UPDATE, September 1, 2023: Aftersun is available to stream via Binge, Google Play, YouTube Movies, iTunes and Prime Video. The simplest things in life can be the most revealing, whether it's a question asked of a father by a child, an exercise routine obeyed almost mindlessly or a man stopping to smoke someone else's old cigarette while wandering through a holiday town alone at night. The astonishing feature debut by Scottish writer/director Charlotte Wells, Aftersun is about the simple things. Following the about-to-turn-31 Calum (Paul Mescal, The Lost Daughter) and his daughter Sophie (debutant Frankie Corio) on vacation in Turkey in the late 90s, it includes all of the above simple things, plus more. It tracks, then, that this coming-of-age story on three levels — of an 11-year-old flirting with adolescence, a dad struggling with his place in the world, and an adult woman with her own wife and family grappling with a life-changing experience from her childhood — is always a movie of deep, devastating and revealing complexity. Earning the internet's Normal People-starring boyfriend a Best Actor Oscar nomination, and deservedly so, Aftersun is a reflective, ruminative portrait of heartbreak. It's a quest to find meaning in sorrow and pain, too, and in processing the past. Wells has crafted a chronicle of interrogating, contextualising, reframing and dwelling in memories; an examination of leaving and belonging; and an unpacking of the complicated truths that a kid can't see about a parent until they're old enough to be that parent. Breaking up Calum and Sophie's sun-dappled coastal holiday with the older Sophie (Celia Rowlson-Hall, Vox Lux) watching camcorder footage from the trip, sifting through her recollections and dancing it out under a nightclub's strobing lights in her imagination, this is also a stunning realisation that we'll always read everything we can into a loved one's actions with the benefit of hindsight, but all we ever truly have is the sensation that lingers in our hearts and heads. That aforementioned question arrives early in Aftersun: "when you were 11, what did you think you'd be doing now?" Sophie asks. A query that's been uttered many times to many people, Wells does indeed mean to get Calum taking stock, remembering his youthful hopes and dreams, and seeing the chasm between what he once wanted and where adulthood has brought him. She also wants viewers sharing the train of thought with him, in a movie that doesn't just feel personal in every second — the filmmaker has called it "emotionally autobiographical" — but gets its audience feeling that it is personal to them. That's a remarkable skill, making a piece of fiction drawn partly and loosely from someone's facts feel as vivid to you as if you'd lived it yourself. And, for 90s kids like Sophie, it doesn't just spring from the meticulous period detail in the sets, wardrobe choices, and 'Macarena', 'Losing My Religion' and 'Tubthumping' on the soundtrack. Consider Calum's quietly, subtly shaken response to Sophie's innocent inquiry — the unsettled look on his face momentarily, owning the brief but loaded pause, before he remembers that he needs a dad's reaction — Exhibit A among the evidence that Mescal is doing career-best work. The actor still only has a handful of screen credits to his name, scoring his Academy Award nod in just his third movie role. He's never been anything less than phenomenal in anything he's been in. Earthy and charming, gentle and fragile, stoic and raw, so wounded inside and so reluctant to share it, and sporting a vulnerable gaze and a cast over one wrist, Mescal is simply heartwrenching in Aftersun, however, as it keeps diving into Sophie's remembrances of her oft-smoking, always supportive, tai chi-practising, playfully bantering, tenderly doting but also silently depressed dad. Understanding why the adult Sophie is scouring VHS tapes and her mind's eye for far more than mere nostalgia involves doing what everyone on a resort getaway does: hanging out. Aftersun spends much of its time in the simple holiday moments, including by the pool, at dinner, singing karaoke, day tripping, and in Sophie and Calum's room — and lets these ordinary, everyday occurrences, and the details that flow from them, confess everything they can. With a blue hue, the film pieces together the pair's history along the way, with Sophie living in Glasgow with her mum, Calum based in London but hardly settled or happy, and this vacation a rare chance for the two to enjoy quality time alone. It also hears the instances where he's mistaken for her older brother and, not unrelated, sees her yearning to be liked by the older kids staying at the same hotel as they drink, banter, party and represent a step closer to her dad's existence. Mescal gets a tilt at Hollywood's night of nights for his efforts, but Corio is just as extraordinary — perhaps more so given that it's her first acting role. Watching the duo together is a marvel and, befitting the wistful sensation that washes through the feature about its central voyage, a rarity. Aftersun is sensual and dreamy in its structure and texture, elaborately constructed to look and feel that way, and anchored by two sensationally naturalistic performances and one sublimely authentic rapport. Everything about the picture ripples with a lived-in air: Mescal and Corio alone and combined alike, the emotions so tremendously conveyed in their portrayals, the genuine rather than fetishised 90s minutiae, Catatonia's 'Road Rage' and All Saints' 'Never Ever' echoing among the pitch-perfect music choices, and those flashes of hazy lose-yourself-to-dance reverie that include the grownup Sophie as well as her vision of Calum. Sophie, Calum and the inescapable aching that haunts both make an unforgettable trio, but Aftersun adds more names to that list, Wells chief among them. One of her great feats in penning and helming a movie that itself is a great feat is ensuring it resembles a flickering memory, complete with making it look and play that way — aided by cinematographer Gregory Oke (Raf) and editor Blair McClendon (The Assistant) — with its faded, glitching videotape aesthetic. Her sense of pace, feel and emotional storytelling, and her ability to build layers everywhere, is as engrained as Mescal and Corio's easy vibe. Her way with all the details revealed in all those small things, and with music drops that say everything (the use of David Bowie and Queen's 'Under Pressure' is majestic and dazzling) is as well. There's nothing tiny about the talents on show here, or the story shared, or one of the most resonant, intelligent and shattering final shots any film has ever managed. "Wish we could've stayed for longer," Sophie says before that. When Calum replies "me too", he's speaking for all of us.
In Westworld's vision of the future, technologically advanced amusement parks let people pay to experience Wild West times, and to interact with androids that are indistinguishable from humans. That's how the hit HBO series started in 2016, before stepping outside of the titular attractions, into both sibling venues and the show's mid-21st-century version of the real world. But in our very existence and its actual future going forward, Westworld and its thrills will now no longer exist. HBO has announced that it has cancelled the series after four seasons, the last of which debuted in mid-2022 and wrapped up in August. Westworld will cease all motor functions, putting an end to a show that kept questing the nature of reality and humanity right up until the end, and proved unnerving from the get-go. That eeriness is all there in the basic premise, which actually first unfurled on-screen back in 1973 thanks to the Michael Crichton-directed movie of the same name. Here, in the eponymous android amusement park, humans pay to live out their fantasies while surrounded by supremely realistic-looking androids. What could go wrong? Everything, obviously — and yes, high-concept theme parks gone wrong was one of Crichton's fascinations, clearly. Across its second season in 2018, third batch of episodes in 2020 and fourth run in 2022, the TV version of Westworld has built upon this idea, twisting in wild, strange, violent and surreal directions. Once some of the robot theme park's electronic hosts started to break their programming, make their own decisions and question their creators, the show's chaos just kept expanding. Westworld has also boasted one of the best casts on TV during its four-season existence, including Evan Rachel Wood (Kajillionaire), Thandiwe Newton (All the Old Knives), Ed Harris (Top Gun: Maverick), Jeffrey Wright (The Batman), Tessa Thompson (Thor: Love and Thunder), Luke Hemsworth (Bosch & Rockit), James Marsden (Sonic the Hedgehog 2), Aaron Paul (Better Call Saul), Anthony Hopkins (Armageddon Time), Angela Sarafyan (Reminiscence) and 2022 West Side Story Oscar-winner Ariana DeBose. The show's creators Jonathan Nolan and Lisa Joy are still pondering the future in new Prime Video series The Peripheral, if you need something to watch to fill that just-opened Westworld-shaped gap in your viewing. Check out the original trailer for Westworld's first season below: Westworld's four-season run is available to stream via Binge in Australia and Neon in New Zealand. Via Variety. Images: HBO.
For much of the six years that a new Hayao Miyazaki movie has been on the way, little was known except that the legendary Japanese animator was breaking his retirement after 2013's The Wind Rises. But there was a tentative title: How Do You Live?. While that isn't the name that the film's English-language release sports, both the moniker — which remains in Japan — and the nebulousness otherwise help sum up the gorgeous and staggering The Boy and the Heron. They also apply to the Studio Ghibli's co-founder's filmography overall. When a director and screenwriter escapes into imaginative realms as much as Miyazaki does, thrusting young characters still defining who they are away from everything they know into strange and surreal worlds, they ask how people exist, weather the chaos and trauma that's whisked their way, and bounce between whatever normality they're lucky to cling to and life's relentless uncertainties and heartbreaks. Miyazaki has long pondered how to navigate the fact that so little while we breathe proves a constant, and gets The Boy and the Heron spirited away by the same train of thought while climbing a tower of deeply resonant feelings. How Do You Live? is also a 1937 book by Genzaburo Yoshino, which Miyazaki was given by his mother as a child, and also earns a mention in his 12th feature. The Boy and the Heron isn't an adaptation; rather, it's a musing on that query that's the product of a great artist looking back at his life and achievements, plus his losses. The official blurb uses the term "semi-autobiographical fantasy", an elegant way to describe a movie that feels so authentic, and so tied to its creator, even though he can't have charted his current protagonist's exact path. Parts of the story are drawn from his youth, but it wouldn't likely surprise any Studio Ghibli fan if Miyazaki had magically had his Chihiro, Mei and Satsuki, or Howl moment, somehow living an adventure from Spirited Away, My Neighbour Totoro or Howl's Moving Castle. What definitely won't astonish anyone is that grappling with conjuring up these rich worlds and processing reality is far from simple, even for someone of Miyazaki's indisputable creative genius. Brilliance fills The Boy and the Heron visually, with its lush and entrancing hand-drawn animation both earthy and dreamlike, and its colour palette an emotional mood ring. Being trapped between two states, domains, zones and orbits recurs here in as many ways as Miyazaki can layer in. This is a film with a raging wartime fire that haunts with its flames, plus a traditional countryside home rendered with such detail that viewers can be forgiven for thinking they could step right into it — and of a tunnel where floating bubbles called warawara wait to be born, pelicans lament the circle of life and masses of people-eating oversized parakeets demand to enforce order. It's also a movie where the titular bird looks as a grey heron should, then flips its beak back like a hoodie to show something less standard loitering. Said fish-eating wader and the eponymous boy frequently make a pair, but the former is also the latter's white rabbit: following the feathered figure does indeed make everything curiouser and curiouser. Voiced by The Days' Soma Santoki in the Japanese original and No Hard Feelings' Luca Padovan in the English-language dub that's needless for adults but helpful for young children, Mahito Maki starts The Boy and the Heron in Tokyo in 1943 during World War II. And so it is that 2023 delivers two Japanese icons, Studio Ghibli and Godzilla, each harking back eight decades to spin stories steeped in loss and pain that never stops whispering in hearts and minds. As heralded by air-raid sirens, bombings leave 11-year-old Mahito without his mother. For viewers, the tragedy sees Miyazaki nodding to his own mourning for Isao Takahata, his Ghibli co-founder, who died in 2018. Grave of the Fireflies, the studio's greatest film — amid fierce competition and many fellow masterpieces — is not only set during the same conflict but is mirrored by The Boy and the Heron's early moments. How do you live? By knowing what to grasp to, Takahata's old friend posits. The Boy and the Heron plays like a mix of reverie and memory, as it is, albeit with the second beaming through in emotional truths more than narrative facts. Miyazaki evacuated Tokyo in the war as a boy, however, as Mahito does when his father Shoichi (The Swarm's Takuya Kimura and Amsterdam's Christian Bale) has a new bride in his wife's younger sister Natsuko (Avalanche's Yoshino Kimura and The Creator's Gemma Chan). The change doesn't usher in a reprieve from the quiet and lonely kid's longing for his mum. Instead, it brings the talking heron (Don't Call It Mystery: The Movie's Masaki Suda and The Batman's Robert Pattinson) and everywhere that the creature leads. In a feature with more thoughtful touches than a seemingly endless flock of parrots has feathers, that Mahito's mother and aunt's family estate springs from a great uncle said to have gone mad from reading too many books is quite the inclusion. Stories defined that relative's world, then, which Miyazaki makes literal. After beginning patiently, Miyazaki also makes following Mahito a tumble down the rabbit hole for his audience. Always inventive as a storyteller and a visionary, the Laputa: Castle in the Sky, Kiki's Delivery Service, Princess Mononoke and Ponyo helmer and scribe's return to cinema keeps besting its spectacle while giving Studio Ghibli some of its most breathtaking images (as set to a score by Joe Hisaishi, who's been doing the honours for the director for four decades, of course). There's no such thing as merely a pretty, dazzling or radiant picture for the great animation house, though. As meticulously controlled as its work is during its creation, with animators sketching in every single thing that's seen, Ghibli is unparalleled in understanding the expressive nature of its chosen medium. In conveying how war, growing up, death, love, fear, isolation, sadness, yearning, belonging, standing out, connecting and just life is a whirlwind of confusion, Miyazaki not only lets his imagination take flight, but his flair. The Boy and the Heron can be as trippy as his company's output gets — and as emotionally raw. Since 1984's Nausicaä of the Valley of the Wind, no one has made movies like Miyazaki, other than Takahata. As The Boy and the Heron sails through light and darkness, hope and horror, serendipity and choice, and alienation and acceptance, it also bobs and weaves through many of its filmmaker's trademarks, gleaning that the elements that can unite people and features alike can manifest in as many different ways as an ocean has waves. The pull to retreat then return is the same, whether for a director saying that he's retiring several times (including in 1997 and 2001, after Princess Mononoke and Spirited Away, respectively) or a lost child desperate to flee his hurt and bewilderment. An extraordinary return, and a personal one, The Boy and the Heron isn't expected to be Miyazaki's latest movie now that he's back behind the camera, but it's also the awe-inspiring piece of alchemy that it is because of that history.
Of the many pies that Succession's Roy family had their fingers in, pharmaceuticals wasn't one of them. For virtually that, Mike Flanagan gives audiences The Fall of the House of Usher. The horror auteur's take on dynastic wealth gets a-fluttering through a world of decadence enabled by pushing pills legally, as six heirs to an addiction-laced kingdom vie to inherit a vast fortune. Flanagan hasn't given up his favourite genre for pure drama, however. The eponymous Usher offspring won't be enjoying the spoils of their father Roderick's (Bruce Greenwood, The Resident) business success, either, in this eight-parter that streams from Thursday, October 12. As the bulk of this tale is unfurled fireside, its patriarch tells federal prosecutor C Auguste Dupin (Carl Lumbly, SWAT) why his children came to die within days of each other — and, with all the gory details, how. As with The Haunting of Hill House and The Haunting of Bly Manor before it, plus The Midnight Club as well, Flanagan's latest Netflix series finds its basis on the page. The author this time: Edgar Allan Poe, although The Fall of the House of Usher isn't a strict adaptation of the iconic author's 1840 short story of the same name, or just an adaptation. Character monikers, episode titles and other details spring from widely across Poe's bibliography. Cue ravens, black cats, masks, tell-tale hearts, pendulums and a Rue Morgue. What if the writer had penned Succession? That's one of Flanagan's questions — and what if he'd penned Dopesick and Painkiller, too? Hailing from the talent behind the exceptional Midnight Mass as well, plus movies Oculus, Hush, Ouija: Origin of Evil, Gerald's Game and Doctor Sleep, the series that results is a gloriously creepy and involving modern gothic horror entry. The Poe minutiae is everywhere, as constantly thumping whenever someone's name is mentioned. Alongside Roderick and his twin sister Madeline (Mary McDonnell, Veronica Mars), everyone of importance harks back to one piece of prose or another. Dupin was Poe's fictional investigator, a role that still applies here to a man that's spent much of his life trying to bring Roderick to justice. Indeed, he's as close as he's ever been to that feat via a trial when the kids start dropping in gruesome ways. Each one earns an episode, from smarmy eldest Frederick (Henry Thomas, Pet Sematary: Bloodlines), Goop-style wellness entrepreneur Tamerlane (Samantha Sloyan, Minx) and ruthless medical engineer Victorine (T'Nia Miller, The Peripheral) to games designer Napoleon (Rahul Kohli, iZombie), family publicist Camille (Kate Siegel, The Wrath of Becky) and wannabe bar owner Prospero (Sauriyan Sapkota, The Midnight Club). Greed, violence, paranoia: as happened in Poe's pages, all three bubble through The Fall of the House of Usher. So does death, obviously, including loss, decay and the deceased haunting the living, as Roderick's children do in macabre jolts. Applying Poe's favourite themes to the affluent and privileged is a satisfyingly entertaining touch, even if it's never subtle. The same proves true of the show's twisted dive into a Sackler-style realm. All the Beauty and the Bloodshed's Nan Goldin hasn't achieved such comeuppance in her war on money and influence amassed through the opioid crisis, and therefore through other people's suffering and lives, but Flanagan channelling Poe imagines quite the visually ravishing and narratively riveting undoing. Roderick's empire is Fortunato Pharmaceuticals' empire, as built upon peddling a highly addictive painkiller that's been spruiked as the exact opposite. As he and Dupin sit on a midnight dreary in a crumbling home that's as dilapidated as the Ushers' souls — well, most of them — he shares that story as well. In addition to the tightly wound how's-it-going-to-happen suspense of each child's demise, The Fall of the House of Usher flits back to Roderick (Zach Gilford, Criminal Minds) and Madeline's (Willa Fitzgerald, Reacher) early days at the company. How early sins become inescapable coffins is teased out, inevitability dripping through the series stronger than blood, of which there's no shortage of. Eating the rich is on the menu, as is carving into the avarice-fuelled lust for power and prosperity at any cost under capitalism. Rich applies to much about The Fall of the House of Usher. The treasure trove of Poe nods and borrowings fit the description, of course, but that's just the beginning. With his regular cinematographer Michael Fimognari, Flanagan splashes around an alluringly opulent look whether the show is glistening or getting grisly, or — as is frequently the case — achieving both at once. He's also a master of unrelenting tension, especially leading up to each gratifyingly inventive brought-it-on-themselves death. Setpieces abound, one as lushly staged and riveting as the next — and as grim. The outcome of a masquerade dance party that also owes Eyes Wide Shut a debt is particularly retina-searing. A bounty of jewels resides in Flanagan's plotting, passion, love of lyrically penned monologues and melodrama, too, and his cast of familiar faces. He isn't just piecing together Poe elements and playing with them. As his resume attests, he's long adored doing the same with his actors. So, almost everyone boasts ties to the filmmaker's past works, and often several. The Fall of the House of Usher's stars nail the current brief as well, from Lumbly (and The Fugitive's Malcolm Goodwin as the younger Dupin) as the picture of earnestness in the pursuit of what's right to the entitlement glistening across Thomas and company in every way possible, plus the nerve-shredding mystery that Carla Gugino (Gunpowder Milkshake) slinks through the show in an enigmatic part. Star Wars legend Mark Hamill is a Flanagan newcomer as get-things-done Usher family lawyer Arthur Pym, but slides right in like he's always been telling horror stories with his co-stars. (Whatever comes next for the writer/director and his favourite talents, don't be surprised if Hamill goes with them.) Flanagan's Netflix shows repeatedly get remotes pressing "next episode" with can't-stop-watching urgency. It's hardly surprising, then, that The Fall of the House of Usher joins the auteur's The Haunting of Hill House and Midnight Mass as the kind of compulsive viewing that audiences can easily lose a day to. Ending most episodes with an extravagantly staged offing helps; however, as wicked downfalls plague a brood that's made its own bleak fate, this dark, operatic and gleefully OTT affair never stops being a delight. Here's hoping that the house of Flanagan horror never falls. Check out the trailer for The Fall of the House of Usher below: The Fall of the House of Usher streams via Netflix from Thursday, October 12. Images: Eike Schroter / Netflix.
Art galleries don't just showcase great works by renowned talents on their own walls. They also loan out their collections, touring them to other sites around the globe. That's great news for Australians, who've been able to check out pieces from London's Tate Britain and New York's Museum of Modern Art in recent years, all without leaving the country. Come 2021, you'll also be able to feast your eyes on two big collections of European masterpieces from two different overseas institutions: from New York's The Met, which is heading to Brisbane's Gallery of Modern Art, and from London's National Gallery, which'll take over the National Gallery of Australia in Canberra. The latter, called Botticelli to Van Gogh: Masterpieces from the National Gallery, London, has just been announced — and will hit the Australian Capital Territory from March 5–June 14, 2021. If you were looking for a reason to take a local holiday interstate next year, the NGA has not just one but 60, because that's how many works this huge exhibition will feature. The gallery isn't joking about the showcase's title, either. When you'll be exhibiting Van Gogh's Sunflowers, you can throw around the word 'masterpiece' as much as you like. Other high-profile works include Rembrandt's Self Portrait at the Age of 34, plus Vermeer's A Young Woman seated at a Virginal. And, artist-wise, Titian, Velázquez, Goya, Turner, Renoir, Cézanne, Botticelli, El Greco, Constable, Van Dyke, Gainsborough and Gauguin are all also on the bill. [caption id="attachment_792837" align="aligncenter" width="1920"] Vincent van Gogh, Sunflowers 1888, National Gallery, London, Image courtesy the National Gallery, London[/caption] When peering at the exhibition's pieces, art aficionados will be taken through seven important periods in Western European art history, from a range that spans 450 years. That means exploring work from the Italian Renaissance, checking out the Dutch painting of the Golden Age, and feasting your eyes on British portraiture — as well as scoping out pieces from the 17th- and 18th-century Grand Tour, Spanish art from the 17th century, works that focus on landscape and the picturesque, and examining the birth of modern art. When Botticelli to Van Gogh: Masterpieces from the National Gallery, London hits our shores, it'll mark a big milestone, too — as the largest batch of works to venture beyond the United Kingdom in National Gallery's 192-year history. Announcing the exhibition, National Gallery of Australia Director Nick Mitzevich mentioned exactly what you're probably now thinking — that is, that the showcase is a nifty way to see the world in a period when we can't venture far physically. "At a time when Australian audiences are unable to travel overseas, we are thrilled to be able to welcome visitors to Canberra to see this exclusive showcase of world-class art," he said. Botticelli to Van Gogh: Masterpieces from the National Gallery, London exhibits at the National Gallery of Australia in Canberra from March 5–June 14, 2021, with tickets on sale now. Top images: Installation view, Vincent van Gogh, Sunflowers, The National Gallery, London © The National Gallery, London; installation view, Anthony van Dyck, Lady Elizabeth Thimbelby and Dorothy, Viscountess, The National Gallery, London © The National Gallery, London; installation view, Giovanni Giralomo Savoldo, Mary Magdalene (far left), The National Gallery, London © The National Gallery, London.
For most filmmakers, Isabel Wilkerson's Caste: The Origins of Our Discontents would've screamed for the documentary treatment. A non-fiction text published in 2020, it works through the thesis that racism in America isn't just the product of xenophobia, but is an example of social stratification. The journalist and author — and, in 1994, Pulitzer Prize-winner — examines how categorising populations into groups with a perceived grading is at the heart of US race relations, and how the same was true in Nazi Germany and still does in the treatment of the Dalit in India. A doco could spring easily from there. If it happens to in the future, no one should be surprised. Ava DuVernay, who brings Wilkerson's prize-winning tome to the screen now, has demonstrated again and again with Selma, The 13th and A Wrinkle in Time that she's not most directors, however. Make the points in Caste: The Origins of Our Discontents via a documentary, if and when that occurs, and they'd be accurate and powerful. Express them through cinema's function as an empathy machine, via personal tales including Wilkerson's own, and they resonate by getting audiences stepping into a range of shoes. Watching isn't merely investigating and learning in Origin, as Wilkerson as a character — played by Aunjanue Ellis-Taylor (The Color Purple) in a phenomenally passionate and thoughtful lead performance — does in a movie that's also a biopic about her life and work. Sitting down to DuVernay's film is all about feeling, understanding what it's like to be a range of people who are forced to grapple with being seen as less than others for no reason but the fact that urge to judge that keeps proving inherent in human nature. Accordingly, viewing Origin means walking in the footsteps of Black teenager Trayvon Martin (Myles Frost, All In) in the US in 2012, when he was shot by a Hispanic man solely for strolling in a white neighbourhood. It means spending time with Black nine-year-old Al Bright (Lennox Simms, Abbott Elementary), who wasn't permitted in a public pool with his white Little League teammates in the 50s. And, it means charting the efforts of Black anthropologists Allison and Elizabeth Davis (Fear the Walking Dead's Isha Blaaker and Blindspotting's Jasmine Cephas Jones), who went undercover with white colleagues Burleigh and Mary Gardner (Doom Patrol's Matthew Zuk and Pain Hustlers' Hannah Pniewski) in Jim Crow-era Mississippi. Their work resulted in Deep South: A Social Anthropological Study of Caste and Class — a book that now sports a forward by Wilkerson. Following Origin's narrative also involves being immersed in the tale of a Jewish woman and German man, August Landmesser (Finn Wittrock, American Horror Story) and Irma Eckler (Victoria Pedretti, You), falling in love in the Third Reich. In a famous photograph from 1936, he's considered to be the lone person not saluting in a Nazi crowd. Origin plunges into reality for a group in India once dubbed "untouchables", too, a title given due to their place in the pecking order. It's a literal term, and one of exclusion and segregation — and it dictates what those deemed at the bottom of the Hindu caste ranks can and can't do and interact with. DuVernay weaves in everything beyond Wilkerson as recreations, making such tales far more tangible and pivotal than mere slices of the past — recent and not-so — providing examples for Caste. In other words, it's one thing to know something or even witness it, and another to feel as if you're experiencing it yourself. That's DuVernay's approach — and it's in line with her focus on Wilkerson, getting Origin's audience empathising not only with everyone in its vignettes, but with her while she's sifting through this history. Sensitive, savvy, sincere, supremely smart: they all describe the way that this film, which its director penned and helmed, is built. DuVernay doesn't ever lose sight of Wilkerson, though, as she pursues her book amid several rounds of loss. Facing individual and societal heartbreak in tandem is also a thread in the feature. So are the echoes that the concept of caste has had on her mother Ruby (Emily Yancy, Sharp Objects), who has lived the reality of avoiding provoking backlash for simply existing — and also on Wilkerson's relationship with her doting husband Brett (Jon Bernthal, The Bear). As a confidant, friend, much-needed support and sounding board, DuVernay includes Isabel's cousin Marion (Niecy Nash-Betts, Never Have I Ever) into her retelling as well. That move gives the film and its protagonist a third tender relationship to navigate, and viewers to identify with. It's also another way that DuVernay expands her long-running push to explore the emotions simmering within Black women, and how they're influenced by the place that they're allowed in the world. Before Selma gave Coretta King prominence alongside her husband, and before A Wrinkle in Time, DuVernay's last non-documentary picture prior to now, charted a Black teen's quest aided by astral travellers, I Will Follow and Middle of Nowhere also traversed this terrain. Indeed, the question with Origin isn't why its director took this path with the material — it's how could she have done anything else? Is Origin ambitious? Bold? Unfailingly intelligent? Lensed with texture and intimacy by Matthew J Lloyd (Spider-Man: Far From Home)? Remarkably acted, especially by Ellis-Taylor, Bernthal and Nash-Betts? A film where feeling deeply is the only response? Does it take a route that no one else would've dreamed of contemplating with Wilkinson, her book, grief, power structures and subjugation? Is it a journey of one woman and of humanity in tandem? DuVernay's movie is all of these things — and it's a chronicle of the jumping-off points and discussions along the way to Caste coming to fruition, such as listening to the 911 call by George Zimmerman, who murdered Martin; having editors (The Nun II's Vera Farmiga and Harlan Coben's Shelter's Stephanie March) ask for her thoughts on it; her romance with Brett; caring for Ruby; chats with Marion; and even talking to a Make America Great Again hat-wearing plumber (Nick Offerman, Dumb Money). Yes, among all of the above, Origin is also a piece of cinema that only DuVernay could've made.
New voices, same interdimensional chaos: that's what Rick and Morty will start beaming in October. The sci-fi animated sitcom has locked in its return date for season seven, hitting on Sunday, October 15 in America. That's Monday, October 16 Down Under, where it gets schwifty in your streaming queue via Netflix. If you're wondering what kinds of chaos are in store this time around, Adult Swim — which airs the series in the US — isn't giving much away as yet. "We ride together. We die together. We're buried in the backyard together," it teased in a first poster for the new season. And if you're also wondering how the show's titular chaotic scientist and his grandson will sound the new episodes, that hasn't yet been announced. Earlier in the year, the network dropped Justin Roiland due to domestic violence charges. View this post on Instagram A post shared by Rick and Morty (@rickandmorty) Anything can happen in Rick and Morty, with a change of vocal tones for Rick Sanchez and Morty Smith one of the least out-there developments within the show's narrative. Given that the show clearly gleaned inspiration from Back to the Future, there's some obvious dream casting right there just waiting to happen — but whoever gets the gigs will be lending their tones to a genius scientist going on wild adventures with a high schooler. Viewers can still expect the show's eponymous pair to keep wreaking havoc, and the series to keep zipping between as many universes as it can. And, for Rick and Morty's hijinks to still draw in Morty's mother Beth (Sarah Chalke, Firefly Lane), father Jerry (Chris Parnell, Archer) and sister Summer (Spencer Grammer, Tell Me a Story). Spanning ten episodes, season seven will hit everywhere that it can in this dimension — in more than 134 countries, and also in 38 languages. If you're keen to rejoin the smartest Rick and Morty-est Morty in the universe, start getting excited. There's no trailer for Rick and Morty's seventh season yet — we'll update you when one arrives. Rick and Morty's seventh season will premiere globally on Monday, October 16 Down Under. It streams via Netflix in Australia and New Zealand.
If 2020 has reminded us of anything, it's that some surprises are truly terrible. But at least there's plenty of the other, nicer kind of surprise to even things out. Like the brand-new Quiet XPA from emerging brewery Heaps Normal, which just happens to be both full-flavoured and surprisingly alcohol-free. Now gracing bottle shop shelves across the country, the unfiltered booze-free ale is Heaps Normal's debut creation, with more non-alcoholic releases planned for the not-too-distant future. It has been carefully brewed to stand up against its more traditional indie craft counterparts, while also promising the glorious gift of zero hangovers. As far as the beery stuff goes, it's got tropical, citrus aromas, backed by a balanced bitterness and just a hint of sweetness from the malt. And, in another win for the health-conscious, the XPA is rocking less calories than the average full-strength beer, plus it's made with less sugar than many alcohol-free alternatives. [caption id="attachment_782993" align="alignnone" width="1920"] Heaps Normal co-founders Andy Miller, Ben Holdstock and Peter Brennan[/caption] Heaps Normal is the brainchild of four mates — Andy Miller, Ben Holdstock, Peter Brennan and Jordy Smith — who each had various reasons for wanting to cut down the booze and are now on a mission to help normalise mindful drinking. And it's clear they're not alone, with results from last year's Australia Talks National Survey suggesting 90 percent of Aussies see drug and alcohol abuse as one of the biggest issues facing our country. In fact, according to a recent Neilsen survey, around two-thirds of Australian drinkers between the ages of 21 and 34 are making an effort to minimise their alcohol consumption. And that's data from before a global pandemic swooped in, cooped us all up at home and saw many folks quaffing a little more than usual. Now, expect to see plenty more booze-free options on offer at bars and bottle shops, as brands like Heaps Normal respond to a growing call for non-alcoholic drinks that taste legit. If you indulged a little more than usual over lockdown and are looking to cut down, you might just be surprised with what guilt-free goodies are out there. Find out more and order your Quiet XPA at the Heaps Normal website.
Plenty of people have gotten into plenty of trouble in Collins Place. In its revamped guise, expect the hijinks to continue — but now, they'll involve boozing in a renovated former police station, rather than spending a stint inside for law-breaking behaviour. The heritage-listed Queenslander's past gives Little Big House its name, of course; however this new watering hole is all about the present and future. First announced in late October, and located in the still-developing Southpoint precinct at the end of South Bank's Grey Street, LBH comes courtesy of the Matt Moran-led hospitality group Solotel. In fact, it's their third Brisbane venue after Aria and Riverbar & Kitchen. Raised above Grey Street next to the train station, the two-level Queenslander instantly stands out from the crowd with its city views, cruisy vibe, and creative food and beverage menu. Not bad for a building that dates back to 1889, and also counts stints as a Ship Inn, a Spaghetti House and a squatter's den among its history. Most drinking spots want to be known for their relaxed yet vibrant atmosphere, and LBH certainly delivers — from the open front and side balconies, that benefit from the cooling river breeze, to the downstairs karaoke room, where groups can belt out a tune (and slap on a brightly coloured hat) for free. A pink pool table with an adjacent big screen for sports also takes up one room, while DJ booths are found on both floors. More than a few house parties are planned, because you don't call a pub Little Big House without hosting a few packed-to-the-brim shindigs. Like most pubs, however, the venue is really all about sitting down at a table, forgetting your worries and hanging out with your mates. Accordingly, whether a Sunday session is in full swing or the verandahs are peppered with lunchtime diners, LBH has the menu for it under head chef Mathew Fulford (ex Stokehouse, Qualia). Beef burgers, hot smoked salmon salad and minute steak all make for easy but satisfying meals, with the two on-site rotisseries also pumping out chicken and porchetta — with chips, or on rolls. As great as that all sounds, it's the chicken parmi spring rolls that are sure to become a favourite. Other nibbles include kingfish and avocado tostadas, lamb sausage rolls and fish fingers, plus ice cream sangas for dessert. When it comes to booze, two bars — one upstairs, one downstairs — have plenty to offer, including a limited-time-only beer collaboration with Sydney's Young Henry's. A light summer beverage that goes down fast and smooth, their brew goes by the name of Queenslander (what else?), and is only available on the premises. Further beverage highlights range from two types cocktails in a can (Feels Like Apple Pie and Grape Expectations), frosé slushies and jugs of rosé sangria, to the Salty Sailor and the Garden Tonic (aka, LBH's takes on the espresso martini, complete with popcorn and toasted marshmallow, and the G&T, with elderflower, cucumber, lime, mint). An array of Champagne, rosé, reds and whites (six of the first two, eight of the second) round out the drinks list. Decor-wise, the old meets the new in the restored fixtures, custom-painted flora and fauna murals, and adorable fake dog sitting by the front door. Throw in a heap of outside seating on the lower floor — overlooking the street, and under palm trees and umbrellas — and many a Brisbanite will have found their new laid-back go-to. Making the place even better, a kiosk out the front will serve food and coffee to those merely moseying on by, and once the train station renovations are complete, sauntering in pre- or post-commute is bound to become common. Find Little Big House at 18 Southpoint, 271 Grey Street, South Brisbane. Check out the venue's website and Facebook page for further details. Images: Atlanta Bell and Sarah Ward.
If your Easter routine usually involves a seafood feast, then you might want to make a date with a certain Kangaroo Point fish 'n' chippery this year — and for the last time before it closes down. From Friday, April 18–Sunday, April 20, 2025, One Fish Two Fish is serving up plenty of the ocean's finest for the occasion, all as part of a $125 four-course meal that starts with seafood platters and remains just as indulgent from there. In the past, One Fish Two Fish has called this yearly feast Great Friday; however, in 2025 it's keeping the specials going for three days. Cue more chances to head along. Those platters are made to share, and come stacked with pacific oysters, Moreton Bay bugs, cooked Mooloolaba prawns, sand crab toast topped with caviar and green-lip mussels. Next, you'll enjoy apple and blackcurrant granita as a palette cleanser, then grilled goldband snapper with fries and garden salad. We've only listed three rounds so far, with the fourth course getting sweet. To wrap things up, you'll be tucking into hot cross bun bread and butter pudding with vanilla ice cream and baked white chocolate crumble. If you're keen to eat in, you'll need to book a spot for one of eight sittings: 11.30am, 2.30pm and 6.30pm on Friday; and 12pm, 2.30pm and 6.30pm on Saturday; and 12pm and 2.30pm on Sunday. A la carte dining is still available if you're keen on a date with One Fish Two Fish, but want to choose your own dishes. There's also a takeaway menu featuring fish 'n' chip fare, complete with a different Easter treat: lobster croissants.
If you like beer and you live in Brisbane, then you've probably noticed a trend in recent years. In fact, you've probably been making the most of it. That's to be expected when a certain patch of turf starts welcoming new drinking spots with frequency. Thanks to Ballistic Beer Co and Hiker Brewing Co in Salisbury, as well as Helios Brewing Company and Slipstream Brewing Company in Yeerongpilly, there's no shortage of breweries to have a beer at on the southside. And, while you've likely been hopping between them all anyway, Beermuda gives the area's boozy crawl an official spin. Head to any of the quartet from 1pm on Saturday, March 29, 2025, get sipping, then catch a courtesy bus to the other three — and drink more frothy ales at each, obviously. Entry is free, and there'll also be food and live music at each brewery. Plus, you'll be able to just generally soak in the boozy Salisbury and Yeerongpilly vibes. If you remember the event from previous years, you'll know that it was originally called Beermuda Triangle — taking inspiration from the Bermuda Triangle, of course — but when Hiker Brewing joined in 2023, there was no longer just three venues on the route. Buses run from 1–7pm, starting at Helios, then hitting Slipstream, Hiker and Ballistic, then repeating. Beer-wise, there'll be more than 60 brews on offer — and each venue is doing its own thing with food and entertainment.
If you're lucky enough to score tickets to Meredith Music Festival in any year via the event's ballot, one of Australia's best fests awaits no matter the lineup. 2025's roster of acts is characteristically impressive, however. On the just-dropped bill: TV on the Radio, Atarashii Gakko! and Perfume Genius, for starters, as well as Thee Sacred Souls, Pa Salieu, HAAi, Bar Italia, Colin Hay and Mildlife. And, there's still more where the came from. Folk Bitch Trio, Saya Gray, RONA. and Omar Souleyman are on the lineup, too. So are Dames Brown, Radio Free Alice, Sam Austins RP Boo, Wax'o Paradiso, Florist and Jack J. Add in Drifting Clouds, Dr Sure's Unusual Practice, Central Australian Aboriginal Women's Choir, Mouseatouille, Brown Spirits and Lazy Susan on MC duties, and expect a jam-packed three days across Friday, December 5–Sunday, December 7, 2025. [caption id="attachment_1017126" align="alignnone" width="1920"] Sumner Dilworth[/caption] How is the fest crew describing this year's event? "One of the best places on earth to spend a weekend, the Meredith Supernatural Amphitheatre has been natured and nurtured and then natured again, for the singular purpose of hosting the time of your life," organisers advise. So, expect "a permanent and purpose-built underground wunderland that provides optimal conditions for rarefied reverie", as well as to get "lost in music, lost in one another, for three days and two nights of Sup'ed up saucery". 2025 marks the beloved festival's 33rd year, with this three-decade-plus tradition taking over its namesake Victorian locale to kick off summer. The first round of the ticket ballot for the three-day BYO camping festival opened in July and ended on Monday, August 11, 2025, but you still have a chance to enter. The second round is now open, and you've got until 10.33pm AEST on Tuesday, August 19, 2025 to put your name in. So, book that long weekend, go in the running for tickets, then cross your fingers that you'll be spending a trio of days at The Sup with Tunde Adebimpe and company. [caption id="attachment_1017128" align="alignnone" width="1920"] Cody Critcheloe[/caption] Meredith Music Festival 2025 Lineup TV on the Radio Atarashii Gakko! Perfume Genius Thee Sacred Souls Pa Salieu HAAi Bar Italia Colin Hay Mildlife Folk Bitch Trio Saya Gray RONA. Omar Souleyman Dames Brown Radio Free Alice Sam Austins RP Boo Wax'o Paradiso Florist Jack J Drifting Clouds Dr Sure's Unusual Practice Central Australian Aboriginal Women's Choir Mouseatouille Brown Spirits Lazy Susan Meredith Music Festival returns to Meredith from Friday, December 5–Sunday, December 7, 2025. To put your name in the second round of the ballot to get your hands on tickets, head to the festival's website before 10.33pm AEST on Tuesday, August 19. Meredith Music Festival images: Chip Mooney, Leah Hulst, Ben Fletcher, Chelsea King and Steve Benn.
From high speed car chases across the post-apocalyptic outback to heartbreaking tales of love and loss, 2015 was a pretty great year for Australian cinema. Films like Mad Max and The Dressmaker hit it big at the box-office, while Holding the Man and Last Cab to Darwin had people reaching for their handkerchiefs. Throw in a couple of strong documentaries in the form of Gayby Baby and That Sugar Film, along with crowd-pleasing family fare like Oddball and Paper Planes, and it seems like local audiences are finally coming around to the idea that movies made in Australia can be every bit as good as those made overseas. Of course, in order to keep up that positive perception, the local film industry needs to keep making great films. Luckily, it looks like they're up to the challenge. We've already given you our list of our most anticipated international efforts, but now, here are the ten Australian films you need to see in 2016. https://www.youtube.com/watch?v=pSse2RIapEA THE DAUGHTER The debut film from theatre director Simon Stone (adapted from his own critically acclaimed stage play), The Daughter arrives in cinemas following great reviews at a number of local and international film festivals last year. A reworking of Henrik Ibsen's The Wild Duck, this nuanced family drama concerns a man, played by Paul Schneider, who returns to the small logging town where he grew up, only to uncover a secret that could tear the lives of his friends and family apart. With Geoffrey Rush, Ewen Leslie, Miranda Otto and Sam Neill, it might have the best cast of any Australian film this year. The Daughter is due in cinemas on March 17. https://www.youtube.com/watch?v=Dn2vfS6bbK0 SHERPA Anyone who saw Everest might think they have an idea of what it's like to climb the world's tallest mountain. But as this eye-opening documentary from filmmaker Jennifer Peedom reveals, you only know a fraction of the story. Sherpa shows the efforts of the native mountain guides, who risk life and limb in order to get foreign visitors to the summit. Over the course of a season, tension begins to brew between the locals, the tourists and the companies that facilitate the climbs, before finally boiling over in the wake of a deadly avalanche. A powerful, troubling film — it's of the best things we caught at last year's Sydney Film Festival, and an absolute must see in 2016. Sherpa is due in cinemas on March 24. DOWN UNDER A comedy about the Cronulla race riots? It's safe to say Down Under could either be brilliant or a total disaster. Director Abe Forsythe appears to be deliberately courting controversy — not that there's anything wrong with that, per se. With racism and Islamophobia still major issues in this country, a dark comedy that tears into good old Aussie jingoism could be exactly what the doctor ordered. Of course, satire is a tricky thing — and easy to muck up. Guess we'll just have to wait and see. Down Under is due in cinemas on August 4. 2:22 Between Predestination, The Infinite Man and the recent remake of Patrick, it's been a good few years for homegrown science fiction. Continuing this trend (we hope) is Paul Currie's 2:22, an American-Australian co-production in which a man is forced to relive the same day over and over, always ending when the clock hits — you guessed it — 2.22pm. Game of Thrones actor Michiel Huisman stars alongside Australia's own Teresa Palmer. Imagine Groundhog Day remade as a psychological thriller, and you'd be roughly on the right track. 2:22 is due in cinemas in 2016. https://www.youtube.com/watch?v=-98kUEnkxHM DOWNRIVER Writer-director Grant Scicluna's feature film debut was one of the most buzzed about local films at last year's Melbourne Film Festival. Reef Ireland (Puberty Blues) plays James, a young man recently released from prison after serving time for his involvement in the drowning of a small boy. Looking for redemption, James sets out to recover the boy's body, only to find himself in danger when it becomes clear that his accomplices would rather the past remain buried. Downriver looks grim and compelling in equal measure, and could well mark the emergence of a promising new Australian film talent. Downriver is due in cinemas in 2016. THE FAMILY This upcoming documentary, from director Rosie Jones, promises to pull back the curtain on Australia's most notorious cult. For three decades between the 1960s and 1990s, Anne Hamilton-Byrne led a group of devoted followers as the head of a sect known as The Family. Controlling her disciples, including a host of "adopted" children, through a mix of physical abuse and mind-altering drugs, Hamilton-Byrne convinced cult members she was the reincarnation of Jesus, before their compound was eventually raided by police. It's a story made all the more troubling for having taken place in our own backyard. The Family is due in cinemas in 2016. GOLDSTONE Actor Aaron Pedersen and filmmaker Ivan Sen are reuniting for a sequel/spin-off to their masterful outback thriller Mystery Road. Pederson returns as Indigenous detective Jay Swan, who finds himself in the eponymous town of Goldstone while investigating a missing persons case, only to find himself caught up in a web of crime and corruption. He'll be joined in front of the camera by two-time Oscar nominee Jacki Weaver, veteran Indigenous actors David Gulpilil and Tom E. Lewis, and Hong Kong martial arts star Cheng Pei-pei. If it's half as good as Mystery Road it'll be a contender for best film of the year. Goldstone is due in cinemas in 2016. JASPER JONES The new film from Bran Nue Dae director Rachel Perkins, Jasper Jones is an adaptation of Craig Silvey's award winning novel, described by at least one reviewer as Australia's To Kill a Mockingbird. Set in the fictional WA town of Corrigan in the mid 1960s, the film tells the story of 13-year-old Charlie Bucktin who befriends the eponymous Jasper Jones, a half-white, half-indigenous boy from the wrong side of the tracks. Toni Collette, Hugo Weaving and Dan Wyllie are set to co-star, although it's the younger cast members who will ultimately make or break the film. Jasper Jones is due in cinemas in 2016. LION Adapted from Hobart man Saroo Brierley's best-selling memoir, Lion stars Dev Patel as a young man who was adopted by an Australian couple (Nicole Kidman and David Wenham) as a child, who travels to India to try and track down his biological family. Rooney Mara co-stars, along with a number of high-profile Indian actors, giving this cross-cultural drama a real shot at international success. The film marks director Garth Davis' first feature film, following on from strong work on Top of the Lake. Lion is due in cinemas in 2016. NEST We've got two words for anyone who thinks Australian films are serious and boring: giant bloody spiders. Okay, so that's technically three words, but you get what we're trying to say. A Chinese-Australian co-production directed by Kimble Rendall — the same guy behind the wonderfully schlocky sharks in a supermarket movie Bait — this 3D creature feature stars Kellan Lutz, Kelsey Grammar, Shane Jacobson and Li Bingbing as a group of scientists who become lost in a labyrinth full of enormous, man-eating funnel web spiders. Leave your scaredy-cat friends at home. Nest is due in cinemas in 2016.
Fancy scoring some new Aussie-made threads at the price of your choosing — and earning some much-needed funds for an eco charity in the process? Well, for the next few days, you can, thanks to a clever new initiative by local brand Assembly Label. The Sydney-based brand is best known for its minimalist aesthetic, but now it's also hoping to help minimise ocean pollution by adding a 'choose what you pay' option to its online store between June 20 and 23. It works like this. A range of Assembly's designs (both womens and mens) are currently available at up to 50 percent off. When you go to add something to your cart, you have the option of adding on a donation — you can pay what's on the pricetag, or add on $5, $10 or $15 more. Any extra amount is then donated to the Australian Marine Conservation Society (AMCS), with each customer donation matched equally by Assembly Label. So, if you fork out an extra $15 for those linen pants, $30 will go to the charity. View this post on Instagram Beachside essentials, our Crossover Pool Slide will be included in our Choose What You Pay promotion alongside a selection of men's and women's apparel and accessories. Online tomorrow from 9am and proudly supporting @marineconservation.au A post shared by Assembly Label (@assemblylabel) on Jun 19, 2019 at 12:21am PDT AMCS is an independent charity focused on the big issues affecting the sea, from improving the sustainability of Australia's fisheries, to protecting threatened species. The extra funds raised through the 'choose what you pay' program will go towards supporting its campaign against plastic pollution in the ocean. The sale is the latest in a number of moves Assembly Label is making to reduce its environmental impact and encourage others to jump on board. It's now using 100 percent biodegradable material for its packaging, has cut down on plastic waste wherever possible, and is working towards full transparency with all of its manufacturing processes. Assembly's also aiming to become a certified B Corporation, which'll require hitting the highest standards of ethical measurement across all aspects of its business. Needless to say, if you're in need of some new basic tees or a labelled sweater, now is the time to grab them. Assembly Label's Choose What You Pay sale will run from June 20–23 through its online store.
Sonic Masala is a long-running, Brisbane-based music blog that has earned a cult following from serious music fans and musicians alike. With a local lens and truly Australian flair, Sonic Masala has been a long-time favourite in the music blog scene, even branching out and fostering the community with their own brand of live shows. After launching their own record label this year, the Sonic Masala team decided to hold their own music festival, with a highly curated list of local and interstate bands that are favourites of the tastemakers themselves. Sonic Masala Fest is taking place at the Greenslopes Bowls Club on June 21. We caught up with Sonic Masala founder and man about town Brendan Telford to find out what it is all about. For those who don't know, what is Sonic Masala? Sonic Masala is a music blog primarily, which has been going for over four years, but has also included putting gigs on monthly and recently branching out to become a record label. What made you want to start such a project? The blog started with a "why not?" sort of epiphany. I was at the My Bloody Valentine-curated ATP in England back in 2009 with a mate, Paul Marsh, and around 4am we started cooking up this curry, listening to music, still drinking. We thought we spent so much of our lives doing this (listening and talking about music mostly, but drinking and eating curry too) why not do something a little more proactive about it? So, Sonic Masala was born. Paul dropped out within the year, but I kept hacking away, then I moved back to Australia in 2011. I had heard a few horror stories from local bands about struggling to find good venues and shows, being promised things and then not getting paid, I thought, "How is this still happening? It's 2011!" So when The Waiting Room in West End opened up I booked a night and that was how the gigs were born. The label has been a distant dream of mine, and through dumb luck, some hard graft and a lot of lunacy, Sonic Masala Records was born. What did you want to do with Sonic Masala in the beginning? Write about music. I was going to about three shows a week anyway, why not? It's changed over time, but initially it was just about music I liked. I've pared it back so its more Australian-oriented and focusing on bands that aren't really needing (or even wanting) my critical approval. I used to write about Grinderman or Neil Young releases, and I still love that stuff, but don't write about it. The gig nights were about bands playing regular shows and (hopefully) getting paid for it, and the record label is all about putting out albums that I love that wouldn't see the light of day otherwise — at least in vinyl form. This year you've started putting out records through Sonic Masala. Was this always a goal? Yes and no. It has been something of a dream of mine, but not one I actually thought I'd be stupid enough to actualise. I have wanted to continue pushing quality music, both popular and outlier acts, here in Brisbane since returning from London in 2011, and that passion has only grown over time. I attempted to get a label thing off the ground in 2012, pretty much on a whim; I wanted to put out Gazar Strips' first EP, Happy Valley. Due to crossed wires the band thought I wanted to be their manager and that all fell flat. Then when they started recording their second EP I asked again, this time we were on the same page — at the same time Roku Music asked me about help with their album. How has the response been so far? Are you happy with what you've accomplished this year? To be honest I think the response has been great. Most people understand what it is Nathan [Pickels, of Tape/Off fame] and I are attempting to do with Sonic Masala Records, and that is to breathe life into projects, releases and bands we really believe in, with a particular focus on Australian acts, especially Brisbane. Also, releasing on vinyl — there is an emphasis on that fact. It was always "we make records or we don't do it at all". It's a true labour of love. So far we have had the jackets screenprinted by good friend #7thdisaster, we have had friends and family help out with putting the jackets together, creating the special edition releases and the postage and handling. That DIY feel also evokes a sense of authenticity, diligence and care that I always love about a strong label no matter how big or small. We put in lengthy unpaid hours every day, but I think it is well worth it. So yeah, we are super happy with how things are going! For a while there has been a live component to Sonic Masala (small scale shows), when did you decide you wanted to putting on something bigger, like Sonic Masala Fest? Man, this is a big ticket dream! Everyone dreams of sitting down and putting together a festival, don't they? I wanted to pay homage to some of the biggest and best bands that have graced a Sonic Masala showcase since kicking it off in 2011. I also feel like we need to continually celebrate the music that exists here in Brisbane right now. Many of the stone-cold classic acts here do not get the love and crowds they deserve, and I'm hoping something like Sonic Masala Fest will be an opportunity for the bands to sell merch and play to appreciative people. It's a celebration of Brisbane. There are a few interstate bands — with Scul Hazzards and Narrow Lands, they have played Sonic Masala Record-oriented shows in Melbourne and Sydney respectively (and in Scul's instance they have strong Brisbane ties). Plus there is so much bitching about festivals these days, some of which comes from me also, so I thought I'd put my money where my mouth is. What is the biggest challenge you've faced with putting on SM Fest? Money. I wanted the festival to also promote a local venue that I feel needs more support and love, and so I'm anxious that there is a good showing for the Greenslopes Bowls Club too. Also, I wasn't able to get all the bands I wanted. Probably the biggest challenge is getting started. The idea sounded great, but like most of my "great" ideas involved alcohol and drunken verve. It's the morning after when you groggily wake and think "What did I promise I'd do?" But I try to follow through on these crazy ideas, and that is the fun part. Got any big plans for the future? More releases. We have Cobwebbs out shortly, and some planned releases for later in the year including a split album between a local band and an interstate band that might become a regular 'thing'. We also have a compilation in the works, again with the idea of combining artists who have played a Sonic Masala showcase over the years, which is very exciting. There are also some plans afoot that takes Sonic Masala even further afield in the world. What are some Brisbane bands that you think are doing great things at the moment? There are way too many to mention; every band that are playing the Sonic Masala Fest, for a start. As for new stuff, No Sister, even they are on an indefinite hiatus, showed something truly special in their starburst tenure. Multiple Man are still the best idiotic nihilists in town. Barge With An Antenna On It are just getting stronger and stronger, the loveable lugs that they are. Woodboot, The Wrong Man, Unpeople, Occults, X Wave and so many more are on the cusp of doing something absolutely incredible. Seriously, people talk about Melbourne, and it's an incredible melting pot of music, but there is something more visceral and ridiculous about Brisbane music these days that makes it worth hanging around in the sun for ten months of the year to take part in. Where are your favourite places to eat, drink and party around Brisbane? One of the biggest downfalls of Brisbane that Melbourne has us perennially pinned to the canvas over is that we have very few good actual pubs — they are what I love about life, and not having many to visit (and the continual downward spiral that is the Valley) kills me daily. So the Underdog gets that by default, but again I only go there when gigs are on. I do love beer though, so places like Newstead Brewing, Tipplers Tap, Brisbane Brewhouse, The Scratch, The Burrow (who also do pretty sweet pizza) all work for me. I do love eating. Sitar Indian in Albion is great, London-rivalling Indian, with a consummate host. I love breakfasts and there are heaps of great places to visit in Paddington and New Farm for that. There are new places opening all the time, it's crazy but I can't complain. Partying is all about gigs or house parties for me. These are my favourite pastimes actually — music kills my eardrums, drinking kills my liver, eating kills my health and partying kills my brain. All in excess. Sonic Masala Fest will be on Saturday the 21st of June at the Greenslopes Bowls Club. Tickets are $10 on the door. The full line-up can be found here. There will be a Pre-Fest party on Thursday at The Bearded Lady with performances from Scul Hazzards, Frown and Occults.
Forget scones, jam and cream, as delicious a combination as that is — at The Lab's Easter high teas throughout April, it's ditching the classic setup. Instead, you'll tuck into seasonal treats to celebrate one of the sweetest times of year, with the spread available every Saturday and Sunday from 1pm throughout the month. On the menu: ribbon sandwiches, petite quiches and frittatas, colourful macarons, earl grey and orange tartlettes, chocolate and caramel hats, and more. Your sweet tooth won't go hungry here. Also a big feature: bottomless sparking wine, although it's up to you if you add that to all the cakes and chocolates. So, you can make Eggstravagant Easter High Tea a non-boozy affair for $50, which includes non-stop La Maison Du Thé French hand-crafted tea. Or, you can go for the Chandon package for $70, which comes with endless Domaine Chandon brut rosé, sparkling pinot shiraz and sparkling Chandon brut across two hours. Whichever you opt for, just take note of the public holidays. Although this high tea is still on then, there's a surcharge (taking the price to $57.50 sans alcohol and $80.50 with the hard stuff).
Teenage drug use is an undeniable occurrence. Curiosity, experimentation, peer pressure, or the desire to escape are only a few reasons why teens take drugs. Every now and then we see on the news a story about a couple of kids being expelled from school because they were found handling or taking illegal substances. But also every now and then there are more devastating consequences, as explored in the play April’s Fool. In April 2009, two weeks short of his nineteenth birthday, Toowoomba teenager Kristjan Terauds died due to complications from illicit drug use. The idea to develop this story into a play was inspired after director Lewis Jones was given Kristjan’s father’s journal to read. Jones commissioned Toowoomba writer David Burton, and he had spent months interviewing Kristjan’s friends and family. The result was a verbatim script. Using the real words and real experiences of the interviewers, Burton shaped the tragedy into into a story of love, family and strength to create a performance reflecting on the choices we make in life. Originally debuting in 2010, this is a special two-night return season. April's Fool was universally praised by youth, parents, teachers and theatre critics alike for its honesty and ability to engage while never preaching or lecturing. Don't miss this honest, heart-felt performance.
So far the Trashbags club night may have only occurred once, but those in charge certainly know how to create a lasting and memorable impression on picky Brisbanites. Following on its success at the Oxford Arts Factory in Sydney, it's not surprising that Trashbags Brisbane already looks to be a prominent fixture on the 2011's club night lineup. From the location choice of Monastery Nightclub through to the international star DJs, every selection for the nights are made to create the best possible experience. Lucky for those who missed out last time, Trashbags is back on Saturday 4 June with GTRONIC headlining and it’s sure to be a big one. Currently touted as one of the world’s best producers, GTRONIC is bringing his DANCE MACHINE WORLD TOUR to Brisbane for the very first time. In a class of his own, his work is instantly recognisable as soon as he drops the first beat. On the night he’ll be supported by K.Oh!, Noy, Jmac, Killafornia, Alex Terrell & Wil E.
No longer confined to children's birthday parties, bouncy castles, inflatable obstacle sources and blow-up labyrinths are currently hot property for adults (and their inner kids, of course). And the next blow-up event to hit Australia is big. Really big. Dubbed 'The Big Bounce Australia', it's an inflatable theme park made up of Guinness World Records-certified world's biggest bouncy castle, a 300-metre long obstacle course and a three-part space-themed wonderland. You're going to need a lot of red cordial to bounce your way through all of this. Set to hit Brisbane between March 7 and 22, The Big Bounce is open to both littl'uns and big'uns — but there are a heap of adults-only sessions, so you don't have to worry about dodging toddlers on your way through. Tickets for adults will set you back $55, which gives you a whole three hours in the park. You'll need it. Inside, you'll encounter the aforementioned bouncy castle — aptly named The World's Biggest Bounce House — covering a whopping 1500 square metres and, in some spots, reaching ten metres off the ground. In this house, you'll encounter a heap of slides, ball pits, climbing towers, basketball hoops and (if you can believe it) a stage with DJs, confetti cannons and beach balls. Then, there's The Giant, with 50 inflatable obstacles, including giant red balls and a monster slide. [caption id="attachment_749668" align="alignnone" width="1920"] The Big Bounce AirSpace[/caption] Before you hit the final, three-part section of the park, you may need to pause, down some red frogs and maybe even have a nap. Or not, you do only have three hours to explore it all. Next up, is AirSpace, where aliens, spaceships and moon craters collide with a five-lane slide, some more ball pits and an 18-metre-tall maze. Now, you'll certainly need a nap.
El Camino Cantina has several locations around Brisbane and southeast Queensland — at South Bank, Bowen Hills, Chermside, Robina and Sunshine Plaza — and, at every one, the chain is giving the people what we want. If you're heading to a Tex-Mex bar and eatery, then you want plenty of tacos. Ideally, you want them cheap as well. Enter the brand's weekly $2 Taco Tuesday sessions, which is exactly what it sounds like. Head by every Tuesday and you can tuck into a highly affordable feed of caesar salad tacos, cheeseburger tacos and spicy cauliflower tacos, all using soft shells. There's also a special flavour each week, still just for a gold coin. If you'd like a beverage to wash your tacos down with, the regular range of margaritas, cocktails, wines and beers are on offer. Consider this a PSA: El Camino is known for its slushie machines, so you might want to sip something semi-frozen. And if you're after a couple of other varieties of taco and you're willing to spend $4 a pop instead, you have even more options. The chain is dishing up its cadillac range for that still-discounted price, spanning everything from tempura barramundi, chorizo and jerk chicken to pulled pork, sautéed steak and beef brisket.
Uber apparently just wants Australians to be effortlessly happy and righteously lazy, and nothing says bliss like enjoying a few cheeky brews in your underwear. If last year's introduction of UberEATS hasn't already made us lazy enough, the company has just announced that, as of today, March 23, they'll be delivering booze too, starting with Melbourne. As part of the launch, UberEATS has partnered with Carlton Draught to release their alcohol delivery service just in time for the start of AFL season tomorrow. On Friday, March 24 from 12pm, the general alcohol service kicks off, and from 5pm, Melbournian's can choose one of the nineteen $30 plus meal deals on their app and receive a free four pack of the specially brewed Carltons to enjoy with (or without) the game. After supplies run out, normal hours of alcohol service are midday to 9pm. Thirty liquor license holding restaurants across Melbourne's city and inner city suburbs are participating so far, and we're pretty confident the service will quickly spread to the rest of metropolitan Australia as well. There are a few things to note before rushing to your app — alcohol will only be delivered with a food order and only a bottle of wine or six pack of beer is permitted per order. The drivers won't deliver to intoxicated folk either, so if you answer the door looking like a hot mess you'll be denied your booze. Under 18s shouldn't be cheering either — you'll need proof of ID to accept the delivery. Obviously the service isn't meant to completely replace bottle shop runs, but is more about bringing a 'complete restaurant experience' into your home — something existing booze delivery services will need to consider. It comes well timed with the turn of the season as well, as the Melbourne winter sure doesn't promote outdoor activity. So go ahead and order from your favourite dumpling joint, pop open that delivered brew, turn on Netflix and let the pants-off binge-watching commence.
It wasn't all that long ago that chocolate Easter eggs came in two types: small and solid, plus larger and hollow. Sure, there were also an array of different flavours available in each, but Easter eggs weren't also Frankenstein's monster-style desserts filled with other desserts. We bet that your tastebuds are happy that things have changed. Here's one 2024 sweet treat that you should be supremely thankful for, and hankering to try. Tiramisu-filled Easter eggs are exactly what they sound like, and they're on offer at Massimo Restaurant and Bar for five days from Thursday, March 28–Monday, April 1. No matter what else you order — burrata with warm truffle honey to start, then chargrilled octopus with beetroot pesto and sand crab cavatelli, perhaps — a trip to this Amalfi-inspired Italian restaurant by the river over Easter can involve tucking into a decadent treat. The Tiramisu-filled Easter eggs cost $26 each, measure 13 centimetres in size and are designed to share — so bring your date/mates. Images: Markus Ravik.
With music festivals popping up in every corner of the country with frequency, especially in these post-COVID-restrictions times, an event has to be mighty special to warrant travelling intrastate or interstate. Riverboats Music Festival is one such event, and the reason is right there in its name. A mainstay of Victoria's Echuca-Moama region that'll celebrate its 11th instalment in 2023, it usually hosts its fest on the banks of the Murray River — and includes intimate sideshows on the PS Pevensey paddlesteamer. Due to 2022's flooding of the event's usual home at Aquatic Reserve, the 2023 fest is actually moving to Echuca's Victoria Park Reserve when it returns from Friday, February 17–Sunday, February 19. But the music on a riverboat part still remains, as ticketed separately. So, you can head to the region for three days of tunes as part of the broader event, spend your time on the river, or mix and match both. Heading the on-land lineup: Marlon Williams, Spiderbait, CW Stoneking & His Primitive Horn Orchestra and The Whitlams, plus The Rolling Stones Revue featuring Adalita, Phil Jamieson and Tex Perkins. That's a whole heap of big-name talent from across Australia and New Zealand right there, and it's just the beginning of the 2023 bill. Also on the roster, and playing the paddlesteamer as well, are Alice Skye, Felix Riebl, Andy Golledge, WILSN, Bones & Jones and Watty Thompson. If you go for the boat option, you'll hear their sets while cruising down the river, in the kind of fest experience you truly don't get at every event. "Echuca-Moama has gone through an incredibly challenging period over the last few weeks, and our hearts go out to all those affected by the recent floods," said Festival Director Dave Frazer, announcing the lineup. "Riverboats has been part of the Echuca-Moama community for over tehn years now, and whilst we're sad to be leaving Aquatic Reserve next year, we can't wait to put on a spectacular show at Victoria Park in a few months time," he continued. If you're keen, the last festival sold out in just six days, so nabbing tickets ASAP is recommended. RIVERBOATS MUSIC FESTIVAL 2023 LINEUP: Marlon Williams Spiderbait CW Stoneking & His Primitive Horn Orchestra The Rolling Stones Revue featuring Adalita Phil Jamieson and Tex Perkins The Whitlams Felix Riebl Alice Skye Tami Neilson Thornbird Katy Steele Andy Golledge Band WILSN Bones & Jones Watty Thompson Bud Rokesky MC Brian Nankervis The 2023 Riverboats Music Festival will take place from Friday, February 17–Sunday, February 19 at Echuca's Victoria Park Reserve, with tickets on sale now.
Starring the beautiful and charismatic Emma Watson, coming of age film The Perks Of Being A Wallflower has been championed by critics, with potential nominations hinted at next year’s BAFTAs, Golden Globes and Academy Awards. Based on Stephen Chbosky’s 1999 novel of the same name, The Perks Of Being A Wallflower is narrated through the eyes of introvert freshman Charlie (Logan Lerman), an endearing and naïve outsider who must cope with the pains and challenges of adolescence, along with his own mental illness, the suicide of his best friend and the heartbreak of first love. Taken under the wings of two seniors, free spirit and love interest Sam (Emma Watson) and her step-brother Patrick (Ezra Miller), Charlie is removed from the isolation of his own existence, and welcomed into an unfamiliar real world.
If you're a fan of caramelised white chocolate, then you're a fan of all the different types of food that've sprung up featuring Caramilk. You've sipped the cocktails. You've eaten the ice creams. You've had the dessert jaffles. If it features the famed Cadbury flavour, you've tried it. And now, you have something new to add to that list: Caramilk Krispy Kreme doughnuts. Krispy Kreme is still in the process of letting Australians catch all the Pokémon-themed doughnuts; however, it has also just dropped another new limited-edition special. Teaming up with Cadbury, the doughnut franchise has whipped up two new must-try sweet treats — and yes, they both come dipped in Caramilk. If you opt for the Caramilk Shell, you'll be munching into a full doughnut — sans that centre hole — that comes filled with crème, then covered in the coveted type of chocolate and sprinkled with Caramilk flakes. Or, if you need that gap in the middle, the Caramilk Ring takes one of Krispy Kreme's original glazed doughnuts, dips it in Caramilk, adds the Caramilk flakes and then splashes some white truffle drizzle over the top. You'll find the two Caramilk doughnuts at 7-Eleven stores only from Tuesday, September 28, but there's more than 700 spots to choose from — and they're also available via 7-Eleven Delivery where it's on offer. Krispy Kreme's Caramilk range is available from Tuesday, September 28 for $3.75 each at 7-Eleven stores and via 7-Eleven Delivery.
One of Australia's all-time great comedies, an Oscar-winner for Best Costume Design and a film that's made the leap from the screen to the stage as well, The Adventures of Priscilla, Queen of the Desert turns 30 in 2024. But that isn't the only reason to celebrate the movie right now. The Guy Pearce (The Clearing)-, Hugo Weaving (The Royal Hotel)- and Terence Stamp (Last Night in Soho)-starring flick is receiving a follow-up, with writer/director Stephan Elliott announcing a sequel. The filmmaker with Welcome to Woop Woop, A Few Best Men and Swinging Safari similarly on his resume has confirmed that a second Priscilla, Queen of the Desert picture is on the way — with Pearce, Weaving and Stamp all returning. They'll reprise their roles as Adam aka Felicia Jollygoodfellow, Tick aka Mitzi Del Bra and Bernadette Bassenger, respectively, with starting shooting in Australia this year the plan. Elliott, who is writing and directing again, revealed the news to Deadline. "I'm not repeating myself, we'll start the new film in Australia, but by god, we're going on one helluva journey," he advised the publication. "The original cast is on board, I've got a script that everybody likes, we're still working out deals... It's happening," he continued. Alongside stepping back into the lives of the three drag queens who drove a bus across the outback in the 1994 movie, the as-yet-unnamed sequel will introduce new characters. Elliott flagged that Weaving's Tick had a seven-year-old son in the OG film; "he's grown up now," he said. Soundtrack-wise, after the initial flick featured ABBA, Gloria Gaynor's 'I Will Survive' and Alicia Bridges' 'I Love the Nightlife', viewers can expect "old disco classics, but we'll be moving into contemporary as well," Elliott also noted. There's no word yet of a release date, or other cast members — or where in Australia the film will take place, after the first movie journeyed from Sydney to Alice Springs via Broken Hill and Coober Pedy. But it's certainly a big time for Aussie cinema greats with links to Broken Hill scoring new instalments right now, given that the Mad Max franchise is about to drop Furiosa. There's obviously no sneak peek at the sequel to The Adventures of Priscilla, Queen of the Desert yet, but check out the trailer for the original movie below: There's no release date yet for sequel to The Adventures of Priscilla, Queen of the Desert — we'll update you when more details are announced. Via Deadline.
First, her milkshake brought all the boys to the yard. Now, a couple of Brisbane events — BIGSOUND and Sweet Relief! — are bringing Kelis to Brisbane in 2024. The thinking: why get the R&B talent to hit up one festival in the Sunshine State capital when she can take to the stage at two? Damn right, this plan is better than yours. At BIGSOUND, Kelis joins the conference lineup at the huge music event, which combines plenty of discussions with live gigs in Fortitude Valley, and returns to Brisbane from Tuesday, September 3–Friday, September 6 for its 23rd year. Then, on Saturday, September 7, Kelis will be part of Sweet Relief!'s 2024 bill. Accordingly, BIGSOUND attendees can expect to hear about her experiences in music — and maybe as a fashion icon, muse for designers, and a Le Cordon Bleu-trained chef with her own Netflix several cooking specials and cookbook My Life on a Plate to her name. At Sweet Relief!, in an exclusive show, Kelis will bust out not just 'Milkshake' and 'Bossy' but more tunes from her catalogue at the fest's second year. For company at the event, which moves to Ballymore Stadium for 2024 after debuting at Northshore Brisbane in 2023, she'll be joined by The Presets, 2024 Eurovision contestants Electric Fields, Haiku Hands, Dameeeela and Juno so far, with more to be announced. 2024 marks a quarter century since Kelis' first record Kaleidoscope and also 21 years since Tasty — featuring 'Milkshake', 'Trick Me' and 'Millionaire' — became such a hit. The singer's spot on both the BIGSOUND and Sweet Relief! is the result of a partnership between BIGSOUND and QLD Music Trails, the latter of which Sweet Relief! forms part of. [caption id="attachment_959285" align="alignnone" width="1920"] The James Adams[/caption] [caption id="attachment_861894" align="alignnone" width="1920"] Lachlan Douglas[/caption] [caption id="attachment_959282" align="alignnone" width="1920"] The James Adams[/caption] [caption id="attachment_851424" align="alignnone" width="1920"] Lachlan Douglas[/caption] BIGSOUND 2024 will take place between Tuesday, September 3–Friday, September 6 in Fortitude Valley, Brisbane. For more information, visit the event's website. Sweet Relief! 2024 will take place at Ballymore Stadium, 91 Clyde Road, Herston, on Saturday, September 7, with presales from 11am local time on Tuesday, June 4 and general sales from 11am local time on Friday, June 7 — head to the event's website for more details.
Nominated for Best Animated Film at the Academy Awards and BAFTAs, 3D stop-motion comedy, Paranorman, sees a misunderstood local boy thrown into a mad-cap fight with besieging zombies. Norman (Kodi Smit-McPhee) is considered weird in his small town home of Blithe Hollow, and no one, save for his new found friend, Neil (Tucker Albrizzi), believes his supernatural ability of being able to talk to the dead is genuine. All that begins to change when his eccentric uncle tells him of an important annual ritual he must take up in order to protect the town from a curse cast on it by a witch centuries ago. But, once he decides to use his gift to help, things go badly wrong and the dead begin to rise. Norman must struggle to save Blithe Hollow, and discover the horrific truth behind the curse. Written for children this beautifully animated tale may prove too scary for the little ones, but it’ll entertain younger teens, and leave their parents with something to think about.
Get merry for Christmas at The Zoo, with The Phoncurves, Dom Miller and Ben Salter. The founding member of The Gin Club, Ben Salter, has been a solo performer for over a decade, taking the world by storm with a striking vocal range and knack for captivating lyricism that has seen him compared to Neil Finn, Elliot Smith and Nick Drake. Abbie Roberts and Naomi Bunell are The Phoncurves, a Brisbane duo that blend distinct new music flavor with an aftertaste of pleasant nostalgia that sees them use extensive vocal harmonies in their folk pop sound. Dom Miller’s folk bordering indie vibes have seen him draw comparison with The Tallest Man On Earth, Whitley and Eef Barzelay.
If you know anything about the golden era of Hollywood, then you'll have heard of Edith Head. Today celebrated as the single most significant costume designer in the history of cinema, she spent nearly 50 years working at Paramount Pictures and Universal Studios, dressing the stars and starlets of the era in nearly 1000 movies. She also holds the records for the most Academy Awards won by a woman (eight, by the way — no big deal). The Costume Designer exhibition at Bendigo Art gallery draws from the archives of Paramount, the Collection of Motion Picture Costume Design and private collections, collating over 70 costumes designed by Head from the 1930s to the 1960s. You'll see designs from classic films like Vertigo and Sunset Boulevard and costumes worn by iconic performers including Veronica Lake, Gloria Swanson, Olivia De Havilland, Dorothy Lamour, Jane Russell, Hedy Lamarr, Fred Astaire and Yul Brynner. Costume lovers should definitely make the trip for this rare opportunity to see these seldom-displayed designs. Image: Edith Head and Hollywood, 2017, installation view, courtesy Bendigo Art Gallery.
Start your long weekend with an extra spring in your step — and an extra-special cup of coffee. When Good Friday rolls around, Bessa Coffee dedicates the day to damn good caffeinated brews. And while celebrating the occasion hasn't been straightforward during the pandemic, this buzzing occasion is going full steam ahead on Friday, April 15. As long as you roll out of bed before midday, you'll want to head to Little Cribb Street, which is where the Milton hangout will be whipping up a black coffee menu that'll have you pumped until Easter. (Don't worry, cuppas will be available in different sizes, so you will be able to sleep — and try them all.) On the Black Coffee Friday lineup are brews by Archer Specialty Coffee, Coffee Supreme, Light Coffee, Parallel Roasters and Passport Specialty Coffee, including on a five-coffee tasting platter. As for a soundtrack, that'll come courtesy of the Rodrigo Santiagio Trio. Who said public holidays were for sleeping in? You can also tuck into brunch while you're there thanks to Neighbour and Roesti Revolution.
Matt Smith’s Brisbane Roar and Jacob Burn’s Perth Glory meet in round twelve of the Hyundai A-league. With Brisbane currently one up from the bottom of the table and Perth around mid-way, neither team are on top form at the moment, with just seven wins between them after eleven games. The two teams have met once so far this season. Their first round matchup in October saw Perth avenge their tragic grand final defeat to Brisbane last year by winning one-nil. Brisbane haven’t won a game since round nine, but can they turn the tide against Perth? Find out Friday at Suncorp Stadium.
Topping off a year that saw his super-hit Somebody That I Used To Know end up on seemingly permanent repeat on the waves of more or less every radio station in the world, Melbourne multi-instrumentalist, Gotye, will bring his sell-out smash world tour to an end this December, with a series of homecoming shows. Multi-platinum selling single 'Somebody I Used To Know', followed by the newer singles 'I Feel Better', 'Easy Way Out' and 'Save Me', saw the Belgian-Australian singer songwriter take over the world, moving on from the domestic success of his 2006 release Like Drawing Blood, to take his third album Making Mirrors to phenomenal success worldwide. His series of homecoming concerts will see Gotye and his ten piece band play to local audiences for the first time since he first topped the major charts last year.
As you read this, Kiwi charity Live More Awesome are getting their hands dirty, literally, constructing the world's biggest waterslide. This 650m long monster is the length of two Sky Towers and is located just 30 minutes from Auckland, New Zealand. The aim of the event is to raise funds and increase awareness for depression, as the not-for-profit charity is all about combatting mental illness through life changes, not just drugs. D-day is set for the 23rd and 24th of February and will feature three waterslides (the others will be a more standard 60m and 80m), food, and a shady area to hang out, complete with Kiwi entertainment (courtesy of George FM). Co-founder Jim Hunt says, "The World's Biggest Waterslide is all about pushing boundaries and creating the ultimate summer event. We have some epic entertainment planned for the day and we can't wait to see the reaction on people's faces as they come down the slides, it will be a truly unique experience". According to MentalHealth.org.nz, depression in New Zealand has affected as many as 1 in 5 people within the past year alone. "We're a couple of Kiwi guys who like so many others have really suffered at hands of depression," co-founder Dan Drupsteen says. "It was really tough, but having come out the other side we decided the best way for us to keep depression at bay was to 'Live More Awesome'. We hope this amazing project will encourage others to do the same and we want people to know it's ok to ask for help." Ticket prices start at $46 and are limited to 2000 people. You can contribute to the building of the waterslide through Indiegogo. Check out their progress so far in the video below.
2021 isn't over just yet, and none of us have worked through all the new shows currently sitting in our streaming queues. Still, 2022 is already shaping up to be a huge year in television. Stranger Things will finally return, for instance, and The Crown will also unleash its new cast. Oh, and HBO will debut a little prequel to one of its biggest hits ever. Given how successful Game of Thrones proved for HBO — even after its eighth and final season caused plenty of uproar — the on-screen world inspired by George RR Martin's books was never going to simply disappear. Indeed, before GoT even finished, there was chatter about what would come next, with the network first announcing that it was considering five different prequel ideas. It then green-lit one to pilot stage, scrapped it and later decided to adapt Martin's House Targaryen-focused Fire & Blood for the small screen as a show called House of the Dragon. Next, it opted to give novella series Tales of Dunk and Egg the TV treatment, too, and to work on an animated GoT show. And, it's been reported that another three prequels are also under consideration. Of course, all of the above announcements have been happening for so long that it's easy to forget that new GoT-related fare will eventually grace the small screen — starting next year. Although an exact premiere date hasn't yet been announced, we won't merely be talking about House of the Dragon in 2022. We'll also be watching its ten-episode first season. And, thanks to the just-dropped teaser trailer for the series, we can get a glimpse of what's in store right now. HBO released a few images from the show earlier this year, but now they've gone one better. Yes, dragons are mentioned. Yes, everyone looks suitably broody. Yes, the Iron Throne shows up, because of course it does. While the trailer really is just a teaser, viewers can expect to spend more time with flame-breathing scaly creatures and the family that adores them when House of the Dragon arrives in 2022. If you thought the Targaryens were chaotic already, delving into their history — and their love of using dragons to wage wars and claim power — is certain to cement that idea. We all know what happened to the last surviving members of the family in GoT, including Daenerys and her boyfriend/nephew Jon Snow; however, House of the Dragon, like Fire & Blood, jumps back 300 years earlier. Cast- and character-wise, House of the Dragon stars Emma D'Arcy (Misbehaviour) as Princess Rhaenyra Targaryen, the first-born child of King Viserys; Matt Smith (His House) as Prince Daemon Targaryen, the King's brother; Rhys Ifans (Official Secrets) as Otto Hightower, the Hand of the King; Olivia Cooke (Pixie) as Alicent Hightower, Otto's daughter; and Steve Toussaint (It's a Sin) as Lord Corlys Velaryon, aka 'The Sea Snake', a nautical adventurer from a Valyrian bloodline as old as House Targaryen. These Westerosi folk will all grace a tale that harks back to Aegon I Targaryen's conquest of the Seven Kingdoms — which is what started the hefty 738-page first volume in Fire & Blood's planned two-book series — and then works through the family's history from there. Aegon I created the Iron Throne, hence the returning favourite's prominence. And you don't have to be the Three-Eyed Raven to know that this tale involves plenty of GoT's staples: fighting, battles for supremacy and bloodshed. Also set to pop up on-camera: Paddy Considine (The Third Day) as King Viserys, Eve Best (Nurse Jackie) as Princess Rhaenys Velaryon and Sonoya Mizuno (Devs) as Mysaria, Prince Daemon's paramour. Behind the scenes, Miguel Sapochnik and Ryan Condal are acting as the series' showrunners. Sapochnik has a hefty GoT history, winning an Emmy and a Directors Guild Award for directing 'Battle of The Bastards', helming season eight's 'The Long Night', and doing the same on four other episodes. As for Condal, he co-created and oversaw recent sci-fi series Colony, and co-wrote the screenplay for the 2018 film Rampage. Check out the first teaser trailer below: House of the Dragon is due to start airing sometime in 2022 — we'll update you with further details when they're announced. Images: Ollie Upton/HBO.
For the past 30 years, the country's professional Aussie Rules competition has called itself the Australian Football League, reflecting the growing spread of top-level teams across the nation. In 2020, it'll make good on that name in a way it never has before: by hosting the AFL grand final outside of Melbourne for the first time. Come the night of Saturday, October 24, whoever earns the right to compete in this year's decider will be doing so at the Brisbane Cricket Ground, aka the Gabba. They'll be playing in front of at least 30,000 fans, too, with the Queensland Government's successful bid for the game allowing the ground to be filled to almost three-quarter capacity. Announcing the news today, Wednesday, September 2 — and revealing that the Gabba beat out Sydney's ANZ Stadium, Perth's Optus Stadium and Adelaide Oval in South Australia — AFL CEO Gillon McLachlan said that it was a difficult decision. He noted that a number of factors came into play, including the "safety and the best environment for all" and "integrity and the need for uncompromised games". And, he advised that if needed due to coronavirus social-distancing requirements, the capacity could be reduced — or, as a backup if cases surged in Brisbane, the game moved to Adelaide Oval. https://twitter.com/AFL/status/1301002487789281287 In its date and timeslot, the grand final will also buck tradition — because shifting venues isn't the only huge change in 2020. Usually, the AFL's ultimate game of the year is held on the last Saturday in September; however, due to COVID-19 shutdowns from late March–mid June, the whole season has been pushed back and compressed. When the ball bounces to kick things off that evening (with the exact time to be revealed closer to the match), the game will also become the first grand final to take place at night as well. It's all thoroughly unsurprising news given that every single AFL team has been based in Queensland for some part of the 2020 season, that the majority of the season has been played in the Sunshine State, and that hosting the big game with a crowd at its usual home — the MCG — is off the cards due to Melbourne's current coronavirus situation. That said, it really shouldn't have taken three decades for a competition that's not only named after the entire country, but changed its moniker in 1990 to reflect the fact that it was no longer just about Victoria, to host the decider in another city. The game has actually been played at venues other than the MCG before — but still in Melbourne. The first four grand finals, between 1898–1901, rotated between locations, before settling into the Melbourne Cricket Ground from 1902 onwards. During World War II, from 1942–1945, it was staged at Carlton's Princes Park and St Kilda's Junction Oval while the MCG was in use for the war effort. And, in 1991 when the ground's southern stand was under construction, it took place at Waverley Park in Mulgrave. Back when that 1991 match took place, the AFL only had four non-Victorian teams — and all four were less than a decade old or had only been based out of the state for that period. Now, eight out of 18 teams are from Queensland, New South Wales, South Australia and Western Australia, and nine out of 18 (including Geelong) are based outside of Melbourne. So, again, it's really about time the code shared the love around when it comes to the big game. This year's move to the Gabba looks to be a once-off, though, at least for now. The MCG is still contracted to host the grand final for a significant period after this year — with its contact originally running through until 2057, and now extended until 2058 as part of the agreement to allow the game to be played elsewhere in 2020. And, if you're a Victorian who has been missing the footy this year, you will still get the usual pre-grand final public holiday even with the game being played in Brisbane, as Premier Daniel Andrews confirmed last month. The 2020 AFL Grand Final will take place at the Brisbane Cricket Ground on the evening of Saturday, October 24, with the exact kickoff time still to be announced. Details regarding ticketing released closer to the game. Top image: Your Next Kid via Wikipedia.
Cinema has a big problem — and for the first time in quite a while, it can't be summed up by the words "sequel", "reboot" or "Adam Sandler". For a long time now, convenience stores and cinema candy bars have been known for their bizarre Prohibition-era pricing of ordinary goods. Now they are being joined by a third champion of Weimar-esque inflation – the cinema ticket counter. According to Screen Australia, in 2005, the maximum price you'd pay to see a movie on the big screen was $15. In 2015, the last year for which there is recorded data, that price had exploded to $24.50. And while this hasn't reduced the number of Australians going to the flicks each year, the number of times people visit has been steadily declining since 2009. Melbourne couple Sonya Stephen and Shane Thatcher say that only around 16 per cent of available movie tickets are purchased in Australia each year. Their solution, a new app called Choovie, is an attempt to allow audiences to drive demand — and, by extension, the prices they pay at the door. "Every time we went to the cinema and there was only a few people in there, he [Thatcher] would start questioning how you could use technology to get more people to go to the cinema more often," says Stephen. "It became obvious that by using smartphone technology there could be a genuine win-win, people could see more movies and cinemas could make more money." Choovie is a push for cinemas to adopt a fluid ticket price based on the time of the screening and the popularity of the film. The app would then share this information with users and allow them to find the best deal. In other words, you'll probably still pay a mozza for the new Star Wars in mid-December and whatever the biggest flick is on Boxing Day, but when you're busting to see Tears of the Otter by that Danish guy at 11am on a Wednesday morning, Choovie will help you find a ticket that takes these things into account. Obviously, much of the app's success will rest on whether cinemas decide to play ball or not; however with Australian movie theatres currently selling less than a fifth of their available product, Stephen is confident that more bums on seats will also mean bigger profits for cinemas. "The onus is on us to prove that it works. If we can do that I can't see why everyone wouldn't come on board." Choovie goes live on 27th March in Victoria, NSW and the ACT, with staggered launches across the rest of Australia in the months following. For more information, visit their website.
This promotion of Faber Castell is amazing. Watch an entire portrait being drawn in one single, circling stroke right before your eyes. It's incredible, isn't it, the things an ordinary person can do if they just have the appropriate felt-tip pen [tongue planted firmly in cheek].
At some point in the near future, when television production returns to normal, Taika Waititi will be writing, directing and executive producing two new animated Netflix series based on Roald Dahl's Charlie and the Chocolate Factory. Yep, if you were wondering what the Jojo Rabbit Oscar-winner is up to next, they're a couple of things on his slate. Right now, though, he's turning his attention to another Dahl favourite — and enlisting plenty of pals. Across ten episodes, James and the Giant Peach with Taika and Friends sees Waititi team up with a whole heap of famous talent to narrate the beloved book. If you've ever wanted to hear the Boy, What We Do in the Shadows and Hunt for the Wilderpeople read to you, then here's your chance. If you've always wondered what would happen if his Thor: Ragnarok stars Chris Hemsworth, Tessa Thompson and Cate Blanchett voiced James and the Giant Peach characters too, well, that's on the agenda as well. Also lending their voices: Liam Hemsworth, Jojo Rabbit's Roman Griffin Davis and Archie Yates, plus other big names such as Meryl Streep, Benedict Cumberbatch, Cara Delevingne, Mindy Kaling, Lupita Nyong'o, Billy Porter, Gordon Ramsay, Eddie Redmayne, Ryan Reynolds and Olivia Wilde. Four episodes are currently available via YouTube, with new instalments added each three times a week — at 3am on Tuesdays, Thursdays and Saturdays in Australia, and at 5am in New Zealand. And if you're wondering why, the aim is raise funds for COVID-19 impacted charities, especially those helping seriously ill children and medical workers in vulnerable areas of the world. https://www.youtube.com/watch?v=EJNSg_oMrOQ
Who is the reigning Halloween Heist champ? What costume did Rosa Diaz wear the first time that she took part? Which detective asked a criminal to help them win? Who was crowned the 'Queen of the Nine-Nine'? If you can answer all of the above — and you love both Brooklyn Nine-Nine and halloween — then you're set for this trivia night. Yes, it's all about the hit cop sitcom we all know and love. And, the one that goes all out when it comes to the spookiest time of the year. It's also the series that was cancelled and then resurrected in the space of 36 hours, and is thankfully coming back for a seventh season. We'd keep asking Brooklyn Nine-Nine questions and dropping tidbits, but we'll save some for the big night. Every time trivia sessions dedicated to B99 hit town, places are snapped up faster than Terry can snap open a tub of yoghurt. This time, you need to register in advance for Fritzenberger's trivia night at its Petrie Terrace joint, and then Saturday, November 2 can be your night for glory (that can also be the title of your sex tape if you'd like). It all starts at 6.30pm, and entry is free. Bring your wallet for burgs, obviously, plus beers. If all this sounds rather noice, get in quick as spots are limited. UPDATE, SEPTEMBER 27: The first 'Brooklyn Nine-Nine' Halloween Heist Trivia Night, on Friday, November 1, has sold out, so a second event has been added on Saturday, November 2. The above text has been updated to reflect this change.
With apologies to Bonnie Tyler, cinema isn't holding out for a hero — and hasn't been for some time. The singer's 80s-era Footloose-soundtrack hit basically describes the state of mainstream movies today, filled as screens now are with strong, fast, sure and larger-than-life figures racing on thunder and rising on heat. But what does heroism truly mean beyond the spandex of pop-culture's biggest current force? Who do we hold up as role models, and as feel-good champions of kind and selfless deeds? How do those tales of IRL heroism ebb, flow and spread, too? Pondering this far beyond the caped-crusader realm is Asghar Farhadi, a two-time Oscar-winner thanks to A Separation and The Salesman. As is the acclaimed Iranian filmmaker's gambit, his latest movie is intricately complicated, as are its views on human nature and Iranian society. As Farhadi has adored since 2003's Dancing in the Dust — and in everything from 2009's exceptional About Elly to his 2018 Spanish-language feature Everybody Knows as well — A Hero is steeped in the usual and the everyday. The 2021 Cannes Film Festival Grand Prix-winner may start with a sight that's the absolute opposite thanks to necropolis Naqsh-e Rostam near the Iranian city of Shiraz, an imposingly grand site that includes the tombs of ancient Persian rulers Xerxes and Darius, but the writer/director's main concerns are as routine, recognisable and relatable as films get. One such obsession: domestic disharmony, aka the cracks that fracture the ties of blood, love and friendship. A Hero sprawls further thematically, wondering if genuine altruism — that is, really and wholeheartedly acting in someone else's interest, even at a cost to oneself — can ever actually exist. But it charts that path because of the frayed and thorny relationships it surveys, and the everyman caught within them. When A Hero begins, calligrapher and sign painter Rahim Soltani (Amir Jadidi, Cold Sweat) is no one's saviour, victor or ideal. While he definitely isn't a villain, he's just been given a two-day pass from an Iranian debtor's prison, where he's incarcerated over a family financial feud. Owing 150,000,000 tomans to his ex-wife's brother-in-law, he's stuck serving out his sentence unless he can settle it or his creditor, copy shop owner Bahram (Mohsen Tanabandeh, Capital), agrees to forgive him. The latter is unlikely, so with his girlfriend Farkhondeh (debutant Sahar Goldust), Rahim hatches a repayment plan. She has stumbled across a handbag filled with 17 gold coins, and together they hope to sell it, then use the proceeds to secure his freedom — except, when they attempt to cash in, they're told that their haul won't reach anywhere the sum they need. Instead, with a mixture of guilt and resignation — and at Farkhondeh's suggestion — Rahim decides to track down the coins' rightful owner. Cue signs plastered around the streets, then an immensely thankful phone call. Cue also the prison's higher-ups discovering Rahim's efforts, and wanting to cash in themselves by eagerly whipping up publicity around their model inmate's considerate choice. The media lap it up, as do the locals. Rahim's young son Siavash (newcomer Saleh Karimaei), a quiet boy with a stutter that's been cared for by his aunt Malileh (fellow first-timer Maryam Shahdaei), gets drawn into the chaos. A charity that fundraises to resolve prisoners' debts takes up the cause, too. Still, the stern and stubborn Bahram remains skeptical, especially as more fame and attention comes Rahim's way. Also, the kind of heroism that's fuelled via news reports and furthered by social media is fickle above all else, especially when competing information comes to light. It's always been apt that Farhadi loves warm hues — tones that are even golden here, as lensed meticulously by cinematographers Ali Ghazi (Zero Day) and Arash Ramezani (Headless). His pictures are so intimate, and so engrained in homes and daily lives, that the cosy neutral colours that shade these spaces automatically become the director's own. His work is never about black-and-white situations, either, and his exacting search through a plethora of shades of grey is also never cold or calculating. A Hero uses the glow of its imagery to help offer plenty of questions about its underlying scenario, in fact, including who might be right and wrong within it. Of course, solving that binary battle is not the movie's aim; rather, poking, prodding and probing it, examining why we're so obsessed with heroes and villains, and exploring what that means when social media's moods, whims and affinities can turn in a second, flickers scorchingly at the film's core. Also searing is Jadidi's performance, which couldn't be more complex. His smile charms, yet also has a flimsy tenor, the grin of someone who knows how embracing the world can be to him — and how closed. When the movie opens with Rahim making the difficult albeit spectacular climb up the Tomb of Xerxes to speak with his brother-in-law Hossein (Alireza Jahandideh, another debutant), who is working amid the scaffolding, it also immediately casts its protagonist as an ordinary man facing an insurmountable and age-old situation. Jadidi plays the part exactly that way, as someone striving to get by, grasping rare and unlikely chances with visible desperation, yet still bound by so much that's long proven unmovable about his country. His character is caught in a morality play where no good deed goes unpunished, too, and the weight of that truth ripples in his posture. But he's also the centre of a reckoning on what's worthy of praise and scorn — "where in the world are people celebrated for not doing wrong?" asks Bahram — and what that says about those cheering, condemning and flipping between the two. The brilliantly layered premise, the deep and cutting dissection of Iran today, the devastating lead portrayal, the incisive visual gaze, the station-full of trains of thought set in motion: it's all classic Farhadi, and he has the applauded past flicks to prove it. Thankfully, A Hero also sees the writer/director back at his best; despite that wealth of familiar elements, the feature is never as oh-so-expected as Everybody Knows and The Salesman, both of which felt like the filmmaker on autopilot. Tough, tight, tenacious, and terrifically disdainful of opportunism and obstinance alike, and of people and institutions guilty of both, A Hero is an excavation of secrets and lies as well — but its power can't be hidden, and its emotional impact is as true as cinema gets. And, although almost everyone in its frames is indeed holding out for some style of hero, few movies realise how fraught and futile that is, let alone with the same patient but unshakeable feeling and intelligence.
When is a Ridley Scott-directed, Joaquin Phoenix-starring trip to the past more than just a historical drama? Always, at least so far. Twice now, the filmmaker and actor have teamed up to explore Europe centuries ago, initially with Gladiator and now 23 years later with Napoleon — and where the Rome-set first was an action film as well, the second fancies its chances as a sometimes comedy. This biopic of the eponymous French military star-turned-emperor can be funny. In the lead, Phoenix (Beau Is Afraid) repeatedly boasts the line delivery, facial expressions and physical presence of someone actively courting laughs. When he declares "destiny has brought me this lamb chop!", all three coalesce. Scott (House of Gucci) not only lets the humour land, but fashions this muskets-and-cannons epic as a satire of men with authority and dominance, their egos, and the fact that ruling a country and defeating other nations doesn't cancel out their pettiness and insecurities. As it's off with Marie Antoinette's (Catherine Walker, My Sailor, My Love) head, it's in with Napoleon's revolutionary stirrings in Scott and screenwriter David Scarpa's take (with the scribe returning to cut the powerful down to size after the director's All the Money in the World, just as Walker apes another famous figure after playing Anna Wintour in House of Gucci). Also in: Napoleon's tinkering with facts, which'll later see its namesake and his troops fire at the pyramids. Devotion to historical accuracy isn't the movie's aim. Like The Castle of blasts from the French past, it's more interested in the vibe of the thing — said 'thing' being how Napoleon Bonaparte, later Napoleon I, follows his yearning for glory and adoration above all else. Scott stitches together a selection of his own recurrent obsessions, too, such as Phoenix sulking, savaging the quest for command and influence, Gallic days of yore as seen in his debut The Duellists and the unrelated The Last Duel, and unfettered ambition's consequences as per The Martian and Prometheus, then tops it with the requisite bicorn hat. My my, in Waterloo Napoleon will eventually surrender in this 158-minute flick — which is the short version; a four-hour director's cut is on its way to Apple TV+ once the film's cinema release is done — but he has considerable battles on three fronts to wage first. The movie's 18th- and 19th-century military frays span everywhere from Toloun to Austerlitz and Borodino. The tussling that his sizeable sense of importance sparks is as inescapable as his shadow. And attempting to repair his fragility through his romance with Joséphine de Beauharnais (Vanessa Kirby, Mission: Impossible — Dead Reckoning Part One) and desperation for a son is a conflict-filled affair again and again. When those encounters are sexual, they're filled with short, sweaty thrusts and Basic Instinct moments, as well as clashes of wills and desires. In this tumultuous marriage, food fights also feature. So hops Napoleon from vignette to vignette, war to war, one end of the continent to the other, rise to fall, Napoleonic politics to tabloid fodder, and constant conquests to multiple exiles. So jumps Napoleon from Corsican soldier to Paul Barras (Tahar Rahim, Extrapolations)-backed force, Robespierre's (Sam Troughton, The Lazarus Project) demise to the Bonaparte brothers' coup (House of the Dragon's Matthew Needham plays Lucien), capitalising upon anti-royalist feelings to donning a crown, and triumph to capitulation. With detours for dramatic flair — and comic — here and there, the broad biographical strokes are covered, plus minutiae that paints Scott's chosen picture (including Transatlantic's Sam Crane as Jacques-Louis David painting the famed The Coronation of Napoleon picture). Bringing Wikipedia to life, petulant scowling, ample buffoonery, pining for Joséphine, sumptuous cinematography by Dariusz Wolski (continuing his Scott run since Prometheus), gorgeous production design from Arthur Max (a Scott regular since GI Jane): that's the mix. Scott slips in an early scene that sums up his approach fittingly, popping up while Napoleon is in Egypt. After a mummy is presented to the general standing upright in its propped-up sarcophagus, he hops up on a stool to stare closely at its desiccated form, expecting to divine more about it just by peering in his specific manner. Napoleon isn't shy about dehydrating its titular figure's pomp, or about its guiding force's angle. No one asks "are you not entertained?", but anticipating both Napoleon and Scott thinking that of their onlookers is easy. Seesawing between impressively staged epic spectacle and marital and regal farce, Napoleon is indeed entertaining — "you think you're so great because you have boats!" is another instantly memorable piece of dialogue, as uttered thusly — and also sprawling, grandly handsome, frequently not all-conquering enough and as on the surface as an exploded horses's insides. As more than ABBA has immortalised, plus Succession's reference to Napoleon's severed collector's-item penis as well, Scott's subject is better-known than he ever craved, let alone could've dreamed. Depicting him as a little bit of everything in this character study is apt, then, with so much information about him existing that a definite take feels elusive. Perhaps that's why Napoleon isn't short on cinema stints but has hardly proven a mainstay, even if Louis Lumière first brought him to celluloid with 1897's Entrevue de Napoléon et du Pape and 1927's silent Napoléon has been revered for almost a century. Stanley Kubrick's iteration didn't eventuate, but is now being revived by Steven Spielberg. Charlie Chaplin's attempted project became The Great Dictator instead. The Bill & Ted's Excellent Adventure version might be the take of record for many until now; Phoenix acts here like he's definitely seen it. Napoleon's ever-committed lead is compelling to watch, but the film is best when he's part of a duo. Although the emperor ultimately divorced Joséphine when she didn't deliver him the heir that he demanded, his famous lovesickness — as letters document — makes it plain that he felt that way, too. Kirby is magnetic, as the role calls for, yet also pragmatic. Her Joséphine sees him as no one else does except the movie itself, and he is spellbound in her presence. The double-act setup also works when Napoleon is paired one-on-one with friends or foes, such as Austria's Francis I (Miles Jupp, The Full Monty) and England's Duke of Wellington (Funny Woman's Rupert Everett, also sneering and having a ball). This is a picture about a man clamouring not just for a legacy but for company, after all, and Scott never forgets it.
For those of you in the audience who love a movie adaptation, there's one that should be on your roster in 2024. The Color Purple is set to make a resounding return to the silver screen, and this time, it's been reimagined as a musical. The decades-spanning tale tells an extraordinary story of love and resilience, and a woman of colour's journey to independence and the bonds of sisterhood. Before you head to a cinema to see it for yourself, here are the five things you should know about The Color Purple — which is poised to captivate a new generation of viewers. 1. THE CULTURALLY SIGNIFICANT STORY WAS FIRST A PULITZER PRIZE-WINNING NOVEL Penned by American writer Alice Walker, The Color Purple made its mark as a Pulitzer Prize-winning novel when it was published in 1982. Told through letters, the narrative explores the complexities of race, gender and sexuality — themes that weren't widely written about at the time, let alone in a piece of popular fiction. The story follows the life of Celie, a Black woman in the early 20th century in Georgia in the USA's south, as she navigates oppression from society and patriarchal family structures and discovers the power of sisterhood. Merely two years after the novel was published, movie producers were knocking down Walker's door to adapt it for the big screen. This would mean the story would be brought to the attention of even more people, highlighting the struggles of women of colour. This latest version aims to bring a more hopeful and lifted atmosphere to the story. It has already been certified fresh on Rotten Tomatoes and smashed the US box office when it was released on Christmas Day. 2. STEVEN SPIELBERG AND OPRAH WINFREY RETURN TO BRING THE STORY TO A NEW GENERATION Alice Walker herself was highly involved in the first movie adaptation; she wrote the initial script draft and insisted on the film being produced with mostly Black talent in front of and behind the camera. The film was directed by Steven Spielberg in a departure from the blockbuster adventure and sci-fi flicks that had made him famous. It was also only the second movie that Spielberg made without his regular musical collaborator John Williams (who had composed the legendary scores for Jaws and the Indiana Jones movies), instead working alongside pop legend Quincy Jones on The Color Purple's musical score. Walker was initially sceptical, as was Spielberg, as he lacked the life experience of a person of colour in the deep south. But he did know how to make a damn good movie. The rest is cinematic history. This iteration of the story also saw the big-screen launch of Whoopi Goldberg and featured the first cinematic role for Oprah Winfrey. Winfrey has been a staunch supporter of The Color Purple and has been involved in most adaptations of the story for stage and screen. The trio of Spielberg, Quincy Jones and Oprah are all returning to breathe new life into this classic, this time as the film's producers (but keep an eye out for a brief onscreen return for one of the original film's main stars). 3. IT TELLS A POWERFUL COMING-OF-AGE TALE OF SISTERHOOD At its core, The Color Purple weaves a poignant and universally meaningful coming-of-age tale centred around the bonds of sisterhood. As Celie navigates her challenging journey, the connection she has with women in her life — her younger sister Nettie, the songstress Shug and the outspoken Sofia — becomes a source of strength, resilience and empowerment. In every adaptation of the tale, each of these women goes on their own journey. They each struggle and overcome their struggles with help from one another, help that is unasked for but gratefully received. Celie faces unfathomable hardships in her life, but through her relationships with these women, she finds her own way and, ultimately, her independence and sense of self. 4. THIS VERSION IS BASED ON THE BROADWAY STAGE MUSICAL Prepare to be swept away by soulful melodies because this adaptation is based on the acclaimed Broadway stage musical. Director Blitz Bazawule — a Ghanaian multimedia artist who was co-director of Beyonce's Black Is King and made his feature debut with the Afrofuturistic The Burial of Kojo — takes Walker's original novel and the screenplay by acclaimed playwright and WGA Award winner Marcus Gardley (I'm a Virgo), and incorporates elements from Spielberg's film adaption including an original song sung by the character Shug in the juke joint. The film's other songs woven throughout come from the hit musical, which debuted on Broadway in 2005 and won two Tony Awards for its revival in 2016. 5. YOU'VE SEEN ITS STARS BEFORE — AND YOU WILL AGAIN The ensemble cast of The Color Purple boasts a lineup of wildly talented familiar faces that have graced both stage and screen. Grammy- and American Idol-winner Fantasia Barrino is making her major motion picture debut and reprising her 2005 role from Broadway as lead character Celie. Joining her from the Broadway production is Danielle Brooks as Sofia (you'll probably recognise Brooks from her role as Tasha 'Taystee' Jefferson on Orange Is the New Black). She received a Tony nomination for her portrayal. Grammy-nominee Halle Bailey joins as the younger version of Nettie, Celie's younger sister. Bailey made literal waves as Ariel in the Disney live-action retelling of The Little Mermaid. The film also stars Oscar-nominee Taraji P Henson (Hidden Figures) as songstress Shug Avery, Tony-nominee and Emmy Award-winner Colman Domingo (Euphoria, Rustin) as Celie's abusive husband Mister and the film's main antagonist, and Tony Award-nominee Corey Hawkins (The Walking Dead, Straight Outta Compton) as Sofia's husband Harpo. Finally, rounding out the central cast is Oscar- and Grammy-winning artist H.E.R. (Judas and the Black Messiah). Other notables on the roster include Oscar-nominee Aunjanue Ellis-Taylor (King Richard), the legendary Louis Gossett Jr (An Officer and a Gentleman) and Oscar-winner Jon Batiste (Soul). Book your tickets now to see The Color Purple — only in cinemas from Thursday, January 25.
For many of us, the prospect of sitting through reams of photos from our recently-returned-from-travelling friends can be a little scary. Unless you happen to be friends with independent film maker Rick Mereki, that is. Then it is something else entirely. Mereki has created three short films taken from footage of a trip with two mates, covering 11 different countries and over 38 thousand miles in 44 days. Each film is only about a minute in duration and is based on a theme; in Move we follow as one of Mereki's friends walks through a series of stunning landscapes, in Learn we see the skills he attempts to acquire along the way (soccer, pizza making, wine tasting, weaving, guitar) and in Eat we see a smorgasboard of international delights. It's a simple idea, as the brilliant ones usually are. The themes are clear, the images strong and it is all held together by a lovely little soundtrack. Move, Learn, Eat are beautiful reminders of the joys of travelling, the fun of learning and the delight of food. They also remind you of the shortcomings of your own travel snaps.
When Kendrick Lamar was announced as Spilt Milk's 2025 headliner, festivalgoers had all the right words to say courtesy of the man himself. "DAMN" and "LOVE" also apply to his latest news. Not content with taking to the stage Down Under in Ballarat, Perth, Canberra and on the Gold Coast, the acclaimed hip hop artist has also locked in two solo stadium shows on his next Australian trip, as part of his Grand National tour. After making its way around North America and Europe, Lamar's latest string of live dates is heading to Melbourne and Sydney. First up: the Victorian capital, at AAMI Park on Wednesday, December 3, 2025. Then comes Allianz Stadium in the Harbour City on Wednesday, December 10, 2025. Lamar's Aussie stadium gigs kick off before his Spilt Milk dates, then slot in-between the festival's two weekend runs. The fest hits Ballarat on Saturday, December 6; Perth on Sunday, December 7; Canberra on Saturday, December 13; and the Gold Coast on Sunday, December 14. December clearly suits Lamar for a jaunt Down Under — that's when the Pulitzer Music Prize-winning musician also made the trip in 2022. Lamar is one of the most-critically acclaimed and successful hip hop artists of our generation. He currently has 22 Grammys to his name, plus an Academy Award nomination for one of his contributions to the Black Panther soundtrack. He won the 2017 Triple J Hottest 100 and, when he nabbed his Pulitzer in 2018, he also became the first ever artist to take out the prestigious award for contemporary music. GNX, his most-recent studio album, dropped in November 2024 — with his extensive catalogue also spanning 2011's Section.80, 2012's good kid, m.A.A.d city, 2015's To Pimp A Butterfly, 2017's DAMN and 2022's Mr. Morale & the Big Steppers. Kendrick Lamar Grand National Tour 2025 Australian Dates Wednesday, December 3 — AAMI Park, Melbourne Wednesday, December 10 — Allianz Stadium, Sydney Spilt Milk 2025 Dates Saturday, December 6 — Victoria Park, Ballarat Sunday, December 7 — Claremont Showground, Perth Saturday, December 13 — Exhibition Park, Canberra Sunday, December 14 — Gold Coast Sports Precinct, Gold Coast Kendrick Lamar is touring Australia in December 2025, with ticket presales for his Sydney gig from 9am on Thursday, June 12 and for his Melbourne gig from 11am on Thursday, June 12 — then general sales from 9am on Monday, June 16 for Sydney and 11am Monday, June 16 for Melbourne. Head to the tour website for further details. Top image: Gregory Shamus/Getty Images.
Space, the final frontier. An infinite continuum capable of sapping morale and robbing voyaging crews of both purpose and progress since, by its very definition, there can never be an end in sight. Such is the existential crisis facing Captain James T. Kirk (Chris Pine) at the beginning of this third instalment in the revised Star Trek franchise – a notably low-key opening compared to its bombastic predecessors. Three years into their five-year deep space mission, Kirk and his crew are homesick, questioning their commitment to the cause and bored of their 'episodic' existence. An urgent rescue mission changes all of that, however, and when that rescue goes awry, Kirk and the team from the Enterprise find themselves stranded on a forbidding planet, unable to contact Star Fleet and being hunted down by a villainous character named Krall (Idris Elba). As it happens, the story scarcely stretches beyond that point, resting instead in the comfortable zone of 'crew in peril requiring brazen rescue attempt' – which is not to say that it's a bad film because of it. Co-written by Simon Pegg (who also plays Scotty) and directed by Justin Lin of the Fast & Furious franchise, Star Trek Beyond feels much more like an episode from the original TV series, where each member of the ensemble is afforded considerable and equal screen time. Spock, Bones, Uhura, Chekov and Sulu all feature prominently in Beyond, along with newcomer Sofia Boutella as Jaylah, a fearsome warrior castaway from another, earlier shipwreck. And while the laughs are fewer than might be expected for a script penned by Pegg, the action absolutely delivers, most notably in the film's dazzling climax, complete with fist-pumpingly-spectacular callback to the Beastie Boys moment from the 2009 original. Star Trek Beyond has featured prominently in the news ahead of its release, both on account of the sudden accidental death of one of its stars (Anton Yelchin as Chekov), and its decision to reveal long-time character and fan-favourite Sulu as gay. The latter issue is handled perfectly by Lin and actor John Cho, in that it attracts neither fanfare or spotlight since, at least in the world of the movie, nobody cares either way. As for Yelchin, it's another fine performance from the talented actor whose abilities far outweighed the requirements of his character. The dual dedications at the end of the film – 'In loving memory of Leonard Nimoy', and, then '...For Anton' – feel particularly tender and respectful, capping off a movie in which subtle nods to both the earlier movies and television series are everywhere. This is, as they say, 'one for the fans.' Still, newcomers will find more than enough to enjoy about Star Trek Beyond in their own right, too. https://www.youtube.com/watch?v=XRVD32rnzOw
Keeping the romance alive can be difficult when your girlfriend is thousands of miles away and sometimes phonecalls, frequent visits and even video chat don't cut it. But Walter C. May has officially upped the ante on romantic gestures with this viral love letter. With his roommates, who just happen to be a band called the Daylights, May wrote a song called "I Hope This Gets To You", filmed silvery hands coming together to form faces that mouth the lyrics and unleashed it upon the Interwebs. It's already been tweeted by Katy Perry. May is hoping this video reaches his girlfriend, who's on the other side of the country at grad school, solely through the power of the viral internet, because he wants to show his lady that they "can feel close without having to be close every day." All together now: Awwwwwwwwwwwwwwww. https://youtube.com/watch?v=EjgtxVxE14A [via Gizmodo]
If you're going to run two wholefoods eateries on opposite sides of Brisbane's inner city, you're probably going to consume a hefty amount of caffeine to get you through the day. That must be the case for Botanica Real Food's Alison and Brett Hutley. In fact, they're taking their love of coffee to the next level by opening their very own brew-slinging cafe. Opening up just two doors down from Botanica's Teneriffe site, Greenhaus Coffee fills a gap the duo's fans will be well aware of: neither of its stores serve coffee. "We always had a firm stance that we wouldn't, as long as we were neighbouring a coffee shop," says Alison. Then the cafe next door to their Doggett Street digs relocated. "[Then] it was impossible to find a reason not to launch Greenhaus Coffee," she explains. Greenhaus is open for breakfast, brunch and lunch seven days a week, with its focus firmly on flavoursome cuppas and tasty morning nosh. The former comes courtesy of New Zealand coffee roasters Allpress Espresso, while the latter features grab-and-go options — including Botanica's breakfast tartines (toasted sourdough with assorted sweet and savoury toppings) and parfait cups (espresso and date brown rice porridge with coconut yoghurt). As for new menu additions, expect mini spinach and parmesan brioche toasties, spelt and raspberry scones, apple and cinnamon crumble loaf, and warm vanilla porridge.
Think of the possibilities: that's a statement at the heart of science as a discipline, and it must be a guiding principle at World Science Festival Brisbane as well. Since it held its first event in 2016, this celebration of curiosity about the world we live in — and beyond — keeps finding new ways to surprise with its annual program. Head along in 2025 and you'll be able to unpack the physics of skateboarding, let seafaring cinema flicks float your movie-loving boat, explore the affects of awe, peer at the Antarctic landscape, dive into the quantum realm, hang out with Australian wildlife, peer inside labs and more. This is the tenth time that the Brisbane offshoot of the New York-born event has taken place, this time filling Brisbane and heading to Ipswich from Friday, March 21–Sunday, March 30. Your destinations: Queensland Museum, the Cultural Precinct, South Bank Piazza, Fish Lane and Queensland Museum Rail Workshop, for starters, for talks, panels, installations and events across a full lineup of 200-plus sessions. Skating joins the program via an arena show that blends gravity-defying extreme sports with science — and expect to never think about hopping on a board the same way again. A reliable favourite at the Gallery of Modern Art's Australian Cinematheque, the festival's film program is screening six flicks: The Life Aquatic with Steve Zissou for a bit of Wes Anderson comedy, 1954 page-to-screen adaptation 20,000 Leagues Under the Sea, Studio Ghibli's Ponyo and recent Disney sequel Moana 2, as well as a double dose of fearsome creatures via documentary Playing with Sharks: The Valerie Taylor Story and classic blockbuster Jaws. [caption id="attachment_816357" align="alignnone" width="1920"] Digital scanning by Oscans in 2019 on authority of Carl Reinecke of WildBear Entertainment.[/caption] Why do humans seek the feeling of awe? Brisbane artists Counterpilot will help you understand, setting up a makeshift laboratory at Queensland Museum — and letting you either take part, complete with using biometric sensors, or watch on. Does the Antarctic landscape inspire awe? Answering that isn't part of Counterpilot's addition to the program, but you'll find out at The Cube at QUT, where icy climes will feature across 26 multi-touch screens spanning two storeys in height. A Co-Founder of World Science Festival, Professor Brian Greene is back on the bill for another year, chatting quantum physics. For more on the subject, Quantum Australia's Quantum Conference is also on the lineup. From there, when you're not checking out family-friendly activities at Lone Pine Koala Sanctuary — or going behind the scenes at State Library of Queensland, Queensland Herbarium, QUT Centre for Robotics and other interesting organisations — you can hear about research that might suggest that ageing isn't inevitable, watch battling machines, learn about crustaceans and ponder all things Mars. Leigh Sales and Annabel Crabb return for another Afternoon of Science chat, and the fest's yearly debate is again bringing humour to the topic. At QPAC, you can also listen to free string tunes — or at Fish Lane, culinary experts (think: flavour chemists, sensory scientists and food researchers, plus chefs and mixologists) want you to contemplate the science behind food and drinks, including by doing some tasting. For those eager to switch off, the detox sessions have that in mind, such as on a birdwatching walk in the Archerfield Wetlands. [caption id="attachment_993691" align="alignnone" width="1920"] Atmosphere Photography[/caption]
