As fun as parties, feasts and downing eggnog all are at this time of year, one thing can make them better: games. We're not just talking about guessing how long until your uncle falls asleep after lunch, or seeing who knows all the words to every pop Christmas carol. Instead, we're talking about eating, drinking, playing and being merry in Brisbane's very own bar-slash-arcade. 'Tis the season for all of the above at Netherworld, and they're throwing quite the shindig to prove it. Just bring your button-mashing self, some cash for tokens, brews and a Hellmouth roast, and a wrapped can of beer that you can swap for another in the Secret Santa pit. It all takes place from 5pm on Saturday, December 22, complete with Santa pictures in-between rounds of whatever pinball, arcade, console or board game takes your fancy. Photos require a donation, with funds going the Asylum Seeker Resource Centre. And a karma keg will be pouring at the bar, raising more cash for those needing some festive help. Image: Cole Bennetts.
Sicario begins with an ordinary-looking slice of Arizona's desert-bordered suburbia, roving over rows of homes as far as the eye can see. As the kidnap extraction operation that will soon storm the doors of one particular house — and find much, much more than they bargained for — swiftly reveals, there’s little that’s normal behind the average facade. In a powerful start to his latest feature after Incendies, Prisoners and Enemy, director Denis Villeneuve ensures the chasm between perception and reality is apparent; indeed, it will echo throughout the feature. It's a fitting kernel of thought to plant in the minds of viewers who will witness 121 minutes of procedural tension seemingly concerned with the titular term — cartel slang for hitman in Mexico — in the context of the drug war, but actually delving into the haziness of trying to do the right thing by any means. It certainly bears remembering that Villeneuve doesn’t make films that could be considered easy viewing. As written by actor-turned-screenwriter Taylor Sheridan (Sons of Anarchy), Sicario jumps into the United States' furtive attempts to arrest the impact of the narcotics trade, then creeps through shades of grey, shimmers of complex uncertainty and slivers of necessary compromise. Accordingly, three figures earn the grim film's focus: FBI agent Kate Macer (Emily Blunt), plus government contractors Matt (Josh Brolin) and Alejandro (Benicio Del Toro). After leading the charge in the opening events, the former is asked to volunteer to work with the latter two men to bring a drug lord to justice. Their idea of how to do so, abandoning the rules in favour of operating in the shadows, differs to the by-the-book approach Macer prefers. Comparisons to Zero Dark Thirty prove apt and earned for an effort that treats its bristling violence and brutal set pieces as routine, strands its protagonist with reaching for an end result that can't be achieved by above-board means, and navigates the moral quandaries and harsh realities that spring. The striking, sunlit visuals, lensed by 12-time Oscar nominated cinematographer Roger Deakins (Skyfall) and seething with gritty texture, add to the overwhelming feeling of inevitability and despair Macer is saddled with, with as much said by the framing — often preferring to peer on at conversations from a distance, or capture action via aerial shots — as by the dialogue. Such rich imagery is matched not only by an unrelenting, rattling, bass-heavy score, but also by a trio of performances that simmer on screen. Blunt, continuing a spate of great choices of late that has included Looper and Edge of Tomorrow, finds the right mix of resilience and vulnerability as the woman at the centre of a puzzle she's being precluded from piecing together. Del Toro wears the feature's weariness, vagueness and murkiness in his gaze, while Brolin does the same thing with his sly smile and casual attitude — and becomes the film's standout player in the process. Indeed, Brolin acts as a weathervane for Sicario's end result, offering layers of quiet power that build with every exchange and altercation into an ever-troubling picture of ambiguity and unease. You're never quite comfortable with his character, nor should you be with the feature he's in, as compelling, confronting, stunning and downright exceptional as it is.
Brisbane is gearing up for another balmy season, and, at the city's busiest new food precinct, Tex Mex hot-spot El Camino Cantina is set to join the party on the first weekend of summer. El Camino comes from Sydney where is has two outposts, and is part of Rockpool Dining Group, which also owns Sake, Burger Project and the nearby Bavarian Beerhaus. This loud venue is casual and over-the-top with giant cocktails, rock 'n' roll jukeboxes, lively Tex-Mex fare and sprawling 300-seat dining room and bar. At the big L-shaped bar, eight slushie machines signal big nights and brain freezes — El Camino's margaritas come in a swag of flavours and multiple sizes, including a group-friendly two-litre tower. Other options include a host of beers from near and far, and a collection of over 100 mezcals and tequilas. To match, the food lineup is equally vibrant. Think fiery buffalo wings, sizzling fajitas, plump burritos, soft shell tacos loaded with punchy flavour combinations and unlimited complimentary corn chips and salsas, It's all rounded out with a solid selection of daily specials, including 10-cent chicken wings on Tuesdays, $2 tacos on Wednesdays, brunch on weekends and a weekday happy hour from 4–6pm. The venue will launch on Friday, November 30 with a weekend-long fiesta, starting with a ticketed party on Friday night and continuing with $2 tacos, 10-cent wings, free tortilla chips and $7.50 margaritas across Saturday and Sunday. El Camino Cantina will open at 45 King Street, Bowen Hills on Friday, November 30. To head to El Camino's launch night, you'll need to snag a ticket here. Images: El Camino Cantina Manly by Tom Ferguson.
From unflinching violence to unbridled sexual passion, some of the most important films in history are the ones that dared to push the boundaries. Doubling down on last year's lineup of controversial cult classics, World Movies presents More Films That Shocked the World from Monday, March 17. This five-day selection of taboo-shattering cinema consists entirely of Australian television premieres. Each one of these films has been the subject of censorship in this country, and when you see them, you'll understand why. It's a program designed to challenge your expectations as well as your limitations, not to mention, at times, your stomach. Prepare yourself people; these films are not for the faint of heart. https://youtube.com/watch?v=vUd_6FF4AtM PINK FLAMINGOS (1972) The film that launched both director John Waters and LGBTQ icon Divine to the far-reaching fringes of the American cultural underground, Pink Flamingos was marketed as an exercise in bad taste; rarely has an ad pitch been so accurate. A pitch-black gross-out comedy, the film tells the story of an overweight transvestite (Divine) with a mentally disabled family who goes to increasingly depraved and then violent ends to defend her title of 'filthiest person alive'. Scenes of coprophagia, cannibalism, bestiality and anal acrobatics earned the ire of Australian censors while at same time helping the film become one of the most notorious midnight movies ever made. Monday, 17 March, 9.30pm https://youtube.com/watch?v=ZkCTSn8gcL4 I SPIT ON YOUR GRAVE (1978) Surely the nastiest pick in the week-long program, this hideously violent rape-revenge tale contains some of the most brutal scenes of sexual brutality that have ever been put to film. Director Meir Zarchi initially self-released the movie after no other distributor would do so. Once it received wider play, critic Roger Ebert labelled it "a vile bag of garbage", a pan that probably ended up helping the film at the box office. Many have debated over the years whether the film is a celebration or an indictment of the sexual violence it depicts. Now, if you dare, you can make up your mind for yourself. Tuesday, March 18, 9.30pm https://youtube.com/watch?v=IU3P6WXzvXU HENRY: PORTRAIT OF A SERIAL KILLER (1986) Based loosely on the crimes of Henry Lee Lucas, this grim, ultra-low-budget serial killer film spent more than four years on the shelf after being completed, as the producers were faced both by a hostile ratings board and the challenge of marketing what they had made. Eventually released in 1990, Henry: Portrait of a Serial Killer is not a particularly gory film yet remains disturbing to this day because of the casual and highly realistic fashion in which the protagonist commits his crimes. By being purposely unentertaining, Henry takes the glamour out of a genre that has fascinated us for decades, raising some pretty prescient questions about our obsession with serial murder. Wednesday, March 19, 9.30pm https://youtube.com/watch?v=g3hSsK61NsE EMMANUELLE (1974) Released at a time when pornography was flirting with the mainstream, this soft-core sexual odyssey follows the affairs of a young French woman living with her husband in Bangkok, and was sold as a classy alternative to the likes of Deep Throat and The Devil in Miss Jones. Although not well received by critics, the film was a massive hit in both Europe and the US, spawning six sequels and literally dozens of spinoffs, including eight made-for-TV movies set in space. Classy indeed. Thursday, March 20, 9.30pm https://youtube.com/watch?v=lj0BnsF1FXs CALIGULA (1979) A fitting way to end a week brimming with cinematic depravity. The disastrous story behind this porn-filled epic is more entertaining than the movie itself. A lavish biopic about an insane Roman emperor, the film was plagued by delays and ran horrendously over budget — and that was before producer and Penthouse founder Bob Guccione wrestled control away from director Tinto Brass and decided to shoot several unsimulated sex scenes to be included in the final cut. A perfect example of a production gone to hell, if you ever wanted to see Helen Mirren, Peter O'Toole and full penetration in the same movie, then Caligula should be right up your alley. Friday, March 21, 9.30pm
Just north of Brisbane, muggles and magical folk alike can shop for wands, pick up Harry Potter merchandise, knock back butterscotch brews and try Bertie Bott's Every Flavour Beans, all at Samford's Store of Requirement. For wannabe witches and wizards, that's reason enough to pretend that your car is the Hogwarts Express and make the half-hour journey out of town — but if you need more motivation, the enchanting shop is now hosting Harry Potter-themed tournaments. It's not quite the Triwizard Tournament, but The Store of Requirement's Wizard's Tournament will put your skills to the test, as well as your Harry Potter trivia knowledge. When you're not answering questions about the huge book and film franchise, you'll solve escape room-style riddles and puzzles. Each two-to-four person team will represent a different house while they're competing (and no, everyone can't be in Gryffindor). While just what the escape room part of the fun will entail hasn't been revealed, it has been designed by Escape Hunt Brisbane and Directors of the Extraordinary. The latter was behind the huge interactive zombie game, Containment, that took over Brisbane Powerhouse back in 2017, so you can reasonably expect their Potter antics to be immersive. After kicking off this week, four future events are scheduled — and although the July 25 tournament is already booked out, you can sign up for August 2, 9 and 22. Tickets cost $90 for two people, $145 for three and $190 for four, with an option to pay extra for cheese and fruit, cheese and meat, or hot food platters. A live scoreboard will track your progress throughout the night, so you'll know just how often you'll need to say "accio points!" to try to up your score. Unsurprisingly, dressing up is encouraged — so all that's left to do is find some Potter-loving friends to don some robes and house colours with you. Find The Store of Requirement at 22 Station Street, Samford Village — and head to the shop's website to book a spot at The Wizard's Tournament, which takes place at 6.30pm on August 2, 9 and 22.
El Camino Cantina has arrived in Brisbane, and it's giving the people what we want. If you're heading to a Tex-Mex bar and eatery, then you want plenty of tacos — and, ideally, you want them cheap. Enter the newcomer's weekly $2 Tacos session, which is exactly what it sounds like. Head by every Wednesday, and you can tuck into a highly affordable feed in Bowen Hills' latest addition, with the selection changing each week. They're not your ordinary flavours either. Even if you think that there's no such thing as a bad taco, you can treat your tastebuds here. Fancy a cheeseburger taco? Beer-battered barramundi? Coffee-spiced smoked pork belly? They're all on El Camino's usual menu, so expect them to feature among the $2 range. And if you'd like a beverage, the regular range of margaritas, cocktails, wines and beers are on offer. Consider this a PSA: the venue has eight slushie machines, so you might want to sip something semi-frozen.
It's not often you get to see bears casually drinking next to cheetahs. New York-based artist Cai Guo-Qiang's first solo exhibition in Australia is something of a cross between The Lion King and Noah's Ark that way. The exhibition, titled Falling Back to Earth, consists of three large-scale, nature-inspired installations, two of which are commissions inspired by the artist's own experiences in Australia. Heritage (2013) features 99 lifelike animals from all around the world drinking from a blue lake surrounded by white sand. The other new work is Eucalyptus (2013), a long gum tree extending the length of the gallery, and the third piece on display is the artist's famous and fabulous Head On (2006), where 99 artificial wolves are shown in various stages of colliding with a glass wall. The exhibition has been hugely popular at GOMA, where opening hours have been extended on Wednesday nights for the last four weeks, until it closes on May 11. Thanks to GOMA, we have five double passes to give away that can be used at any of the Wednesday night viewings (16, 23, 30 April or 7 May). To be in the running, simply subscribe to our newsletter (if you haven't already), then email win.brisbane@concreteplayground.com.au with your name and address.
Tasmania's sinister winter music and arts festival Dark Mofo scrapped its 2020 festivities due to the pandemic, but that cancellation has turned out to be a one-off. The event returned in 2021 — amid controversy over an artwork that was announced and then ditched — and it has just confirmed that it'll be back again in June 2022, too. Next year's festival will run between Wednesday, June 15–Wednesday, June 22 in Hobart, if you're already thinking about how to spend the frostiest part of 2022. Run by the Museum of Old and New Art, it'll be funded by $2.5 million from the Tasmanian Government, plus another $2.5 million from MONA owner David Walsh. And, it'll also receive dedicated marketing support from Tourism Tasmania. The event's program won't be announced until sometime in autumn — usually it drops in April or May — but it's set to explore "the ideas of rebirth, reincarnation, and new life". "After the death of the 2020 festival, and a near-death experience in 2021, we're beginning the next era of Dark Mofo," said Dark Mofo Creative Director Leigh Carmichael. "As the world emerges from the darkness of COVID-19, we're hoping Dark Mofo 2022 will provide opportunities for us to reconnect and celebrate winter in the manner we'd become accustomed to prior to the health restrictions around travel and events." [caption id="attachment_800592" align="alignnone" width="1920"] Lusy Productions[/caption] Previous years' lineups have seen a fantastical combination of musical performances, performance art and large-scale installations come together. In 2019, the program featured the likes of artists Ai Weiwei and Mike Parr, American musician Sharon Van Etten and one of the world's largest glockenspiels, for instance. In 2021, the program included a vibrating chamber filled with light, guided night walks through Hobart led by teenagers, 49 search lights beaming up into the sky and multiple performances by Sonic Youth founder Thurston Moore. Dark Mofo will run from Wednesday, June 15–Wednesday, June 22 in Hobart, Tasmania. The 2022 program will be announced in autumn. Top Image: Jesse Hunniford.
It's only February but already it might be possible to name both the worst film and least funny comedy of the year. Fist Fight, starring Charlie Day and Ice Cube, is a monument to stupidity. Its characters are amongst the thinnest and most derivative ever constructed, its plot is simultaneously ludicrous and entirely dull, and its capacity for comedy exists almost solely as outtakes in the final credits. The film's first-time screenwriters rely exclusively on a three-tiered approach of dick jokes, incessant swearing, and a female teacher's desire to have sex with a minor, forever backed by Day's high-pitched stammering whine. Story wise, Fist Fight takes place on muck up day in a US public school, where the students run riot, the teachers are powerless (or apathetic, or both), and the school board is laying off staff to meet budgetary requirements. When Day and Cube's characters clash over an incident in which Cube takes to a student's desk with a fire axe, Cube challenges the diminutive Day to a fist fight in the school yard after class to settle things once and for all. That none of the faculty, campus security or police department demonstrate any interest in properly addressing either the axe-on-student incident OR the imminent crimes of: assault and battery, disturbing the peace, affray or disorderly conduct, somehow represents the least implausible part of this entire abysmal experience. Alongside Day and Cube are various actors of note in roles that are completely beneath them. Tracy Morgan plays an incompetent sports coach, Christine Hendricks plays a butterfly-knife wielding French teacher, and Jillian Bell plays a meth-addicted guidance counsellor determined to get herself some 'teenis' (teenage penis). The whole conceit is so laughably unlaughable that it's astounding the script ever caught a studio's attention. That actors willingly signed on, well...let's just hope the money was worth it. https://www.youtube.com/watch?v=9aIzXYo6VCE
Think of Thailand and you probably think of idyllic beaches, excellent food and lovely, welcoming people. But there's one more thing you can add to that list: trash. Specifically, agricultural and industrial waste. In the country's creative and industrial hubs, a group of environmentally conscious Thai brands are creating practical objects out of discarded materials and embodying the ethos of DEWA and DEWI, or Design from Waste of Agriculture and Industry — a method that uses design and creativity to both repurpose waste and minimise pollution. As the old saying goes: one man's trash is another man's treasure. And in this case, the proverbial trash has been repurposed to create treasure in the form of tableware, carry bags and eco-friendly upholstery. Pineapple by-products, unused medical gloves, car parts and even food scraps are all being transformed into products that are useful, eco-friendly and aesthetically pleasing. And as the other old saying goes: waste not, want not. We've teamed up with Thailand's Department of International Trade Promotion to showcase six brands that are solving environmental problems and hitting consumer demand all in one go by turning garbage into gold. THAI NUM CHOKE Thailand has a huge pineapple industry and that mammoth crop leads to a whole lot of pineapple leaves ending up as waste each year. The unwanted leaves are usually discarded via burning, causing an extra kick of waste, too. But it turns out this fibrous material doesn't need to go up in flames. At Thai Num Choke, pineapple leaves are transformed into fibres, yarns and even vegan leather before being reborn as bags, clothing and award-winning fabrics. Blended with industrial materials and hemp barks (another agricultural waste problem), the fabrics make for durable upholstery and beautiful, environmentally responsible leather. Thai Num Choke also uses natural dye sources and is looking at reclaiming other waste products to expand its innovative textile making. LAMUNLAMAI It's no secret that food waste is a big environmental issue. But what if that waste could end up back on the table — think, an egg cup made of eggshells, coffee accoutrements made of coffee grounds and a vase made of carrot pulp. At Lamunlamai, that's exactly what you'll find. Taking waste from individuals, restaurants and industry, Lamunlamai creates artisanal ceramic tablewares, the shapes and subdued natural hues of which are made to echo their source material. Utterly unique and with exquisite attention to detail, each piece is a beautiful work of art for the table which harks back to the company's origins in creating custom pieces and art installations. MUNIE The Delight Collection by Munie has very humble beginnings: weeds and waste. In Thailand, water hyacinths infest city drains and need to be regularly cleared. As it turns out, those tough but elegant masses of weeds can be turned into natural fibres that are light, quick-drying and absorbent. When woven into yarn with cotton scraps, this waste matter becomes a useful and beautiful fabric that can be used to make pillows, slippers, cushions, table-runners, hats and baskets. Munie supports a strong rural economy by investing in local workers, making its fabrics sustainable and socially conscious all the way along the production line. RUBBER IDEA Rubber Idea is a clever concept. In a post-plastic bag era, the 5 billion unused medical gloves that go to waste each year seemed like a golden opportunity to create recycled and reusable carry bags. After all, rubber is waterproof, easy to clean and the latex can be reconstituted and coloured in vibrant hues, giving you a functional and environmentally responsible bag that also provides a solution to a huge waste problem. It's not just bags that Rubber Idea has mastered. It also has a line of pet products including accessories, temperature-adjustable bedding and chewable and snack-dispensing toys. Because why shouldn't your beloved pet live the same environmentally conscious lifestyle as you? CHYWA You probably think about petrol pollution and the fossil fuels that are used to power your car regularly, but what about the environmental impact from the actual car itself? Airbags alone result in tonnes of waste each year across Asia, Europe and the US. But they're a durable material: tough, wrinkle-resistant and made to withstand stress and hard knocks. In other words, ideal for the outdoors. Chywa receives airbags and seatbelts from Thai garages and up-cycles them into outdoor lifestyle products. The range features stylish and functional camping gear including backpacks, folding chairs, shoulder bags and wide-brimmed hats. With tourism being an integral part of Thailand's economy, integrating sustainable practices to improve the ecological footprint of this industry makes complete sense. RENIM PROJECT Producing just one brand-new pair of jeans uses on average 7,600 litres of water and can create up to 60 kilograms of CO2 emissions. And when you think about how many new pairs of jeans are made each year, that's a lot unnecessary usage. With fast fashion being such a big polluter, consumers are wising up and looking for alternatives. The solution? Recycle, reduce and redesign denim via The Renim Project. This Bangkok-based label raises awareness around denim waste through Thai craftsmanship. Using all scrap parts — including zippers, buttons and leather labels — the project reforms waste into stylish new fashion items, such as eye-catching patchwork clothing, bags, accessories and even placemats and table runners. The Renim Project also collaborates on limited-run items that have made their way into LA Fashion Week. Keen to explore more waste-embracing Thai brands? For more information, visit the DITP website, or explore more of Thailand's booming creative scene here.
If you find yourself thinking back on Law & Order re-runs, Quentin Tarantino's Reservoir Dogs or Heath Ledger's turn as the Joker in The Dark Knight, you're probably thinking about one particular type of scene. There's an art to a good on-screen interrogation — to seeing characters verbally spar back and forth, as one probes for answers and the other tries to avoid their questions — that's riveting when it's done well. It's also hilarious when it's done comedically (see Brooklyn Nine-Nine); however, nothing beats a grim, serious, eyes-blazing, nostril-flaring confrontation between a suspected criminal and a savvy detective who are both confined to the same small room. Netflix, in its seemingly never-ending quest to turn every single possible idea into highly binge-able streaming content, took this concept and ran with it in its anthology crime series Criminal — which first premiered last year. Love interrogations, but not so fussed about all the stuff around them? Then you'll want to glue your peepers to this, because it's all about heated chats in police interview suites. In fact, that's all it's about. And, after a first season that spanned dozen different tales across just as many 45-minute episodes — spending three episodes each focusing on cases in France, Spain, Germany and the United Kingdom — Criminal is coming back for a four-episode UK-based second season. While the first batch of episodes featured David Tennant and Agent Carter's Hayley Atwell among its British cast, this time around the show has enlisted Game of Thrones' Kit Harington, Catastrophe and Game Night's Sharon Horgan, The Big Bang Theory's Kunal Nayyar and Wild Rose's Sophie Okonedo to answer a barrage of tense questions. Once again, expect claustrophobic, cat-and-mouse-style confrontations — and twisty narratives that rarely go in the direction expected. The show's second season will hit Netflix on Wednesday, September 16. Check out the season two trailer below: https://www.youtube.com/watch?v=VtHBrjgDjes Criminal's second season will release on Netflix on Wednesday, September 16.
Launch into your weekend with some dirty work with Kent Florist The florist hosts a plant-oriented workshop every saturday. It could be ikebana, mini cactus garden making or DIY kokedama — that's Japanese for moss balls. Literally. But they're more appealing than this direct translation might suggest. The moss is the basis of a mini, hanging pot plant, featuring your favourite succulent, fern or the like. At the workshop, you'll learn the history of kokedama while making two of your own. Everything you need for each of the workshops is provided and you'll be sipping green tea and sampling Japanese sweets while you work. Book online in advance, and don't forget an apron to avoid post-plant grubbiness.
Eye. Aperture. Descender. Spine. A weird collection of words, but for a typographer (or a publication nerd like me) they make perfect sense together. Every letter of the alphabet can be split into components which can be moulded and shaped, cut and stretched to create unique typefaces. Having been exposed to so many for so long, we don't actually realise how much of an impact fonts have on our perception of the world around us. For those of us too busy to enrol in a graphic design course but still passionate about learning more there is Typography Insight. The iPad application allows you to get up close and personal, and thereby understand the amazing cratsmanship that goes into making ordinary letters into extraordinary fonts. The resource is encyclopedic in depth, You can be guided through font terminology, compare fonts, or just admire the intricacies that only a super close-up can offer. The designer Dong Yoon Park ask: "How can the cold and rigid design approach of many top-notch technologies be turned into warmer and friendlier interfaces?" https://youtube.com/watch?v=wkoX0pEwSCw [via Gizmodo]
A Queenslander on Main Street is Kangaroo Point's new fish 'n' chip destination, whether you're keen for some paper-wrapped takeaways or a serving of the ocean's finest to eat in. Run by owners Daniel and Amelia Miletic — with the former bringing plenty of seafood expertise from his time at Burleigh Heads' The Fish House — One Fish Two Fish serves up familiar dishes, new takes on old favourites and plenty of booze. Think oysters, crumbed calamari rings, battered cod and baby whiting, all fish 'n' chippery staples — soft-shell crab sliders, cajun fish taco nachos, Thai green curry with prawn dumplings, and a seafood risotto packed with fish, shellfish and crustaceans. Or, in the traditional camp, the trusty fish burger has been dubbed the 'Quarter Flounder' and comes with panko-crumbed flounder goujons, lettuce, cheese, house-made tartare and fries. Also a highlight is the whole salt-baked fish of the day, as well as a potato-centric range of fries, chips, scallops and potato bake with your pick of sea salt, chicken salt, vinegar salt or cajun powder seasoning. Or, if you're stopping by on a Sunday, you'll find a $69 seafood and bottomless rosé package on offer. Tuck into a 'seacuterie' platter and your choice of a main, and sip endless pink drinks for two hours. As for the rest of the beverage list, the full range includes 30 wines, five beers and ciders on tap — and seven by the bottle or can — plus espresso martinis, peach spritzes and Pimm's. And the aforementioned 'seacuterie' platter is also available for $35 every day of the week, which includes two glasses of wine.
Melbourne's restaurant scene is vast and varied. But what do the Meatball and Wine Bar, Circa The Prince, Little Hunter, The Estelle, Izakaya Den and Jacques Reymond have in common? Their plates, that's what. Behind this homewares evolution is Glenn Tebble Homewares, from Unique Pottery, who create tableware and tailor-made designs for restaurants and chefs. Made from stoneware, each piece is designed and created right here in Melbourne and embraces the unique, ever-changing nature of the food scene. Through his time working with chefs and restaurateurs, Glenn Tebble, the man behind Glenn Tebble Homewares, came to find that people were looking for items that just didn't exist yet. And so, their bespoke range was born. Together with chefs, Glenn designs and creates products on a need-by-need basis. Collaborating with some of Melbourne's best restaurants, Glenn tells us how some of these ideas came to fruition. Scott Picket and Ryan Flaherty – The Estelle "Long-time customers and all-round good blokes from The Estelle Scott Pickett and Ryan Flaherty have always been a good source of inspiration. With their history in Michelin star restaurants overseas, the boys were often coming to us with ideas, and not just from the design side of things. The boys suggested what we now call the splatter range. "We developed a new colour option by using two kinds of glazes, whether it was a two toned colour or an abstract kind of finish. It opened a gateway for a whole new line of products — some of the glazes also present a textured look and feel." Meatball and Wine Bar "The team at Meatball And Wine Bar were on the hunt for a specific bowl for their balls. As I had worked with their management team previously, they approached me. We designed what is currently our most popular bowl. It was made it to the specifications, and managed to streamline it with our existing larger bowl, creating a new range. As you can see, the gents at Meatballs are very happy with the result." Simon Denton – Izakaya Den "Some time back now, I approached Simon Denton, from Izakaya Den. Simon loved our range and went on to purchase a large quantity for his underground gem. Simon also liked our large sushi plate, but he also wanted one a little smaller. Again, I got the design team onto it and it was in his restaurant within six weeks. We must have made an impression, as when Denton launched his revamp of the old Verge site, now Numa Numa, he came to us for his bespoke noodle bowls." Paul Wilson – Melbourne Pub Group "Paul Wilson came to me with a plastic shaped taco holder that they had been using — just as the taco scene went crazy in Melbourne. He wanted something similar but a lot sexier! We made two versions, one that could hold two tacos and another that could hold four. The end result surpassed his expectations. We have since seen more chefs use their creative flair — with Guy Grossi using it as a panini holder and, thinking outside the square, other ideas have been for mini hotdogs, souvlakis and as a vessel for a cheese display." Tony Twitchett – Taxi Dining Room "Tony Twitchett from Taxi Dining Room in Melbourne loved our range, but at the time we had nothing that suited his needs. He required a large rippled square platter for his signature duck dish and their amazing sashimi. So, we put a conservative spin on his idea and we came up with one of the very few square plates that we have in our range.”
It's the exercise trend that has swept the world, and popped up in Sydney and Melbourne in the process. And yet, somehow silent yoga hasn't made its way to Brisbane. On September 11, The Urban Bliss Sound Off Experience will change that in one of the CBD's most central and visible public spaces. Yes, it's exactly what it sounds like: keen yogis will stretch and shoosh, with teacher Esther Wallace-Hill delivering cues regarding poses and movements via wireless headphones. Attendees will also listen to music piped straight into their ears during a 75-minute class that's open to yoga fans of all experience levels. Up to 250 people can participate — and while those that do will pay to take part, all proceeds raised will go towards a good cause. The event is designed to not only promote the latest yoga style, and help Brissie's stressed out citizens bend, stretch and breathe their way to inner bliss, but to raise funds for the Black Dog Institute's mood disorder diagnosis, treatment and prevention efforts. And if you're on the Gold Coast and can't attend, don't worry — you're won't miss out. Not just silent yoga but silent disco yoga is coming your way courtesy of Flow After Dark. It's clearly a great time to exercise as quietly as possible in the Sunshine State. The Urban Bliss Sound Off Experience takes place in King George Square. at 5.30pm on September 11. For more information or to buy tickets, visit the event's Facebook page.
When it comes to planning the next catch-up with your mates, anything bottomless is sure to be a winner. And, with bottomless lunches and dinners being all the rage recently, there's plenty of options to choose from. To make that choice even harder, The Kenmore is slinging bottomless sliders every Thursday night from 5.30pm. Kicking off from October 24, you can head down to the tavern's Public Bar for two hours of mini-burger goodness. At just $25 per person, it's the perfect choice for a cheap date or long-overdue catch-up. Plus, the Public Bar is reservation-free, so you won't have to worry about booking in advance.
Although Longtime hasn’t been on the scene for a very long time (geddit?), their contemporary Vietnamese share dishes have certainly made an impression. If you love seafood, sharing, gorgeous interiors and cocktails on arrival, this is the Good Food Month event for you. For $90 you can try a seafood smorgasbord, including soft shell crab bao, Moreton Bay bug curry, banana flower and egg salad nets, plus a cocktail and dessert to finish you off.
No matter what their colour, condition, or quality, Rutherford Chang wants your iconic 1968 Beatles 'White Album'. Although it was only sold as a limited edition item, the White Album sold over 3 million copies back in the day. The album was unique in its simplicity with a purely white cover and only an embossed script of the band's name and a serial number to distinguish it from a plain piece of cardboard. However, the period of 45 years proves to completely transform these indistinguishable albums into individuals each with their own personality. After a lifetime of differing experiences, alternate uses, and completely separate wears and tears, these plain white albums now share rich historical stories through the text written on their covers, the scratches in the music, the yellowing on the corners, and even the mould on the surface. These intricacies, these signs of love, rejection, kinship, or heartache are exactly what Chang is interested and why he was inspired to collect as many of these White Albums as possible for his exhibition: 'We Buy White Albums'. What he calls his 'anti-store' is set up in SoHo, New York and being featured by the artistic workspace Recess. Rather than selling these aged vinyls, Chang is offering to buy any White Album for a fixed price, no matter what their condition. Chang was fascinated by the concept of mass customisation. Although the white albums start off as homogenised products, each as identical and monotonous as the next , he "noticed how personalised every copy of the White Album has become over the course of the last half century and wanted to compare different copies.” While some copies may have been played religiously every night for a decade, some were played once then discarded and others may have been passed down a long line of buyers and sellers, rocked out at in clubs, provided background music for parties, or even experienced the blossoming of love or the breaking or hearts. Each individual album has been distinctly shaped through its history, which is evident through the imperfections in both its physical appearance and audio quality. The 'We Buy White Albums' Exhibition is on show until March 9; however, Chang is determined for it not to simply reach a standstill there. He has collated over 697 records to date and doesn't intend to simply discard the treasures like so many have before him. Following the closing of the anti-store, Chang will press a double LP of all the songs from 100 different albums layered together in a single audio sequence. Each discrete record has developed its own unique character with scratches and warps at various points in the songs. The resulting track will be like hearing hundreds of Beatles albums at once, with the individuality of each standing out above the next. Via Wired.
Spring, Brisbane and a scenic riverside spot — that's a great way to spend a Saturday. It's exactly what's on the agenda at the new Bulimba Street Food Festival, which heads to the Bulimba Golf Course on September 14. As well as a range of different bites, snacks and meals from a yet-to-be-revealed range of street food vendors, the fest will feature pop-up bars. All that's left is to grab your picnic blanket, gather the gang and settle in for a cruisy afternoon. With a beer or wine in hand, a plate of international cuisine in front of you, and the sun shining, you won't have a care in the world. Run by the Design Collective Markets, the fun runs from 3–9pm, and entry is free — which leaves you with more cash to splash on street food. There'll be live music as well, and this is an all-ages event, so expect families and littlies for company. Image: The Design Collective Markets and Events.
'Escape room' has been a bit of a loaded term for the past 18 months or so. We all know how crucial lockdowns are to stopping the spread of COVID-19, but we've all dreamed about escaping our own four walls during stay-at-home stints, too. And, if you're a fan of actual escape rooms — the themed spaces where puzzle buffs track down clues, solve mysteries and try to sleuth their way out the doors — you haven't had too many chances to enjoy your favourite pastime during the pandemic. You mightn't be able to head to a physical escape room at the moment — you could be in lockdown in Sydney or Brisbane, or it hasn't been a priority after Melbourne's last stay-at-home stretch, for instance — but one Australian venue wants you to keep enjoying its mysteries within your own house. Arcadium Adventures set up shop in Spring Hill in Brisbane in 2020, complete with a bar and different spaces for patrons to puzzle their way through. Now, it's also releasing online mystery kits for you to enjoy at home. A Most Mysterious Convention is the first kit in a planned series, and it'll task you with figuring out a secret message — all by printing out and reading the materials provided, and also by doing some cutting and punching of holes (with a hole punch, of course). You'll be solving puzzles in the process, too, with the whole experience expected to take between 90–120 minutes. View this post on Instagram A post shared by Arcadium Adventures (@arcadiumadventures) If you get stumped, you can also access the Arcadium Archives online for hints and clues as part of the $20 kit price. And, if you'd prefer to get a physical copy that you don't have to print out yourself, you can get one posted to you for $28. Obviously, you now have something else to add to your to-do list while you're spending more time at home. Yes, your streaming queue can wait for a few hours of puzzles. For more information about Arcadium Adventures' A Most Mysterious Convention kits, or to buy one, head to the venue's website. Top image: Arcadium Adventures.
It's been home to David Lynch's eerie filmscapes, Yayoi Kusama's infinity and obliteration rooms, Gary Carsley's projected jacarandas and Patricia Piccinini's forest of flowers that aren't quite flowers. It has also welcomed a riverbed, a snowman and a suspended installation that visitors can climb through, too. Marvel has taken over the place, and European masterpieces from The Met have graced the walls as well. But a labyrinth of red and black wool? That's about to completely transform Brisbane's Gallery of Modern Art this winter. Yes, GOMA loves an immersive installation. It loves this one in particular — and yes, it should sound familiar. Originally, Chiharu Shiota: The Soul Trembles was announced as part of the gallery's 2020 lineup; however, we all know how that year turned out. So, it's coming Brisbane's way as an Australian exclusive from June 18–October 3 this year instead. The eye-catching exhibition will showcase the Berlin-based Japanese artist and her work over the past quarter-century, coming to Brisbane after premiering in Tokyo back in 2019. And while it won't sit 53 storeys up or come with panoramic views of the city, like it did in Japan, Shiota's string-heavy installations are certain to garner more than a little attention. Fashioned from millions of strands, they resemble weaved, maze-like webs and take up entire rooms. The Soul Trembles is the largest-ever solo exhibition by the artist — and although GOMA hasn't revealed just how much of the Tokyo lineup is coming to Brisbane, art lovers can expect an array of sprawling installations, sculptures and video footage of Shiota's performances, as well as photographs and drawings. Highlighting her fascination with intangible concepts, such as memory, anxiety, dreams and silence, the ticketed display is Brissie's big art date for the winter. [caption id="attachment_750700" align="aligncenter" width="1920"] Chiharu Shiota. b.1972, Kishiwada, Osaka Prefecture, Japan. Uncertain Journey (2016/2019). Courtesy: Blain | Southern, London/Berlin/New York. Installation view: Shiota Chiharu: The Soul Trembles, Mori. Art Museum, Tokyo, 2019. Image courtesy: Mori Art Museum, Tokyo. Photograph: Sunhi Mang.[/caption] The Soul Trembles will take over GOMA once the 10th Asia Pacific Triennial of Contemporary Art wraps up at the end of April. Also doing the honours this year: a blockbuster summer showcase called Air, which'll follow on from Water back in 2019 and 2020. Running from November 26, 2002–April 23, 2023, it'll feature works by Ron Mueck, Anthony McCall, Dora Budor, Jonathan Jones, Dr Uncle Stan Grant Sr AM, Carlos Amorales and Tomás Saraceno, all diving into air in a cultural, ecological and political sense — with further details to be revealed later in the year. Before that, though, Transitions will showcase historical Aboriginal bark paintings and contemporary Indigenous works from August 20, 2022–April 10, 2023, with pieces hailing from Queensland Art Gallery and GOMA's collection. And, over at QAG, Knowledge: Queensland Contemporary Art will run from August 13, 2022–January 22, 2023, complete with new commissions and recent work by Robert Andrew, Burchill/McCamley, Megan Cope, Archie Moore, Ethel Murray and Ryan Presley, as well as Obery Sambo, Vanghoua Anthony Vue, Rosie Ware, Jenny Watson, Warraba Weatherall and Justene Williams. From August 27, 2022–January 29, 2023, QAG will also present the first major museum survey of work by Queensland-born painter Joe Furlonger. In other words, get ready to spend a whole lot of 2022 — and much of 2023, too — in a Brissie art gallery. [caption id="attachment_677208" align="alignnone" width="1920"] Gallery of Modern Art, exterior, south and east face, James Turrell artwork.[/caption] QUEENSLAND ART GALLERY AND GALLERY OF MODERN ART 2022 PROGRAM: The 10th Asia Pacific Triennial of Contemporary Art at GOMA — until April 25, 2022. Chiharu Shiota: The Soul Trembles at GOMA — June 18–October 3, 2022. Knowledge: Queensland Contemporary Art at QAG — August 13, 2022–January 22, 2023 Transitions at GOMA — August 20, 2022–April 10, 2023. Joe Furlonger at QAG — August 27, 2022–January 29, 2023. Chiharu Shiota: The Soul Trembles displays at Brisbane's Gallery of Modern Art, Stanley Place, South Brisbane from June 18–October 3, 2022. For further details — or to find out more about the gallery's full 2022 slate — visit its website. Top image: Chiharu Shiota b.1972, Kishiwada, Osaka Prefecture, Japan. In Silence (2002/2019). Production support: Alcantara S.p.A. Installation view: Shiota Chiharu: The Soul Trembles, Mori Art Museum, Tokyo, 2019. Courtesy: Kenji Taki Gallery, Nagoya/Tokyo. Image courtesy: Mori Art Museum, Tokyo. Photograph: Sunhi Mang.
It seems we can't get enough Robo-Cop inspired tech. The robot exoskeleton that confers superhuman strength is already out there, and now circuit-laden contact lenses are being developed to beam augmented reality straight to your retina. Researchers at the University of Washington have developed lenses embedded with semi-transparent electronics, which most pundits report as an internet accessible contact lens. The reality, at this stage, is much more modest. So far the team have been able to put an 8 x 8 pixel array on a contact lens, and tested it on rabbits for twenty minutes — think Robo-Rabbit playing a quick game of checkers, rather than Minority Report. This article by the lead researcher Babak A Parviz discusses the difficulties with developing an augmented reality contact lens, but shows that we already have the technology to overcome most of the hurdles. The only question is getting it small enough, and safe enough, to fit on 1.5 square centimetres of polymer that sits on your eye. The piece also suggests uses for the tech other than web surfing — being in constant contact with fluids, it would be an ideal place for sensors to monitor health metrics like glucose levels. Being able to bat your eyelids and check your email might still be a pipe-dream, but perhaps we're not so far from having a health bar in the corner of the 'screen' reminding us when to have our next check up. https://youtube.com/watch?v=h1SlPUkC6Fc [via PSFK]
With Australia's borders firmly shut, international travel has been relegated to the realm of dreams, and it looks like it'll be staying there for a good long while. But if you're happy to pretend you're taking a getaway, Qantas has been offering up several products to help. First, it sold its pyjamas, amenity sets and other in-flight goodies. Then, it moved onto fully stocked bar carts. Now, the Aussie airline has released a luxe range of athleisure wear — the type of thing you'd don if you were heading off on holidays, obviously. Launched in collaboration with Australian designer Martin Grant, the new collection has a retro feel, too — because fondly recalling better times gone by is another thoroughly 2020 pastime. A number of Qantas' vintage logos are splashed across range, so you can choose between old-school lettering or the famed kangaroo motif. The collection spans a cashmere jumper, a hoodie, sweatshirts, t-shirts and a beach tote. Colour-wise, the range highlights the company's red and navy colour scheme, as well as grey and wattle yellow. And yes, it's definitely designed to make you feel nostalgic. "This collection is all about classic shapes, comfortable styles and materials that are kind on the environment. But the hero of the designs are the iconic logos that evoke so many fond memories for Australians," said Grant. If wearing an airline logo will make you feel like you've jetted far, far away, a word of warning: this limited-edition collection doesn't come cheap. If you're paying cash, you can expect to fork out $425 for a yellow or navy sweater, $275 for a navy hoodie, $250 for grey sweatshirts, $150 for a navy or grey t-shirt, and $350 for a navy beach tote — or part with a heap of Qantas points. You can buy Qantas' athleisure-wear collection online, using cash or points.
The arrival of spring means you'll have more motivation to leave the house more — even if it's just to get into a gallery. Luckily, the array of exhibitions currently on display in Brisbane are anything but static. You'll be able to get your steps up as you check out street art, peer at portraits and explore the city's music history. Just remember to take a breather between each one as you gallery hop around the city.
You don't have to do much poking around to find evidence of Brisbane's latest food trend. In fact, come late November, Newstead residents will have two poke joints to choose from. After Suki set up its third outlet in the suburb just last month, Cheeky Poke Bar is about to follow suit. Heading to the new Haven development at 63 Skyring Terrace, Cheeky Poke Bar is the latest venture from the folks behind Portside's Fresh N Wild Fish, aka the place to get seafood and chips in Hamilton. They're extending their love of ocean bounty to a new format — not only in terms of serving up the Hawaiian fish dish, but in setting up a restaurant-bar hybrid that pairs its bites to eat with cocktails. While the drinks list hasn't been revealed as yet, bright boozy concoctions will be on offer, helping wash down a food range that includes chicken and tofu bowls, miso soups, wontons, and nori tacos. Cheeky will also boast kombucha on tap, plus an extensive local beer and wine range. Decor-wise, patrons can expect a sea of black, grey, blue and brass inside the 45-seat digs, as well as timber booths, bar tops made from recycled stone, and neon lighting. "I wanted to create a space which elevates your senses, so you can really appreciate the fresh produce and each flavour in every dish," explains owner Sam Demetriou. Find Cheeky Poke Bar at Haven, 63 Skyring Terrace, Newstead from late November. Keep an eye on their Facebook page for more information.
When an awards body has spent almost a century handing out high-profile gongs in a field that garners plenty of attention, it really should be past the point of smashing records and making history. But the Academy Awards hasn't been particularly inclusive or diverse over its 93-year run to-date — which is why 2021's big winner is still breaking boundaries. When Chloé Zhao was nominated for this year's Best Director Oscar for Nomadland, she already achieved an immense feat. Only five female filmmakers had ever even made it to the awards ceremony in the coveted field before 2021, and she joined Promising Young Woman's Emerald Fennell among this year's candidates. This marked the first time ever that two women had received recognition in the same year in the category, too, because when it comes to realising that yes, women are filmmakers, the Academy's track record has been nothing short of abysmal. Now, with the awards handed out and winners anointed, Zhao has become the first woman of colour to ever emerge victorious in the field. She's only the second woman to ever win as well. Zhao ended up with two awards, because Nomadland won Best Picture and she was one of the film's producers. But the importance of her win for Best Director really can't be understated. Zhao joins The Hurt Locker's Kathryn Bigelow, who nabbed the prize in 2009, as the only two women who've ever scooped the field. And, with their nominations, both Zhao and Fennell joined Bigelow, Lina Wertmüller (for Seven Beauties), Jane Campion (for The Piano), Sofia Coppola (for Lost in Translation) and Greta Gerwig (for Lady Bird) as the only women to even get the chance to win Best Director on Hollywood's night of nights. [caption id="attachment_796213" align="aligncenter" width="1920"] Director Chloé Zhao filming Nomadland. Image: Searchlight Pictures.[/caption] Nomadland is Zhao's third film, after 2015's Songs My Brothers Taught Me and 2017's The Rider — and viewers can already look forward to watching her fourth later this year. Her next movie will see the director head into the Marvel Cinematic Universe, with Eternals focusing on an immortal alien race, and starring Angelina Jolie (Maleficent: Mistress of Evil), Kumail Nanjiani (Stuber), Salma Hayek (Like a Boss), Barry Keoghan (Calm with Horses), Gemma Chan (Captain Marvel), Brian Tyree Henry (Superintelligence) and Game of Thrones co-stars Richard Madden and Kit Harington. Zhao will be working on a far bigger scale than seen in her filmography so far; however, there's a sense of empathy and a knack for observation to her features that'll hopefully make the much-needed jump to superhero territory. If you're wondering who else emerged victorious at this year's Oscars, the full list of nominees and winners in every category is below. You can also check out our in-depth overview of ten of this year's winners that are worth watching ASAP. OSCAR NOMINEES AND WINNERS 2021 BEST MOTION PICTURE The Father Judas and the Black Messiah Mank Minari Nomadland Promising Young Woman Sound of Metal The Trial of the Chicago 7 BEST DIRECTOR Another Round, Thomas Vinterberg Mank, David Fincher Minari, Lee Isaac Chung Nomadland, Chloé Zhao Promising Young Woman, Emerald Fennell PERFORMANCE BY AN ACTRESS IN A LEADING ROLE Viola Davis, Ma Rainey's Black Bottom Andra Day, The United States vs Billie Holiday Vanessa Kirby, Pieces of a Woman Frances McDormand, Nomadland Carey Mulligan, Promising Young Woman PERFORMANCE BY AN ACTOR IN A LEADING ROLE Riz Ahmed, Sound of Metal Chadwick Boseman, Ma Rainey's Black Bottom Anthony Hopkins, The Father Gary Oldman, Mank Steven Yeun, Minari PERFORMANCE BY AN ACTRESS IN A SUPPORTING ROLE Maria Bakalova, Borat Subsequent Moviefilm Glenn Close, Hillbilly Elegy Olivia Colman, The Father Amanda Seyfried, Mank Yuh-Jung Youn, Minari PERFORMANCE BY AN ACTOR IN A SUPPORTING ROLE Sacha Baron Cohen, The Trial of the Chicago 7 Daniel Kaluuya, Judas and the Black Messiah Leslie Odom Jr, One Night in Miami Paul Raci, Sound of Metal LaKeith Stanfield, Judas and the Black Messiah BEST ORIGINAL SCREENPLAY Judas and the Black Messiah, Will Berson, Shaka King, Will Berson, Kenny Lucas and Keith Lucas Minari, Lee Isaac Chung Promising Young Woman, Emerald Fennell Sound of Metal, Darius Marder, Abraham Marder and Derek Cianfrance The Trial of the Chicago 7, Aaron Sorkin BEST ADAPTED SCREENPLAY Borat Subsequent Moviefilm, Sacha Baron Cohen, Anthony Hines, Dan Swimer, Peter Baynham, Erica Rivinoja, Dan Mazer, Jena Friedman and Lee Kern The Father, Christopher Hampton and Florian Zeller The Mauritanian, Rory Haines, Sohrab Noshirvani and MB Traven Nomadland, Chloé Zhao The White Tiger, Ramin Bahrani BEST ORIGINAL SCORE Da 5 Bloods, Terence Blanchard Mank, Trent Reznor and Atticus Ross Minari, Emile Mosseri News of the World, James Newton Howard Soul, Trent Reznor, Atticus Ross and Jon Batiste BEST ORIGINAL SONG 'Fight For You', Judas and the Black Messiah (HER, Dernst Emile II and Tiara Thomas) 'Hear my Voice', The Trial of the Chicago 7 (Daniel Pemberton and Celeste Waite) 'Husavik', Eurovision Song Contest: The Story of Fire Saga (Savan Kotecha, Fat Max Gsus and Rickard Göransson) 'Io Si (Seen)', The Life Ahead (Diane Warren and Laura Pausini) 'Speak Now', One Night in Miami (Leslie Odom, Jr and Sam Ashworth) BEST FILM EDITING The Father, Yorgos Lamprinos Nomadland, Chloé Zhao Promising Young Woman, Frédéric Thoraval Sound of Metal, Mikkel EG Nielsen The Trial of the Chicago 7, Alan Baumgarten BEST INTERNATIONAL FEATURE FILM Another Round Better Days Collective The Man Who Sold His Skin Quo Vadis, Aida? BEST ANIMATED FEATURE Onward Over the Moon A Shaun the Sheep Movie: Farmageddon Soul Wolfwalkers BEST DOCUMENTARY FEATURE Collective Crip Camp: A Disability Revolution The Mole Agent My Octopus Teacher Time BEST CINEMATOGRAPHY Judas and the Black Messiah, Sean Bobbitt Mank, Erik Messerschmidt News of the World, Dariusz Wolski Nomadland, Joshua James Richards The Trial of the Chicago 7, Phedon Papamichael BEST PRODUCTION DESIGN The Father, Peter Francis and Cathy Featherstone Ma Rainey's Black Bottom, Mark Ricker, Karen O'Hara and Diana Stoughton Mank, Donald Graham Burt and Jan Pascale News of the World, David Crank and Elizabeth Keenan Tenet, Nathan Crowley and Kathy Lucas BEST VISUAL EFFECTS Love and Monsters, Matt Sloan, Genevieve Camilleri, Matt Everitt and Brian Cox The Midnight Sky, Matthew Kasmir, Christopher Lawrence, Max Solomon and David Watkins Mulan, Sean Faden, Anders Langlands, Seth Maury and Steve Ingram The One and Only Ivan, Santiago Colomo Martinez, Nick Davis, Greg Fisher Tenet, Andrew Jackson, David Lee, Andrew Lockley and Scott Fisher BEST COSTUME DESIGN Emma, Alexandra Byrne Ma Rainey's Black Bottom, Ann Roth Mank, Trish Summerville Mulan, Bina Daigeler Pinocchio, Massimo Cantini Parrini BEST MAKEUP AND HAIRSTYLING Emma, Marese Langan, Laura Allen and Claudia Stolze Hillbilly Elegy, Eryn Krueger Mekash, Matthew Mungle and Patricia Dehaney Ma Rainey's Black Bottom, Sergio Lopez-Rivera, Mia Neal and Jamika Wilson Mank, Gigi Williams, Kimberley Spiteri and Colleen LaBaff Pinocchio, Mark Coulier, Dalia Colli and Francesco Pegoretti BEST SOUND Greyhound, Warren Shaw, Michael Minkler, Beau Borders and David Wyman Mank, Ren Klyce, Jeremy Molod, David Parker, Nathan Nance and Drew Kunin News of the World, Oliver Tarney, Mike Prestwood Smith, William Miller and John Pritchett Soul, Ren Klyce, Coya Elliott and David Parker Sound of Metal, Nicolas Becker, Jaime Baksht, Michelle Couttolenc, Carlos Cortés and Phillip Bladh BEST DOCUMENTARY SHORT SUBJECT Colette A Concerto is a Conversation Do Not Split Hunger Ward A Love Song for Latasha BEST ANIMATED SHORT FILM Burrow Genius Loci If Anything Happens I Love You Opera Yes-People BEST LIVE ACTION SHORT FILM Feeling Through The Letter Room The Present Two Distant Strangers White Eye Top image: Frances McDormand and Chloé Zhao on the set of Nomadland. Image: Searchlight Pictures. © 2020, 20th Century Studios. All Rights Reserved
Head to the Northern Territory at any time of year and Uluru awaits, as well as the Tjoritja gorges and Kings Canyon. So does stunning new nightly light show Wintjiri Wiru, plus Bruce Munro's Field of Light and Light Towers installations. But only a visit in April involves basking in Parrtjima — A Festival In Light's stunning glow — and, if you're keen to head along to its next event, the must-attend First Nations arts, culture and storytelling festival has just locked in its 2024 dates. The region's luminous Indigenous arts fest will return from Friday, April 12–Sunday, April 21, as once again set against the 300-million-year-old MacDonnell Ranges. It's too early for program specifics, but it'll look stunning as always no matter what's on the bill. There will be a big change, however: a different team delivering Parrtjima's 2024 events behind the scenes. While the details there haven't been unveiled as yet either, the new partner will combine "innovative technologies with traditional storytelling methods," as per the festival's announcement — and is also someone with "a proven track record in creating bold and creative experiences". Rhoda Roberts AO will still curate the festival, with 2024's theme set to focus on interconnectedness and its importance in Aboriginal cultures. "Everything is living in Aboriginal culture and in the old ways, the approach was one of sharing and working together," said Roberts. "Our ancestors were living under strict social structures and belief systems where everything was interrelated from the land and waterways to our sky country. Along with resilience that's tinged with laughter, interconnectedness blankets the wisdom of generations that we are reminded to experience and absorb." If you're new to Parrtjima, which just might be Australia's most luminous festival, it features installations in breathtaking surroundings, plus music, talks, films, workshops and more. 2023's focus was 'Listening with Heart', as inspired by the artwork surrounding the Statement from the Heart — with that piece depicting Uluru-Ku Tjukurrpa, the Uluru story of connection, as created by a group of artists from Multijulu as led by Maruku artist Rene Kulitja. So, Kulitja worked with other of artists for Parrtjima to turn the Statement from the Heart artwork into a large-scale immersive light and sound installation. Accordingly, Parrtjima attendees were plunged in the world of the Aṉangu people of the Aṉangu Pitjantjatjara Yankunytjatjara (APY) Lands surrounding Uluru. This year's festival installations featured ancient songlines, plus Indigenous viewpoints on Country, as well as connecting to First Peoples' strong links with the land, water and sky. Two things that are also always on the bill: two of the festival's regular annual attractions, aka a huge artwork that transforms a 2.5-kilometre stretch of the majestic ranges, showering it with light each night of the festival; and Grounded, the installation projected over the red dirt at tourism and conservation facility Alice Springs Desert Park. As for the music program, 2023's lineup overflowed with First Nations talent, including Docker River Band, Eastern Reggae Band, Emily Wurramara, JK-47, KAIIT, Karnage and Paul Ah Chee — and Radical Son, Richard J Frankland, Discovering Leerpeen Mara, Rowdy Birds, The Andrew Gurruwiwi Band and The Merindas. Details of each year's fest usually start dropping late in the year prior — we'll update you with more of what's in store for 2023 as it's announced. Parrtjima – A Festival in Light will return from Friday, April 12–Sunday, April 21, 2024, at venues around Alice Springs in the Northern Territory. For more information, visit the festival website. Images: Parrtjima – A Festival in Light. Feeling inspired to book a getaway? You can now book your next dream holiday through Concrete Playground Trips with deals on flights, stays and experiences at destinations all around the world.
"This is the captain…brace for impact". Of all the awful things you could hear while flying – crying babies, drunken tourists, Adam Sandler Movie Marathons – none come close to those seven simple words uttered by US Airways pilot Chesley "Sully" Sullenberger on January 15, 2009. After hitting a flock of birds mere moments after takeoff that caused in a catastrophic and unprecedented dual engine failure, Sully and his co-pilot Jeff Skiles were forced to execute a note-perfect ditching of their aircraft on the Hudson River. Their heroics saved all 155 souls on board and turned Sully into an overnight sensation. Directed by Clint Eastwood, Sully is an examination of the man behind the so-called Miracle on the Hudson. As such, the film opts to focus almost entirely on the days that followed Sully's astounding water landing – including with the National Transportation Safety Board investigations and media frenzy it precipitated – rather than honing in on the crash itself. That's not to say Eastwood omits it entirely. The harrowing sequence, when it finally comes, is a gripping and well crafted as any seen in film. But by prolonging its delivery and focussing on the lesser known story, the veteran filmmaker delivers a far more engaging and balanced tale than the more conventional drama Sully might easily have become. In the title role, Tom Hanks brings understated grace and dignity , albeit in a performance far more clinical (even analytical) than we're used to. The style befits the protagonist, a man whose impossible levels of composure enabled him to do what had never been done before, and all with a calmness of voice that defies belief (if you've not heard the official cockpit recording, try to imagine saying "We may end up in the Hudson" with the same level of poise most people evince when ordering a pizza). Aaron Eckhart, meanwhile, puts in an endearing turn as Sully's faithful co-pilot, while a solid supporting cast including Laura Linney, Mike O'Malley, Anna Gunn and Jamey Sheridan ensure the script by Todd Komarnicki stays on the right side of schmaltz – no matter how close Eastwood veers towards its limits. There's no question that Sully is unashamedly sincere in its portrayal not just of the extraordinary pilots, but also their crew, the passengers, the air-traffic controllers and the selfless New Yorkers who raced to their rescue without a moment's hesitation. Thankfully, Eastwood is the master of underplayed tributes to everyday heroes, especially those who shy away from the very notion of their own valour. Few could be more humble, or deserving of such a treatment, than the man who gives this remarkable movie its name https://www.youtube.com/watch?v=mjKEXxO2KNE
A friend of mine works in an op shop. A proper one, not an overpriced 'vintage' one. A few months ago she showed up to the pub with a collection of books which had been donated, one of which was a colouring book for medical students, complete with every element of human anatomy you'd ever need to know. We sat tipsily entranced by the semi-coloured-in pictures of lungs and kidneys and feet, the outspread arms of nerve cells and the fragile spiderweb-like bone structure of the hand. Bodies are funny things. We're often quick to forget what's under the surface, what's holding us together and propelling us forward. Japanese illustrator Wataru Yoshida has recently captured this idea in a startlingly beautiful way, in a series of posters entitled Composition of Mammals. The images combine photographs of different mammals, including humans, overlaid with the ethereal shadows of their skeletons and vital organs. The series was created as part of an imaginary exhibition at the National Musuem of Nature and Science in Tokyo, aiming to show the mystery and fascination of how delicate even the strongest of bodies is when you peel back the skin. [Via Design Bloom]
After giving Looking for Alibrandi and Nosferatu the page-to-screen-to-stage treatment in recent years, Malthouse Theatre has another cinema great in its sights for 2025: The Birds, which started its life as a book by Daphne du Maurier, then hit picture palaces thanks to Alfred Hitchcock. A source of ornithophobia for more than half a century, the tale is swooping into the Melbourne theatre company, but not as anyone has seen it before. A world-premiere production, it's being staged as a one-woman show — and, courtesy of headphones, it's ensuring that audiences don't miss a single fluttering wing or blood-curdling squawk. Paula Arundell, a Helpmann Award-nominee for playing Hermione in Harry Potter and the Cursed Child, will be in the only actor onstage when The Birds flues into Malthouse's Beckett Theatre between Friday, May 16–Saturday, June 7, 2025. In an approach that brings Sydney Theatre Company's The Picture of Dorian Gray, The Strange Case of Dr Jekyll and Mr Hyde and Dracula to mind, She's tasked with conveying the terrors of a family facing the animal world's feathered creatures turning deadly, but going far beyond Tippi Hedren's efforts in Hitchcock's 62-year-old movie given that she's the show's sole performer. "The Birds is a thriller about a family who are living through an extraordinary crisis — the day birds, as an entire species, turn on humankind. Paula is one of the country's most astonishing actors, and this will be the performance of a lifetime, and you'll be in the theatre, wearing headphones, experiencing every whisper and every swoop intimately with her," said Matthew Lutton, who directs the production after finishing his ten-year run as Malthouse Theatre's Artistic Director. If you haven't seen the classic film or read the 1952 horror story that it's based on, as penned by an author that Hitchcock adapted more than once — see also: Rebecca and Jamaica Inn — it focuses on an unexplained attack on a coastal town, plus the fight to try to survive it. Malthouse's version, hailing from playwright Louise Fox, is giving The Birds a modern spin. [caption id="attachment_995200" align="alignnone" width="1920"] Shkuru Afshar via Wikimedia Commons[/caption] As for listening in, J David Franzke is responsible for the sound design and compositions — and getting theatregoers donning headsets is all about sensory immersion. At present, anyone wanting to catch the end result for this new take on The Birds will need to hit up the Melbourne season, but cross your fingers that the production will eventually take flight elsewhere around the country in the future. The Birds' world-premiere season runs from Friday, May 16–Saturday, June 7, 2025 at the Beckett Theatre, 113 Sturt Street, Southbank, Melbourne. Head to the Malthouse Theatre website for tickets and further details.
Gaspar Noe is a filmmaker with vision — of that, there is little doubt. Whether his vision is something you would ever want to watch is where things get a little more complicated. An Argentinean expat living in France, he’s best known among cineastes for his 2002 film Irreversible, a non-linear crime thriller whose bold cinematography and ruminations on revenge are inevitably overshadowed by discussions of its most notorious sequence: a nine-minute rape scene shot in one unflinching take. Noe’s most recent film, Love, isn’t shy on graphic sexual content either, although thankfully this time it’s of the consensual variety. Debuting at this year’s Cannes Film Festival to a mixture of boos and rapturous applause, it’s a divisive picture that bares all from the very first frame, opening with a static shot of a man and a woman masturbating one another to orgasm. It’s the first of many long sequences of graphic non-simulated sex in the film — sex that Noe uses as emotional markers in his 130-minute portrait of a tumultuous young relationship gone bad. The story, such as it is, is told from the perspective of Murphy (Karl Glusman), a self-involved American film student living in Paris with his French girlfriend Omi (Klara Kristin) and their infant son. After a drug-fuelled New Year’s Eve, a groggy Murphy awakens to find a voice message on his phone from the concerned mother of Electra (Aomi Muyock), an ex-girlfriend who has gone missing, and for whom Murphy still harbours strong feelings. The rest of the film unfolds through a series of flashbacks, as Murphy reminisces about his tumultuous past with his former lover and the mistakes that tore them apart. Like all of its director’s films, Love is worth seeing for its formal elements alone. Long, gliding camera takes and blink-like edits capture the feeling of slipping into a memory, while Noe’s use of lighting and colour, although less overt than in Irreversible or his 2009 headtrip Enter the Void, remains as evocative as ever. The soundtrack is a deliciously eclectic grab-bag that makes use of everything from classical compositions to slow electric guitar jams to the iconic score from Assault from Precinct 13. The latter track pops up during a scene set in an underground sex club, and frankly, could hardly sound more at home. But most memorable of all is the film’s use of 3D — and we’re not just saying that because Noe includes a close-up of a penis ejaculating directly into the camera. A born provocateur, the director can’t help but indulge his juvenile side — yet for the most part he uses the added dimension in subtler and more imaginative ways. A heated argument at a rave is made all the more intense by strobe lights firing from the back of the frame. A lengthy threesome, meanwhile, is shot from high above, its participants seeming to plunge deeper into the bed as their lovemaking picks up steam. Indeed, it’s the sex scenes that are perhaps the most elegant and fully realised segments of the film. At one point, Murphy talks about wanting to make a movie that shows “sentimental sexuality” — and that’s clearly Noe’s intention as well. Over the film’s two-plus-hour runtime, Noe’s depiction of sex ranges from loving to spiteful, exciting to mundane, erotic to repulsive and joyful to just plain sad. And yes, at times he aims to titillate. Yet he never loses sight of the human feeling behind the sex. As a result, Love never feels pornographic in the way you might expect. But Love isn’t just about sex. It’s also about masculinity and misogyny — and it’s in the film’s handling of these prickly subjects that many viewers will (perhaps justifiably) take issue. It’s hard to think of a film with a less sympathetic protagonist than Murphy. He’s a selfish, whiny, insecure, arrogant, sexist, homophobic, slut-shaming loser who frankly made this writer embarrassed to be in the possession of a Y chromosome. But then again, that may very well be the point. Personally, we’d argue that Love condemns Murphy’s views and behaviour. The truth, though, is that you could just as reasonably claim that it endorses them. And perhaps more to the point, no matter which reading you subscribe to, it won’t make the dickhead’s company any less difficult to stand. Still, in a strange way, that’s actually another aspect that makes the movie worth watching. Like we said at the outset, Noe is a filmmaker with vision — and to be brutally honest, we’d rather watch a disastrous, offensive failure than something bland and middle of the road. See Love. See it in 3D. For the craft, and for the arguments you’ll have with people once it’s over.
UPDATE, MARCH 18: Due to concerns around COVID-19, Disney has announced that The Woman in the Window will no longer release on its initially scheduled date of Thursday, May 14, 2020. At present, a new release date has not been announced — we'll update you when one has been revealed. To find out more about the status of COVID-19 in Australia and how to protect yourself, head to the Australian Government Department of Health's website. They start off in text, drawing in readers with their mysteries, twists and psychological thrills. They focus on women in murky situations, and make that fact known in their titles. Then, after literary success, they jump to the big screen. That's the path that Gone Girl and The Girl on the Train both took — for better in one case, for worse in the other — and now it's The Woman in the Window's turn. Based on the 2018 novel by AJ Finn, The Woman in the Window follows Dr Anna Fox (Amy Adams), a psychologist who also suffers from extreme agoraphobia. After befriending Jane Russell (Julianne Moore), the woman who lives across the street, she cries foul when her new pal disappears — but neither Jane's husband Alistair (Gary Oldman) nor the cops (including Widows and Child's Play's Brian Tyree Henry) are willing to listen. As well as firmly falling into clear genre — aka mystery-thrillers that reference women in their monikers — The Woman in the Window is obviously taking some cues from Alfred Hitchcock's Rear Window. And, in the just-released first trailer, director Joe Wright (Atonement, Hanna, Darkest Hour) doesn't shy away from that comparison. Whether it's worthy of being mentioned in the same breath as one of Hitchcock's best films or suffers a fate closer to The Girl on the Train won't be discovered until the movie releases in May, of course. But, The Woman in the Window has amassed a wide-ranging cast, with Jennifer Jason Leigh, Avengers' Anthony Mackie and Wyatt Russell (Overlord) all popping up. Check out the trailer below: https://www.youtube.com/watch?v=J0hTmzISOlQ The Woman in the Window was due to open in Australian cinemas on May 14, 2020; however it'll now release on a yet-to-be-revealed date — we'll update you when one is announced.
Not content with winning an Emmy, two Golden Globes and a pair of Screen Actors Guild Awards for playing Shiv Roy on Succession, Australian actor Sarah Snook has just added a 2024 Laurence Olivier Award to her mantle for her starring role in the West End season of stage sensation The Picture of Dorian Gray. Or roles, to be precise. The production, which hails from Sydney Theatre Company, tasks its lead with playing all 26 characters in the adaptation of Oscar Wilde's gothic-literature masterpiece. For her current stage date, which started earlier in 2024 and runs until May, Snook has stepped into a tale about a sinister portrait that lets its subject stay young and beautiful. This take on Wilde's work was first staged Down Under with Eryn Jean Norvill doing the honours, premiering in Sydney 2020, and also hitting theatres in Melbourne and Adelaide. "It's an incredible honour to be on the stage in the West End and this is not something that I thought would come along with that. It's billed as a one-woman show but it's not. It's the crew who are on stage with me all the time every night, and they are a vital and constant support and inspirational," said Snook when she received her award, with the ceremony taking place on Sunday, April 14 in the UK — so in the early hours of Monday, April 15 Down Under. "So thank you to the crew for being there in this show with me. A huge immeasurable thank you to Kip Williams and your very big brain, and your specificity and precision and your inspiration — and I just thank my lucky stars I get to play inside that mad world you've created every night," Snook continued. The Picture of Dorian Gray also won Marg Horwell an Olivier for Best Costume Design. Among the rest of the night's winners, Stranger Things: The First Shadow took home Best New Entertainment or Comedy Play, Sunset Boulevard nabbed Best Musical Revival, Dear England scored the award for Best New Play and Operation Mincemeat did the same for Best New Musical. On the page, The Picture of Dorian Gray is exceptional, as well as astute and unnerving, as it follows the selling of its namesake's soul in order to keep indulging every corporeal whim, urge and desire. There's a reason that it just keeps getting adapted for the screen and in theatres, after all. But there's never been a version like Sydney Theatre Company's, with the London run at The Theatre Royal Haymarket marking Snook's return to West End after debuting in the 2016 production of The Master Builder. This version of the story uses video and theatre to help its star play so may characters. Williams, who adapted Wilde's text into the phenomenal production and also directs, has travelled to the UK with the new season as well. Taking the show to London is part of a partnership between STC and Michael Cassel Group, which is all about sharing the former's works around the globe. A similar path — from Australia to the UK, but originating from the Griffin Theatre Company — worked out spectacularly for Prima Facie, too, with the British production starring Killing Eve's Jodie Comer winning Best New Play and Best Actress at the 2023 Laurence Olivier Awards. Check out a trailer for the West End season of The Picture of Dorian Gray below: The Picture of Dorian Gray is playing The Theatre Royal Haymarket, 18 Suffolk Street, London until Saturday, May 11, 2024 — for more information and tickets, head to the play's website. Images: Marc Brenner.
Late at night: that’s when all the fun stuff happens. Things get a little loose and a little crazy, audiences are ready for something a bit strange and silly, and comedians get brave enough to try out new material. The Brisbane Comedy Festival knows this, and they’ve created the perfect place for all kinds of shenanigans. Think a comedy club in the middle of the Brisbane Powerhouse, with the requisite laidback atmosphere. Anything goes at Chalkboard — and anyone, too, with lineups announced on the day. You never quite know what might happen, but it won’t certainly won’t be like anything on the main stages. Chalkboard is on Friday and Saturday nights at 10pm.
Two gigantic Australian billboards were hijacked this week, now sporting seriously gnarly tatts. Located in Sydney's George Street and Melbourne's St Kilda Junction, the 16m x 6m billboards have been emblazoned with giant tattooed lions by longtime team-up Aussie artists The Yok and Sheryo in collaboration with LYNX. The two artists were invited to use their own unique styles and expression to transform the men's brand's latest outdoor campaign. Marking phase one of LYNX's brand new 'Expression Series', the billboards were completed over four days; with a limited run of t-shirts and posters available through Facebook. This isn't the first time the pair have worked together; The Yok and Sheryo have exhibited and painted their fantastical creatures everywhere from Mexico to NY, Atlanta, LA, Miami, Africa, Belgium, London, Europe, Seoul, Indonesia, Singapore, Vietnam, Thailand, Malaysia, Australia and Cambodia. So why the massive lions? The Yok has seen his fair share of expression-fuelling travel, moving to Africa from Australia and finding an addictive freshness in his newfound environment (lions included). "I moved to Kenya when I was 25 and I lived there for a year and a half; I think that had a real dramatic effect, it was a really rewarding experience" says The Yok in the behind-the-scenes video. "I really value that feeling, so maybe I'm always trying to chase that feeling again. It's kind of like being a kid and everything's new. "I remember when I saw my first lion in Kenya. Such an amazing animal to see close up; they're just so powerful-looking. I can't really describe what it is to look at a lion in the face, but they're an amazing creature." https://youtube.com/watch?v=zNQyWPUqdF0 LYNX aren't stopping at two gigantic billboards; the next phase of the 'Expressions Series' will see typographer Luca Ionescu and a photographer collaborate on a mystery project to be announced later in the year. LYNX's project aims to help Australian guys express themselves authentically, supporting creators who stay true to their vision but might not always have the opportunity to do so. Check out LYNX's 'Expression Series' over here and stay tuned for the next project announcement later this year.
Brisbane is a river city, and there are plenty of things that you can do while you're on, near or around the Brown Snake that winds through the centre of town. But The Art Boat, which returns as part of Brisbane Festival again in 2024, just might be the most-creative option — because it'll have you floating along the waterway while immersed in a cruising art party. Unsurprisingly, this event has proven a hit in the past, which is why it is back again this year. This time, it's setting sail from Pontoon B on the Clem Jones Promenade at South Bank, taking a 75-minute voyage between Thursday–Sunday from Friday, August 30–Saturday, September 21. Whichever day and time you hop onboard — at 5pm and 7pm on Thursdays; the same slots plus 9pm on Fridays; all three and also 2pm on Saturdays; and 2pm, 5pm and 7pm on Sundays — you're in for the BRIEFS FACTORY experience. The crew is doing the curating, while Fez Faanana, Mark Winmill and Brett Rosengreen will be your guides alongside special guests. Josh McIntosh has designed patterned tentacles to deck out the vessel, and DJs will be spinning music to suit the mix of burlesque, drag and circus, too — plus more awaits depending on which sail you take. The 2pm slots are designed for all ages, Thursday evenings are about date nights and Fridays will mark starting the weekend. On Saturdays, celebrating pride and glamour will shape the fun, and there's bingo and unplugged tunes on Sundays.
The fact that it's called The Cottage Restaurant kind of gives it away; however stepping inside Ipswich's latest is like stepping back in time. And, let's deal with the most important matter first: you mightn't often trek this far west for a meal, but eating at this elegant 1861 abode is worth the drive. Sitting on the verandah of the national trust dwelling is highly recommended, so there's your first must-visit reason taken care of (who doesn't like enjoying a fancy meal outdoors?). The second reason to put The Cottage on your local road trip itinerary extends beyond the cute old-school decor to the food and drinks. This really is fine dining, new-school, modern Australian style. And, The Cottage really does boast a menu full of items that'll make you exclaim "I must eat that!". Try a mushroom cappuccino with truffle oil, 48-hour pork belly and lavender creme brulee, for example. Plus, the lineup is seasonal, so more delightful concoctions await four times year.
Over summer, plenty of folks spent their time getting reacquainted with their couches while watching gossip-fuelled, 19th-century-set antics. After launching on Netflix on Christmas Day, the first season of Bridgerton caught the attention of 82 million households around the globe in its first four weeks. Yes, that sounds like something Lady Whistledown would love to gossip about in her society papers. As a result — and to absolutely no one's surprise — more Bridgerton is coming. When you become Netflix's most-watched original show ever, beating out last year's favourites such as The Queen's Gambit and Tiger King and the debuts of older series like Stranger Things, that's bound to happen. But viewers can actually look forward to quite a few more episodes, with the streaming service just announcing that it has renewed the show for seasons three and four. No, the show's second season hasn't streamed as yet, and doesn't even have a release date at present. But Netflix is falling head over heels for its episodic adaptation of Julia Quinn's novels and committing to many scandal-filled instalments to come. That'll either give you even more chances to dive into Bridgerton's high-society hijinks, or give you a reason to see why everyone you know has been talking about the show this year. For the unacquainted, the first season follows the ins and outs of Daphne Bridgerton's (Phoebe Dynevor) quest to find a husband, her dalliances with the Duke of Hastings (Regé-Jean Page), the controversy in the Featherington household and all the other dramas that come with Regency London's marriage market — plus whatever else inspires Lady Whistledown to put pen to paper. Check out the trailer for the show's first season below: https://www.youtube.com/watch?v=gpv7ayf_tyE The first season of Bridgerton is available to stream now via Netflix. The show's second, third and fourth seasons don't yet have release dates — we'll update you when details come to hand. Top image: Liam Daniel/Netflix.
It's the creative breakthrough that had to happen — and it did, six decades ago. The more that popular culture started to surround artists via advertising, television and comic books, the more that they worked it into their pieces. Yes, that's how pop art was born. These days, we live in post-pop art times; however you just can't take the 'pop' out of modern society. You can interrogate, subvert, examine and reconstruct it, though. In fact, that's what group exhibition Pop Goes the Weirdo is all about. Sydney's Simon Lovelace and SKEL have joined forces with Brisbane's Clay Smith and Tiffany Atkin to bring highbrow thinking to their range of lowbrow works. Whether manipulating previously 'innocent' images and characters, mashing up well-known imagery to get to the heart of the human condition, giving poster art a surrealist edge or challenging the boundaries of femininity, their two-week show is much, much more than a collection of paintings of soup cans. Images: via Tiffany Atkin.
Quotes and observations about evil being mundane, as well as the result when people look the other way, will never stop being relevant. A gripping, unsettling masterpiece, The Zone of Interest is a window into why. The first film by Sexy Beast, Birth and Under the Skin director Jonathan Glazer in more than a decade, the Holocaust-set, Oscar-nominated and BAFTA-winning feature peers on as the unthinkable happens literally just over the fence, but a family goes about its ordinary life. If it seems abhorrent that anything can occur in the shadow of any concentration camp or site of World War II atrocities, that's part of the movie's point. It dwells in the Interessengebiet, the 40-square-kilometre-plus titular area that comprised and surrounded the Auschwitz complex, to interrogate how banal genocide was to those in power; commandant Rudolf Höss (Christian Friedel, Babylon Berlin), even gloats that his name will be remembered and celebrated for its connection to mass extermination. Höss was a real person, and the real Nazi SS officer overseeing Auschwitz from 1940–43. His wife Hedwig (Sandra Hüller, Anatomy of a Fall) and five children are similarly drawn from truth. But The Zone of Interest finds its way to the screen via Martin Amis' fiction novel of the same name, then hones its interest down from the book's three narrators to the Höss family; a biopic, it isn't, even as it switches its character monikers back to reflect actuality. This is a work of deep probing and contemplation — a piece that demands that its viewers confront the daily reality witnessed and face how the lives of those in power, and benefiting from it, thrived with death not only as a neighbour but an enabler. Camp prisoners tend the Höss' garden. Ashes are strewn over the soil for horticultural effect. Being turned into the same is a threat used to keep the household's staff in line. All three of these details, as with almost everything in the feature, are presented with as matter-of-fact an air as cinema is capable of. The film starts with idyllic river swims — with Rudolph and Hedwig taking their brood picnicking and frolicking like this isn't the 1940s, war isn't tearing apart Europe, and casualties at the Nazis' hands via their internment system aren't heartbreaking in their horror, cruelty and number. When the Hösses return home after their day out, a sight of domestic bliss awaits there, too. Hedwig isn't just proud of the multi-level house they've constructed, and the leafy grounds with a greenhouse and wading pool; when Rudolph is told that he'll be transferred, she's unwilling to leave. Theirs is a content existence. Glazer and cinematographer Lukasz Zal (an Academy Award contender for both Ida and Cold War) ensure that the barbed wire atop the adjoining wall with the camp is evident, however. Also, the filmmaker soundtracks the feature with rumbling ominousness from his Under the Skin composer Mica Levi, the sound of the furnaces, plus screams, howls and gunfire. The Zone of Interest doesn't plunge directly and visibly into Auschwitz's terrors, such as by moving its distanced camera over the barrier to spend time with detainees. It knows that its audience is already aware of the gutwrenching specifics, as the world should never be allowed to forget. But its approach — staring on at the Hösses primarily in mid shots, and choosing them as protagonists over the camp's inhabitants — is an act of matching its style and focus with one of the basic truths that it's unpacking. With its steadfast composure, which is resolute to an eerie degree, The Zone of Interest compartmentalises just as Rudolph and Hedwig do. When he approves crematorium designs, she tries on a fur coat that belonged to a prisoner, he sleeps with detainees and she fights to retain her perfect abode, each does so with zero thought for Auschwitz's involuntary populace as people. It's simple for a movie to restrict what it sees, of course, but magnifying the hideousness of humans doing the same to such suffering and savagery is another of the film's objectives. So much that fills Hedwig's days as the "queen of Auschwitz", as Rudolph calls her, is particularly pedestrian — and, as navigated so unflinchingly by Hüller in her second exceptional performance of the past year (and in one of two pictures that are 2024 Oscar-nominees), so far removed from any hint of concern or guilt over what's occurring next door. Landscaping, chores, parties, chatter and visits from relatives have rarely felt so disquieting. Unsurprisingly, The Zone of Interest isn't easy to watch for a second. Unshakeable dismay emanates from the disconnect between how the Hösses embrace their existence, and willingly, with the camp's grimness that's constantly heard. It isn't sighted but pondering the reverse, about prisoners listening to playing, splashing, laughing and cavorting ringing out from over the fence amid their pain and perishing, is as much of a blistering, bruising punch. Glazer understands that the human response is alarm and outrage even at the concept of Auschwitz and the Holocaust, let alone its echoes and shadows — reactions absent from those who profit personally and professionally from its brutality, and treat it with both ignorance and apathy. For all of its exacting gaze at sheer inhumanity, The Zone of Interest does depart from Rudolph, Hedwig and their kids in fits and spurts. Cutting to pure white, red and black makes a statement. Also, as lensed with night-vision cameras — the entire film only uses natural light, switching to heat when light genuinely couldn't be seen — the movie spies a Polish girl leaving food at detainee worksites each evening. There's hope in her deeds, with the character also based on a real figure. These moments underscore Glazer's commitment to seeing this story with modern eyes, too. The production design all-round is gleaming. The technical feat, with cameras wired into the set, is pure 21st-century. There's no dismissing what's being depicted as mere history, then, which a late jump to the Auschwitz-Birkenau State Museum now, as explored in documentary-esque footage, emphasises. For the bulk of the picture, Glazer's tech setup means that his actors, as led by Friedel and Hüller at their best, build their portrayals in lengthy takes and at a physical remove from the audience. He conveys the monotony of someone so influential in such awfulness, she taps into the subconscious refusal to engage with the truth of her surroundings, but getting truly close to Rudolph and Hedwig is never the aim. The Zone of Interest could never be about empathising with its points of interest, or redeeming them. As it observes their behaviour, it plummets into a nightmare that's all the more insidious and distressing for how commonplace its protagonists' lives and attitudes prove. In the process, this unforgettably potent and piercing movie also turns its window into a mirror, chillingly asking about today's equivalent of blocking our ears to shrieks and conflict, putting our own comforts ahead of what's right, striving to get ahead at work no matter the cost, and avoiding and disregarding what's over the wall.
Another New Year’s Eve party, another era to celebrate; this time, it’s the sexy 1970s. Think disco and divas, because that’s exactly what’s on offer at Cloudland, as well as flares, platforms, hot pants and go-go boots. The Fortitude Valley venue channels the essence of the only New York nightclub that mattered at the time, Studio 54, with a party that would’ve been at home within its hallowed walls. If you’ve seen the film 54, you’ve had a glimpse of what you’re in for. Cloudland will bring the live band, DJs and roving performers; you bring your own brand of Saturday night fever.
A fresh batch of street art has popped up across Brisbane, brightening up the city's laneways and public spaces. And it's not any old outdoor exhibition, with Women's Work highlighting large-scale pieces by 12 female artists. On display until Sunday, December 1, this is a huge showcase in several ways. Each of the towering artworks earns that description, as does the the exhibition's sprawling inner-city footprint — spreading over Eagle, Edison, Irish, Hutton and Fish Lanes, as well as along Edward Street, through the King George Square Car Park and on the William Jolly Bridge. And, there's also the fact that it's Brisbane's largest display of women's street art. The idea behind the exhibition is hefty, too — tackling gender equality in the industry, showcasing the efforts of more than just the usual suspects and shining a spotlight on ace ladies. Courtney Brims, Claire Tracey, Dominique Falla, Emma Wright, Lusid Art and Mosessa rank among the artists, designers and practitioners involved, as do Nicola Holly, Rachael Sarra, Rae Cooper, Sarah Hazlehurst, Tori-Jay Mordey and Zoe Porter. Women's Work is the work of The Culprit Club, in collaboration with BAM - Brisbane Art Matriarchs, Brisbane City Council, and Griffith University's Queensland College of Art. Over the course of its run, the exhibition will also include curated walking tours, talks and events.
If you are planning on exploring the Atherton Tablelands while in Tropical North Queensland, it's worth heading a little further afield to visit nearby Innot Hot Springs. Unlike the modern facilities framing other geothermal pools in the region, Innot Hot Springs is more rustic and untouched. There was once a time where the water was bottled at the Innot Cordial Factory in Townsville and sent to Europe as a natural health remedy. These days, the springs are a little more shallow and sandy, with visitors scooping out deeper holes to sink themselves into. The charming Hot Springs Hotel has lots of character, with cold beer and classic pub meals on offer. Tip: make sure you wear thongs or shoes when walking to the pools as the sand can be very hot.
What do two nuns in the throes of sexual ecstasy gasp? "My god" and "sweet Jesus", of course. No other filmmaker could've made those divine orgasmic exclamations work quite like Paul Verhoeven does in Benedetta, with the Dutch filmmaker adding another lusty, steamy, go-for-broke picture to his resume three decades after Basic Instinct and more than a quarter-century since Showgirls. His latest erotic romp has something that his 90s dives into plentiful on-screen sex didn't, however: a true tale, courtesy of the life of the movie's 17th-century namesake, whose story the writer/director and his co-scribe David Birke (Slender Man) adapt from Judith Brown's 1986 non-fiction book Immodest Acts: The Life of a Lesbian Nun in Renaissance Italy. For anyone that's ever wondered how a religious biopic and nunsploitation might combine, this is the answer you've been praying for. Frequently a playful filmmaker — the theories that Showgirls is in on its own joke keep bubbling for a reason — Verhoeven starts his first film since 2016's Elle with that feature's more serious tone. The screen is back, the words "inspired by real events" appear and the score is gloomy. When Benedetta's titular figure appears as a girl (played by Elena Plonka, Don't Worry About the Kids), she's the picture of youth and innocence, and she's also so devoted to her faith that she's overjoyed about joining a convent in the Tuscan village of Pescia. But then villains interrupt her trip, and this pious child demonstrates her favour with the almighty by seemingly getting a bird to shit in a man's eye. It isn't quite as marvellous as turning water into wine, but it's its own kind of miracle. As an adult (Virginie Efira, Bye Bye Morons), she'll talk to strapping hallucinations of Jesus (Jonathan Couzinié, Heroes Don't Die), too, and use her beloved childhood statuette of the Virgin Mary as a dildo. There is no line between the sacred and the profane in Benedetta: things can be both here, and frequently are. Case in point: on her first night at the convent, after a bartering session between her father (David Clavel, French Dolls) and the abbess (Charlotte Rampling, Dune) over the girl's dowry for becoming a bride of christ, a statue of the Virgin Mary collapses upon Benedetta, and she shows her sanctity by licking the sculpture's exposed breast. So, 18 years later, when she's both seeing Jesus and attracted to abused newcomer Sister Bartolomea (Daphné Patakia, Versailles), they're the most natural things that could happen. To Benedetta, they're gifts from god, too. She does try to deny her chemistry with the convent's fresh novice at first, but the lord wants what he wants for her. Unsurprisingly, not everyone in the convent — the abbess' daughter Sister Christina (Louise Chevillotte, Synonyms) chief among them — agrees, approves or in believes in her visions. Verhoeven puts his own faith in crafting a witty, sexy, no-holds-barred satire. That said, he doesn't ever play Benedetta as a one-note, over-the-top joke that's outrageous for the sake of it. His protagonist believes, he just-as-devoutly believes in her — whether she's a prophet, a heretic or both, he doesn't especially care — and he also trusts her faith in her primal desires. His allegiance is always with Benedetta, but that doesn't mean that he can't find ample humour in the film or firm targets to skewer. The hypocrisy of religion — "a convent is not a place of charity, child; you must pay to come here," the abbess advises — gets his full comic attention. Having the always-great Rampling on-hand to personify the Catholic Church at its most judgemental and least benevolent (at its money-hungry worst, too) helps considerably. Indeed, what the veteran English actor can do with a withering glare and snarky delivery is a movie miracle. The filmmaker behind RoboCop, Total Recall and Starship Troopers' futuristic visions has also long trusted in sex and violence. Here, he trusts that thrusting them together in a story about a lesbian nun who shows signs of the stigmata and scandalises her convent several times over will create his favourite kind of on-screen chaos. He's right, but there's always a smart and scathing point to Benedetta's nudity, fornication and physical altercations, and to how viciously the church responds. Humanity is messy. People are flesh and pulsating urges, no matter who they deify. Those who grasp power by instilling fear and demanding unquestioning allegiance will never put the masses ahead of their own dominance. Amid the boobs, blood and potential vaginal splinters — and communal defecation, farts lit on fire and gynaecological torture tools — these truths are steadfast. While Rampling is clearly having a ball as the abbess — and still gives the figure vulnerability — it's the committed and spirited Efira who goes deep. She visibly relishes her role as well, and brings depth, nuance and poignancy to every swoop and swirl in its tonal rollercoaster ride. The skill required to slide from religiously rapturous to sexually euphoric can't be underestimated, but Efira ensures it looks seamless and never silly, even when the film swings between soapy Jesus makeout sessions, matriarchal power struggles, porn-style sapphic tumbles in the convent sheets and comets in the sky. As Verhoeven already does, his French lead makes Benedetta's audience believe in her, too. She's fervent, bold, intelligent, rebellious and passionate, all traits her character shares, and exposes as much of Benedetta's emotional landscape as she does skin. As she navigates a torrid affair, beatific faith, the worst of Catholicism's scorn and even the looming threat of the plague (everything's a pandemic movie now), Efira is a beaming vision herself. That's part of the self-aware altar that Verhoeven worships at, knowing the glamour his star brings to a film that's always going to be known as "that lesbian nun flick" — and actively embracing the 'hot lesbian' on-screen trope while using his lead character and entire movie to subvert everything they come into contact with. He's also visually meticulous to a painterly degree; Benedetta is ravishing in multiple ways, including in the contrasting colour palette its bodies, habits and 17th-century convent life in general affords. That the feature ultimately avoids hitting just the obvious spots, embraces mayhem, gleefully provokes and doesn't completely penetrate as far as it could feels like an appropriate climax, and it's also the result that only Verhoeven could've bestowed.
Fish Lane's Town Square is putting its patch of pavement to good use, with markets now popping up in the South Brisbane spot. While bars and eateries line the laneway, and festivals have taken it over as well, Fish Lane has only hosted its own stalls for three years now — and given you a reason to head by to browse and buy locally made art, ceramics and other goods. In 2023, that also includes the return of Fish Lane's Christmas markets. Running from 9am–1pm on Saturday, December 16, it'll span a heap of stalls filled with everything from fashion, plants, art and jewellery to natural skincare and accessories for your dog. In fact, the road between Hope and Grey streets will be closed down for the day to accommodate the market — and you can obviously bring your four-legged friend with you as you browse. Food-wise, Fish Lane's existing cafes and eateries will keep you feed and caffeinated while you shop.
Brisbanites, it's time to dance, sing, tap your toes, make shapes, feel the rhythm, and appreciate a mighty fine tune or several. From Friday, July 5 to Sunday, July 28, the biennial Queensland Music Festival returns to make the state, and Brisbane, come alive with the sound of music — and, with this year marking QMF's 20th, the fest has put together a suitably massive program. Highlights include Archie Roach singing up a storm, a celebration of the women who sang at Woodstock, a series of Sunday afternoon classical concerts by the river and the grand opening of the new Fortitude Valley Music Hall. If you love opera, or you've always wanted to give it a whirl, spend a day soaking in arias at Jimbour House. Fancy hearing Australia's history of star navigation through music? Or discovering the melodies of the night parrot, which was thought to be extinct until recently? They're on the bill as well. Eager to do more than just watch and listen? That's where Play Me, I'm Yours comes in — and its 20 pianos, which have all been painted by British artist Luke Jerram and other creatives, then scattered across Brisbane. They're waiting for you to find them, then tinkle their ivories, so bust out whatever song you can muster (ideally, something other than 'Chopsticks', though).
Remember the name Becky Lucas. So far, the Brisbane comedian has amassed quite the resume, dominating stages in support slots for the likes of Wil Anderson, Jim Norton and Joel Creasey, flexing her comic writing skills for Please Like Me and Matt Okine's upcoming TV show, serving up a riotous newsletter, and generating some of the best Twitter banter around. And that's just the beginning. So, what comes next? Little Bitch. That's Lucas' latest Brisbane Comedy Festival show, and her second in as many years. If you're after fresh, grassroots standup, this is your jam. This is one of our top picks for this year's Brisbane Comedy Festival. Read the whole list.
There's a reason that the Ekka comes with its own public holiday. Brisbanites are set free from work to rush to the Royal Queensland Show, fill themselves up with fried and sugary goodness, then brave the rides and gaze at the fireworks. Of course, there's much more going on than that, with everything from animal competitions to cooking demonstrations on the bill. Where else are you going to see a giant pumpkin, pat a pig, eat a strawberry sundae, listen to live music, crash dodgems, throw a ball in a clown's mouth for a prize and take home all the Bertie Beetles you can eat, after all?
Power your house with a bottle of water. It's a claim reminiscent of the glory days of cold fusion. Like cold fusion, creating an artificial leaf and hacking the natural process of photosynthesis has long been a scientific holy grail. Unlike cold fusion, it seems someone has attained it. Daniel Nocera, a professor at MIT, has created a 'leaf' of silicon and a proprietary mix of cobalt and phosphate, which when placed in a jar of water can produce electricity more efficiently than modern solar panels. The yet-to-be-published findings will be a major scientific breakthrough, and a game-changer in the question of global power supply. India's largest business conglomeration, the Tata Group have bought the tech and plan to develop it to serve the "bottom of the pyramid" — being small, cheap, and able to run on even waste water, it is hoped that this will provide a clean and affordable way to power the developing world. Homes without access to power will be able to generate their own, foregoing the need to develop large power stations and electric cable infrastructure. As well as powering the development of the "bottom of the pyramid" the technology could change the face of power production and consumption worldwide. Nocera estimates that it will be possible to meet the world's power demands with little more than a swimming pool of water every day. [via Fast Company] https://youtube.com/watch?v=WD9yr-Bf-Kw
