wide shots more than it zooms forward. Johnny's temperament is expressed by the pace of his stride, which becomes In a Violent Nature's metronome of unease. Masked characters, not the actors who play them, tend to carve their place in common pop-culture knowledge out of horror movies. Michael Myers is the household name, for instance, as much as Nick Castle (Halloween Ends) should be. Barrett deserves the same recognition, making Johnny a petrifying presence even when so frequently spied from a few footsteps back. That said, he isn't carrying the film alone on-screen. The travellers that meet the figure's hooks and other weaponry start out disposable, but leave an impression the longer that they survive, Andrea Pavlovic (Our Mother's Secret Affair) especially. That'll ring familiar, too; to take the risks that Nash does, and to test if a slasher flick can work the way he wants it to — and it can — he leans into the template everywhere else possible. It was a Sundance sensation to kick off 2024, proved a box-office hit in America for independent studio IFC Films and now has a sequel in the works, but a movie like this, with the output of director Terrence Malick (A Hidden Life) as much of a touchstone as the Friday the 13th and The Texas Chain Saw Massacre franchises, is a gamble. Both of the latter two horror sagas earn clear nods, yet there's no mistaking In a Violent Nature's lyrical skew thanks to its ever-present greenery and naturalistic soundtrack. Combine the two and scares still spring, laced with dread that gushes like a limb lopped off by a log splitter. While it's frightening to ponder that ghastly turns of fate can and do occur randomly, as regular slashers capitalise upon, it's bone-chilling to confront that truth when it's presented as an inherent, innate, matter-of-fact certainty of existence. In a violent nature indeed.
Here's something that has been as rare as a good night's sleep over the past year or so: the announcement of a new music festival to look forward to. Come March 2022, This That will be making its first trip to Queensland. Its local debut has been pushed back a few times due to the pandemic's ongoing effects, but you can now mark Saturday, March 5 in your diary, tell your mates and get ready to head to the Sandstone Point Hotel. On the bill is an all-Australian lineup, featuring Client Liaison, The Presets, Dune Rats, Hayden James, Jack River, San Cisco and more. Yes, you'll be listening to electronic, hip hop, pop and rock tunes all day — and, as the event's name suggests, you'll be doing so across two stages. Naturally, everything will be held in a COVID-19-safe way, because that's the world we all now live in. Final release tickets are on sale now. THIS THAT MARCH 2022 LINEUP: Badrapper vs Luude Budjerah Client Liaison Dune Rats Haiku Hands Hayden James Jack River Kodi Dee Kota Banks Meg Mac Pacific Avenue San Cisco Spacey Jane Teen Jesus and the Jean Teasers The Chats The Presets The Rubens Waax Wafia Yng Martyr Images: Jordan Munns. Updated February 25, 2022.
