Don't hold back: one of the biggest acts in electronic music for the past three decades is returning to Brisbane. Superstar DJs The Chemical Brothers dropped their tenth studio album For That Beautiful Feeling in September 2023, and will hit the River City in February 2024 to unleash their latest round of block rockin' beats live. Tom Rowlands and Ed Simons will play the Riverstage on Tuesday, February 27, with Anna Lunoe and James Holroyd in support. It isn't just their astonishing 2023 Coachella set that proves The Chemical Brothers are a must-see live act. Every tour — including their last stint Down Under back in 2019 — always matches a spectacle of mindbending visuals to the duo's iconic tunes. Accordingly, expect recent singles 'No Reason', 'Live Again' (featuring Halo Maud) and 'Skipping Like a Stone' (reteaming The Chemical Brothers with Beck after 2016's 'Wide Open') — and also a wealth of songs from a back catalogue that spans back to 1989. No, it wouldn't be a Chemical Brothers gig without 'Hey Boy, Hey Girl', 'Block Rockin' Beats' and 'Galvanise' getting a whirl. The pair's current setlist also includes everything from 'Go', 'Swoon' and 'Star Guitar' to 'Setting Sun', 'Chemical Beats' and 'Escape Velocity'. Holroyd joining Rowlands and Simons on the tour is always a given, as The Chemical Brothers' long-standing opening DJ. Images: Ray Baseley.
Time flies when you're heading out of the house to eat at every Brisbane restaurant you can — and with that, 2022 is done and dusted. The past 12 months were busy for the River City's dining scene, welcoming in a hefty range of new eateries. Whether you like pairing your food with stunning riverfront views, nodding to all things French or tucking into top-notch sushi, there's a Brissie newcomer devoted to it. Here's our wrap-up of ten of the additions to Brisbane's restaurant lineup that impressed us most in 2022. Maybe you've already visited them, and you're keen on a repeat trip. Perhaps you just haven't had the time to pop along yet. Either way, make sure you tick them off before 2023's list starts shaping up.
The most magical place in Brisbane right now is the Gallery of Modern Art, where the venue's massive Fairy Tales exhibition is filling the walls and halls until late April. Fancy wandering through an indoor woodland? Saying "dance magic dance" to a costume that David Bowie wore in Labyrinth? Stepping inside huts, peeking into mirrors, spying otherworldly creatures and peering at gorgeous gowns, too? It's all on offer here all day, every day — and, on two dates only in March, for two nights. Falling down the rabbit hole that is GOMA's exhibitions usually means not only scoping out its pieces while the sun is shining, but getting a couple of chances to party inside the gallery — and surrounded by stunning art — after dark. That's the Up Late format, and it's back for Fairy Tales, taking place on Friday, March 15–Saturday, March 16. Accordingly, when you get a glimpse of chariots, glass slippers, pieces by Yayoi Kusama and Patricia Piccinini, and more — including wandering through the site-specific installation by Henrique Oliveira, with the Brazilian artist has transformed the exhibition's first room into a stunning gnarled and twisted forest that you won't want to leave — you can do so by evening and with a drink in your hand. Your ticket includes access to the exhibition, live tunes and other entertainment. You will need to pay extra for anything you're keen to eat or sip, however. On the Friday, ZZADE, Elizabeth, Maple Glider and DJ Hol Hibbo are on the bill. Come Saturday, attendees can enjoy Auslan-interpreted performances by Methyl Ethyl and Tjaka, as well as DJ Aunty Stan on the decks. Both nights will feature Once Upon a Chime, aka Patience Hodgson, Joel Woods and Lake Kelly, singing fairy tale-inspired tunes — plus A Villain's Tale, which is told by a misunderstood villain; a drop-in workshop where you'll create a self-portrait while giving yourself animal attributes; and a photobooth with whimsical props. In addition to all of the above, there'll be multiple spots to grab a bite and drink around the place, including at the GOMA Bistro and Bacchus Wine Room. Fairy Tales also includes a film program called Fairy Tales Cinema: Truth, Power and Enchantment, which is weaving its screening of Spanish silent film Blancanieves into the Up Late lineup as well. Images: Sarah Ward // Henrique Oliveira, Brazil b.1973 / Corupira 2023, commissioned for 'Fairy Tales', installation (detail), Gallery of Modern Art (GOMA) Brisbane 2023 / Plywood, tapumes veneer and tree branches / Courtesy: Henrique Oliveira / © Henrique Oliveira / Photograph: C Callistemon © QAGOMA.
If you live in Brisbane, you’ve heard all about the city’s connections with Asia; we are the home of the Asia Pacific Triennial of Contemporary Art, the Asia Pacific Screen Awards, and the new Brisbane Asia Pacific Film Festival, after all. Since 2013, the BrisAsia Festival has also been on that list, paying homage to the culture of our neighbours. This year’s program features another mix of traditional and contemporary Asian arts, channelled into events across Brisbane. It all kicks off with the illumination of the William Jolly Bridge, offering a week-long visual reminder of all the creativity on display, but the fun really is just beginning. Dance in cosplay to DJs, listen to mandolins in a museum or learn the art of Chinese drumming. Celebrate the lunar new year in Chinatown, watch a trio of contemporary dance works, feast on Asian-themed short films or discover the secrets to your favourite international cuisines. Then there’s our pick: Yum Chat, where kettles boil, tea brews and you can meet and natter with some of Australia’s most prominent creatives.
If Leslie Knope has taught us anything — and, the former Deputy Director of Pawnee, Indiana's Parks and Recreation Department turned City Councillor has taught us many, many, things — it's that Galentine's Day is the best day of the year. And while February 13 has long been and gone, Wednesday, August 7 might turn out to be just great thanks to Fritzenberger's Parks and Recreation trivia night. Here's hoping that the joint is firing up a few waffle irons in celebration. It's bound to be just as exciting as the time Leslie met Joe Biden. Or when Ben Wyatt invented The Cones of Dunshire. Or any occasion where Ron Swanson drank Lagavulin whisky. If you were to ask Chris Traeger, he'd likely say that answering trivia questions is literally his favourite thing to do. Andy Dwyer would probably sing a version of "Candle in the Wind" about it, and April Ludgate would either stand in the corner and glare, or try to convince you that she's a witch. As for Donna Meagle, she's too busy live-tweeting the Death Canoe film series. If you know all of the above like you know that breakfast food is the best kind of food, then you'd better show your love for one of the best sitcoms ever made — and yes, there'll be prizes. Maybe you'll win all of the bacon and eggs that Brisbane has. If you lose, maybe you'll have to change your name to Jerry/Garry/Larry/Terry. Either way, it all kicks off at 6.30pm, with arriving early to nab a table recommended.
With its golden beaches, lush rainforests and abundant green valleys, North Coast NSW has all the tools to recharge the weariest of souls — or those just in dire need of a holiday. It's also home to some of the state's most renowned producers, who are busily pumping out wine, beer and spirits — which you can sample at cellar doors aplenty — as well as award-winning eateries serving up excellent local produce in stunning locales. So you can make the most out of your next North Coast NSW trip, we've done the hard yards and planned out four adventure-packed holidays. And right now, you can score $100 off select North Coast NSW accommodation when you book through Trip.com. [caption id="attachment_856861" align="alignnone" width="1920"] Koala Hospital, Port Macquarie, Destination NSW[/caption] FLY INTO PORT MACQUARIE TO MEET WILDLIFE AND RIDE WAVES When you're in Port Macquarie, whichever direction you point your compass towards you'll find entrancing rainforests and beaches backing onto sprawling national parks. After touchdown at the city's conveniently located airport, secure a rental vehicle and scoot over to the coast to explore the rainforest canopy and sheltered coastline of Sea Acres National Park. You're bound to spot an ark of critters including goannas, diamond pythons, brush turkeys and even a koala or two. Then, take a free self-guided tour of the Koala Hospital for more cuddly sightings and greater insight into the lives of these beloved marsupials. Motor an hour up the coast to find a marine menagerie in Hat Head National Park. Korogoro Creek is a pristine snorkelling spot where you can spy hermit crabs, flat head, mullet and octopus below the water line, while whales and dolphins might occasionally surface through the waves, too. You'll find excellent surf breaks for experienced riders just south at Crescent Head. And if you're a beginner? Learn to tackle the region's famous tubes with On Point Surf School. After a day on the water, you'll likely need to refuel — venture inland to Bago Maze and Winery to enjoy a wine tasting paired with local cheese and charcuterie before meandering through the venue's carefully sculpted lilly pilly hedge maze. A stay on the Hastings River at Rydges Port Macquarie provides plush interiors with water views, as well as easy access to some of the city's best dining options. Tuck into fresh seafood at The Stunned Mullet or Bills Fishhouse and Bar, which both showcase seasonal local produce. Ensure you leave enough room for dessert, with the creamy artisan scoops at Blue Cow Gelato a tip-top option. [caption id="attachment_856161" align="alignnone" width="1920"] Opal Cove Resort Coffs Harbour, Destination NSW[/caption] FLY INTO COFFS HARBOUR TO EXPLORE ANCIENT RAINFORESTS AND REMOTE COASTLINES Alight the plane at Coffs Harbour Airport with your adventure shoes at the ready. In classic Aussie family holiday tradition, you'll need to kick things off with a choccy-covered banana and a quick round of laser tag at the Big Banana. Then, unwind in the spacious suites at Opal Cove Resort. This expansive seaside venue provides everything you need to relax and recharge, from a sauna and spa to a fully equipped gym and an arcade games room. Start your grand expedition into the great outdoors by ambling through national parks and nature reserves along the Solitary Islands coastal walk. Those tackling the full 60-kilometre trail will move from windswept headlands to undisturbed beaches and lush rainforest paths over three or four days of hiking and camping (depending on your pace). There are also plenty of day-trip opportunities, with spots for ocean fishing, swimming and picnicking. For even loftier views, head to Sealy Lookout (Niigi Niigi) and walk along the Forest Sky Pier which dramatically juts out over the canopy of Orara East State Forest. To put the stunning view into historical context, join a Giingan Gumbaynggirr Cultural Experience tour and learn about the cultural practices and stories of Traditional Owners, the Gumbaynggirr people. If that's still not enough nature for you, head an hour out of Coffs to the otherworldly Dorrigo National Park, where you can walk among 600-year-old trees in the World Heritage-listed Gondwana Rainforest. The small township of Bellingen is a perfect pit stop on the scenic drive here along Waterfall Way. Savour a lunch of shared plates in the artfully restored church that houses Cedar Bar & Kitchen, or stop in at Black Bear Cafe for a quick coffee in the heart of town. [caption id="attachment_856170" align="alignnone" width="1920"] Angourie, Destination NSW[/caption] FLY INTO BALLINA FOR A SURFING AND PADDLING SAFARI Flights landing at Ballina Byron Gateway Airport are often packed with holidaymakers headed for Byron Bay's star-studded beaches. But if you're keen to take the road (slightly) less travelled — that offer equally glorious seaside adventures — head 90 minutes south to the relaxed township of Yamba. Along the route, stop in at Razorback Lookout in Evans Head for spectacular sightlines up the coast before exploring the varied landscapes of Bundjalung National Park. Pack a hiking lunch and walk the ten-kilometre Jerusalem Creek loop, or book a rejuvenating forest bathing tour, which involves Japanese-inspired mindfulness movements honouring different natural elements, with Iluka Nature and Soul at Woody Head campground. Make Yamba Sun Motel your base once you reach town. The comfortable rooms come in a number of configurations and can accommodate both couples and larger families. The Sun also places you in the heart of this close-knit community, with beaches, friendly cafes and local attractions all within walking distance. Start your day with an Allpress Espresso coffee from eclectic local fave Yum Yum Angourie Cafe and General Store, or tuck into a hearty Turkish-inspired breakfast at the charming Beachwood Cafe. Get active on the water with a Yamba Kayak tour, and paddle around the islands and mangrove mazes of the Clarence River. Or, wetsuit up and tackle the Angourie Point surf break. Even if you're not confident on a board, you'd be remiss not to catch the dramatic right-handers roll in at this renowned spot from the safety of the sand. [caption id="attachment_856169" align="alignnone" width="1920"] Fingal Head, David Kirkland[/caption] FLY INTO THE GOLD COAST AND HEAD SOUTH TO CHASE WATERFALLS AND LOCAL FEASTS After touchdown, find yourself some wheels and scoot over the border to explore the nearby NSW coastline. Head southward and you'll immediately hit the Tweed Shire. Here, you'll find fine-dining spots hidden among rolling green valleys, myriad beaches to suit towel-snoozers and wave-riders alike, picturesque cruises along the Tweed River and plenty of cultural experiences to fill up your holiday itinerary. Be sure not to miss the Tweed Regional Gallery and Minjungbal Aboriginal Cultural Centre, before visiting the seemingly never-ending sandy expanse of Dreamtime Beach. For liquid sustenance, head to the cellar door at Husk Distillers, home of the chameleon-like Ink Gin. Then enjoy the hearty fare served up at Potager — much of what you taste in your miso pumpkin and potato gnocchi with coconut ricotta and warrigal greens has been plucked directly from the onsite garden. Less than an hour on the road and you'll be in the heart of Byron Bay. Set yourself up at the glamorously renovated Byron Springs beach house, tucked away on a palm-lined cul-de-sac with easy access to sprawling Tallow Beach and Arakwal National Park. If you can tear yourself away from the hotel's sun-drenched therapy pool, book a tour with Trip.com to uncover natural gems and native refreshments. The Chasing Waterfalls tour will ferry you between glistening cascades, quiet bushlands and rarely visited swimming holes, while the Afternoon Brewery and Distillery session will introduce you to locally concocted craft beers and fragrant spirits. With $100 off select North Coast NSW accommodation via Trip.com until June 21, now is the ideal time to explore all that the region has to offer. Top images: Destination NSW
What do the Australian comedy scene, YouTube, international festivals, Netflix, wine and picture books all have in common? Aunty Donna have conquered them all. Here's another thing to add to that list: Dungeons & Dragons: Honour Among Thieves. The Chris Pine (Don't Worry Darling)-, Regé-Jean Page (The Gray Man)-, Michelle Rodriguez (Fast & Furious 9) -and Hugh Grant (Operation Fortune: Ruse de Guerre)-starring film doesn't just bring of Stranger Things' favourite role-playing game back to cinemas — it does so in Australia with Aunty Donna among the cast. Since forming over a decade ago, the Aussie comedy troupe led by Zachary Ruane, Broden Kelly and Mark Samual Bonanno hasn't stopped making audiences laugh — in-person in Australia, online and around the world; while watching the side-splitting Aunty Donna's Big Ol' House of Fun; over a $30 bottle of wine literally called '$30 Bottle of Wine' and while flicking through Always Room for Christmas Pud. Later this year, they'll get folks giggling over their upcoming ABC sitcom Aunty Donna's Coffee Cafe, too. But for now, playing corpses revived by Pine, awakening from their eternal slumbers to talk about century-old battles and cats, does the trick first. Aunty Donna are no strangers to Dungeons & Dragons. Back in 2017, on YouTube Channel Insert Coin, they gave D&D an Aunty Donna twist in a now-classic sketch — one that did for owlbears what 'Morning Brown' has for calling your wake-up cup of caffeine "morning brown". And, a couple of years back, they also endeavoured to create their own D&D monsters. How did those comic ties to Dungeons & Dragons lead to Aunty Donna playing undead in Hollywood's latest D&D flick, and the latest movie based on Hasbro's toys and games after the Transformers series, the GI Joe films, Battleship, Power Rangers and more? We chatted to Ruane, Kelly and Bonanno about their new on-screen stint, comedy goals, D&D podcasts, missing out on the first Fast and the Furious movie, visiting cemeteries, flatlining and getting buried alive. So, just a normal Aunty Donna chat, then. ON LIVING THE DUNGEONS & DRAGONS DREAM Zachary Ruane: "We'd talked about it at length. So, when we first got together as a comedy group, we made a list of goals. This was at a Starbucks in…" Broden Kelly: "Melbourne." Mark Samual Bonanno: "Southern Cross Station." Zachary: "We sat down and we had a list of goals. One of them was a comedy festival show. And on that list was 'if Hollywood ever moves towards a more IP-dependent business structure and Paramount teams up with Hasbro to reboot the Dungeons & Dragons franchise, we' — and this is on the list — 'we would like to do voice work for the Australian release of that film'. We didn't think it was going to happen. I'd pretty much given up on that dream. And then, when we got the call from Paramount, I wept." Mark: "You wept for days." Zachary: "I wept for days." Mark: "It was too much." Zachary: "It was a very emotional experience for me, because that was the final thing to cross off the list, you know — so a really big moment for me and for all of us in our careers." ON COMEDY'S FONDNESS FOR DUNGEONS & DRAGONS Broden: "When I started, I'd never played Dungeons & Dragons before. I only knew it as a board game from the 80s. But being in comedy, Dungeons & Dragons is constantly just adjacent to it. There's so many funny people doing podcasts about it. So if you're in the comedy world — I'd never played it but I've been on every podcast about Dungeons & Dragons. And what it is, it seems to be just a community of people who are very warm and welcoming, and it's a world where you can do everything and nothing's wrong, which is just really fun and cool. It nurtures creativity. It nurtures imagination. Even just from doing this, we've seen how warm that community is." Zachary: "I should say, the film isn't just for those fans. It's really for everyone. It's a romp, it's an adventure." Mark: "Well, it's not about people playing D&D, is it? It's a fun…" Zachary: "It's a romp." Mark: "It's a fun romp set in the world of Dungeons & Dragons. Owlbears..." Broden: "I didn't know an owlbear until I did that sketch, and now I feel ashamed that I didn't know an owlbear before." Mark: "Don't be ashamed!" Zachary: "We watched the film with a big Dungeons & Dragons fan, and she was telling us all the little references. She was saying 'oh, they got perfect and that right'. And then I was like 'that's so crazy' because that was her experience, but then for me who hasn't played it that much, I just had a great time. It's really funny and fun." ON HOW AUNTY DONNA CAME TO BE IN A DUNGEONS & DRAGONS MOVIE Broden: "Well." Zachary: "Well." Mark: "Well, they just kept knocking at our door until we said yes. [To Zachary and Broden] How many times did we turn them down?" Zachary: "We were initially offered the part of — Broden was offered the part that Chris Pine plays in the film, I was offered the Michelle Rodriguez part. Which is funny because I was also offered that part in the first Fast and the Furious film, and I turned it down. And if I had known what franchise would become — oh my goodness!" Mark: "Sometimes you just miss your shot with those kinds of things." Zachary: "Yeah, absolutely. [To Mark] And then you were up for which part?" Mark: "For every other part in the film." Zachary: "So it was going to be a three-hander." Mark: "Originally it was going to be a vehicle for Aunty Donna to promote our YouTube channel — and we were just like, 'we're so busy'. We were so busy. [To Zachary and Broden] What did we have on?" Broden: "A birthday party or something." Mark: "Yeah, we had a party, and we were going to do half a run at Edinburgh Fringe. A two-week run at Edinburgh Fringe." Zachary: "And then when they folded in the Dungeons & Dragons layer to it, because originally it was just a sketch series of ours, it just became a little too big for us. And we said 'you know what, I'm going to handball this to the real professionals over at Hollywood'. And you'll see the film, you'll see — you're going to have a great time." ON PREPARING TO PLAY CORPSES REVIVED BY CHRIS PINE Broden: "I went to a lot of cemeteries, and it didn't do the trick. So I went back with a shovel, and someone stopped me — but I was going to get in there and really…" Mark: "That was me. I was like 'Broden, if you start digging up corpses to play this role, for this role, even though I know that's under false pretences...'. [To Broden] Because you love robbing graves, don't you?" Broden: "Yeah. Yeah. You can't go back from that." Zachary: "We call him da Vinci. He loves robbing graves and drawing really intricate drawings of the bodies." Mark: "Oh and of flight machines." Zachary: "Like Leonardo da Vinci. Me, I flatlined. I did some flatlining, like the movie Flatliners starring Kiefer Sutherland. So I stopped my heart until I was through the tunnel, and then I was reanimated. So I was able to experience death and coming out of it. And I think you'll see that with the corpse when I go [groans and gasps loudly]. That's from a real place." Mark: "Perfectly recreated." Zachary: "Yeah." Mark: "Broden and I ended up — I just buried myself in my backyard, Broden came and dug me up. It was kind of like a role play." Zachary: "How apropos." Mark: "How apropos! [To Broden] And then did you get enough out of that Broden, that experience?" Broden: "Yeah, so we do that every Saturday morning now, where we…" Mark: "Chuck on Cheez TV." Broden: "Yeah, I'll bury Mark in a garden with a little straw out for air." Mark: "Yeah." Broden: "And then I'll dig him up." Mark: "It's just for lunch." Broden: "And then we'll go have lunch at a cafe, or…" Mark: "That's what Hollywood is so great for: bringing friends closer together." Zachary: "I don't flatline anymore. I discovered that there's a darkness in the other realm and I realised that I had to stop." Sarah Ward: "Just like the movie." Aunty Donna [in unison]: "Just like the movie." Check out the new Dungeons & Dragons: Honour Among Thieves trailer below: Dungeons & Dragons: Honour Among Thieves opens in cinemas Down Under on March 30.
Have you been known to look at a doughnut and think "you belong with me"? Do you consider sweet treats your karma? Does happiness to you come in round orbs of pastry? Do you have your eyes open for all things Taylor Swift — or just for free doughnuts? The pop superstar has hit Australia, finally bringing her Eras tour Down Under thanks to three shows in Melbourne and four in Sydney. Her Aussie stint starts today, Friday, February 16. And to celebrate, Krispy Kreme is getting in on the action to give out free doughnuts to Swifties, and also to anyone — as long as you're wearing a friendship bracelet when you head into its Australian or Auckland stores. The chain is known for giving away its round treats, including handing out 100,000 of them each National Doughnut Day. In 2023 for Halloween, it also doled out freebies if you went in in costume. So, it's thoroughly unsurprising that it's linking in with Swiftmania. To snag yourself a signature glazed freebie, make a beeline to your closest Krispy Kreme store in Australia or Auckland on Friday, February 16 while wearing a friendship bracelet. The last part isn't optional. You'll then receive one original glazed doughnut per person, and you don't have to buy anything else to nab the treat without paying a cent. This is a while-stocks-last giveaway, so getting in as quick as someone trying to nab Taylor Swift tickets is obviously recommended. That gives everyone a heap of places to flock to: 38 in Australia and six in New Zealand. Sydneysiders are able to hit up stores stretching from Penrith to the CBD, Victorians can visit locations from Chadstone to Collins Street, and Queenslanders have Albert Street in the Brisbane CBD and Surfers Paradise among the choices. For residents of Perth, Hay Street, Cannington and more await. In Aotearoa, all options are in Auckland — including at Newmarket, Chancery Square and the domestic airport terminal. Krispy Kreme's Taylor Swift giveaway is taking place in-store on Friday, February 16 in Australia and Auckland. To find your closest shop and check its opening hours, head to Krispy Kreme's Australian and New Zealand websites.
Megan Shorey, a well-travelled and award-winning writer and composer of musical theatre, has a wealth of experience in the arts. Her some 25 years of cabaret, jazz, classics and contemporaries have taken her across the nation and the world in short films and festivals; hers is a career that should be (and is being!) celebrated. And now, you are invited to the festivities. Recall, a showcase of the high and higher points from Shorey’s remarkable career, is an evening of pure talent. You will see 20 local and Australian-wide artists present a concert, covering the best and the latest: Handle With Care, One In Seven, Bitter/Sweet, Undies (The Cabaret) plus a sneak peek at her latest work in progress, Spark. These shows, amongst others, will piece together the madness of Megan Shorey, a collective that will prove unforgettable.
Many local hospitality venues excel at one thing in particular. Whether they pour the best wine or serve a cold brew that'll have you buzzing for a week, most of these venues focus on one specialty during a particular part of the day. For the Japanese café Kahii, located on Kent Street in Sydney, however, flexibility and variety are what keep the spark alive. "Adding a night offering gave the venue a whole new life," says Kahii's director, Matthew Wong. Open from 8am until 3:30pm Monday to Friday, and re-opening from 5pm 'til 12am Tuesday to Saturday, Kahii serves freshly brewed coffee by day and cocktails by renowned mixologist Fumiaki (with a curated bar snack menu from Kuro's Executive Chef, Taka Teramoto) by night. "Flexibility isn't just a survival tactic — it's a growth mindset," Wong tells Concrete Playground. When Kahii opened in 2016, it was purely a day-trade cafe inspired by the Japanese tea room, kissaten. "Quiet, minimal, refined". After the venue survived the pandemic (and subsequent lockdowns and venue regulations that gutted the city as a whole), Kahii wanted to do something "exciting" again. "Licensing conditions had relaxed, and we saw the opportunity to introduce a tea and coffee-inspired cocktail program that reflected our identity while giving people something unique in the city," Wong adds. "It was both strategic and personal — a natural extension of who we are and what we enjoy." Pros of Flexibility According to Wong, the advantages of running a business that opens at different times of the day are plentiful. "It creates diversity—not just in revenue, but in the types of experiences we offer and the people we attract." "During the day, we serve office workers, creatives, and locals grabbing their daily coffee or matcha. At night, the crowd shifts to people seeking somewhere intimate to unwind with a drink and a bite." Wong also notes that increasingly, regulars are starting and ending their day at the cafe. "There's crossover, too." In addition to attracting a diverse range of patrons, from a business standpoint, Kahii is maximising the value of a "sunk cost"—rent. "Activating the space in the evening was a strategic way to make full use of it." Being open throughout the day also creates a buffer from trade volatility. "Things like school holidays, transport disruptions, and weather don't hit quite as hard when we have more than one audience," Wong adds. How to Adapt Your Business to Two Offerings If you want to expand your hospitality business beyond its current offerings, Wong recommends starting with what you love. Then, build systems that support flexibility. "If you're transitioning from day to night, make sure the space is designed to shift moods—lighting, music, staff training, and menus all need to adapt seamlessly." He also suggests thinking about operational flow. From bookings, orders, payments, and prep change, how will you widen your service? "The clearer your identity and the smoother your systems, the more your guests will feel like it's all part of one cohesive experience—not two separate businesses," Wong explains. Tools like Square can help build upon this flow. Kahii uses Square for POS during the day and Square for Restaurants at night. The platform handles everything from payments to open orders and integrates with booking platforms. As he explains, "[Square] makes a huge difference to our workflow, especially as we transition between different trade periods and customer expectations." Kill Your Darlings Running a hospitality business comes with a lot of decision-making. Part of this means making calls that impact your day-to-day. "There were offerings we loved but had to let go of—sometimes because they didn't resonate with guests, other times because they were operationally clunky," says Wong. One of the biggest lessons for Kahii has been knowing when to separate personal attachment from business performance, which Wong notes is never easy, but often necessary. "Looking back, every time we've made that call, it's created room for something better. Something that fits the brand, the customer, and the moment we're in." If Wong could give any advice to other adventurous business owners in the same position, it would be to be honest about what's not working. Be open to new formats, offerings, or even the times of day you operate. And most importantly, don't be afraid to pivot with purpose. "Talk to your team. Listen to your customers. Look at the data. Sometimes the smallest insights, like consistent feedback on a menu item or noticing a dip in trade at a certain time, can spark the biggest changes." Square empowers local businesses to thrive by making it easier to run, manage, and grow their operations. Find out how Square can help your business grow. Images: Kahii
If escaping into Australia's great outdoors, putting one foot in front of the other, and combining a leisurely walk — or an energetic hike — with soaking in the scenery is your idea of bliss, the past few weeks keep delivering welcome news. Firstly, the Snowy Mountains became home to a new nine-kilometre section of its Snowies Alpine Walk, complete with Australia's highest suspension bridge. Then, the New South Wales Government announced a massive 91-kilometre waterfront walking track from the Sydney Opera House to Parramatta. Now, still in NSW, the Gondwana Rainforests have been earmarked for a new excuse to get moseying, too. As part of NSW's 2022-23 budget, Treasurer Matt Kean has added the new Dorrigo Escarpment Great Walk to the list of upcoming projects that the state's residents and travellers alike can look forward to. Scoring $56.4-million in budget funding, it'll span 46 kilometres, all through stunning rainforest surroundings on the state's mid-north coast. And, there'll be two- and four-day route options. Your starting point: a new Arc Rainforest Centre, which'll come complete with a stunning-looking hanging boardwalk that'll overlook the World Heritage spot. From there, as you roam along the trail, you'll wander over three suspension bridges. There'll also be four low-impact walkers' hut precincts, as well as new camping areas — because if you're committing to taking the full multi-day trek, you'll need somewhere to slumber along the route. That budget cash will also go towards the Arc Rainforest Centre, which is designed to be an attraction in itself thanks to its viewing platform. It'll also include a new treetop skywalk, which'll feature an upper and lower deck so you can still make the most of it when it's raining — and spiralling walkways that'll take you down into the rainforest, to the existing six-kilometre Wonga Walk as well as the new Dorrigo Escarpment Great Walk. Back on the Dorrigo Escarpment Great Walk itself, it'll meander through the Dorrigo and Bindarri National Parks, with about half of the 46-kilometre stretch charting existing tracks and trails. Hikers won't be short on spectacular sights; expect to see waterfalls, giant old growth trees and wild rivers along the way. If you're excited about the huts and camping sites, they'll be operated, run and booked through NSW's National Parks and Wildlife Services. And, the walk will have another big aim: becoming a place for folks to learn about and connect with the culture of the Gumbaynggirr people, the area's Traditional Custodians. Exactly when the centre and walk will welcome in visitors hasn't been revealed as yet, however — so add this one to your future must-visit list, rather than packing your bags and popping on your comfiest walking shoes now. "Through the NSW Budget, we're investing $56.4 million to offer a new way for people to enjoy the ancient World Heritage environment," said Kean. "This project will drive increased nature-based tourism in NSW, further bolstering the contribution that national parks make to the state economy. For more information about the Dorrigo Escarpment Great Walk, head to the NSW Government website.
Do you guys ever think about all the new movies that didn't get as much love while everyone was seeing Barbie and the rest of 2023's huge box-office hits? If you haven't so far, the time to do so is now. This year's's slate of cinema releases is like the year's biggest blockbuster, serving up multiple variations for everyone. So, while The Super Mario Bros Movie, Oppenheimer, Guardians of the Galaxy Vol. 3, John Wick: Chapter 4, The Little Mermaid, Elemental and Fast X were among the typical successes (and 2022's Avatar: The Way of Water and Puss in Boots: The Last Wish as well), the massive money earners are just a fraction the flicks that've graced the silver screen over the last 12 months. All of the aforementioned pictures made piles of cash from Australia audiences, and earned attention and chatter along the way. Elsewhere, stunning thrillers, warped mindbenders, thoughtful dramas, queer romances, propulsive action efforts, twisty delights and gorgeous animation also awaited — and they're worth catching up with ASAP. As we have since 2014 (see also: 2015, 2016, 2017, 2018, 2019, 2020, 2021 and 2022), we've picked a heap of must-see movies that you likely didn't see in 2023, because that's what the cinema takings tell us, but you should definitely add to your list. Thanks to our 15 selections, don't say that you don't have anything new to watch. HOW TO BLOW UP A PIPELINE Every story is built upon cause and effect. One thing happens, then another as a result, and so a narrative springs. Inspired by Andreas Malm's non-fiction book of the same name, How to Blow Up a Pipeline isn't just strung together by causality — it's firmly, actively and overtly about starting points, consequences and the connections between. Here's one source for this impassioned tale about determined and drastic environmental activism: the warming world. Here's an originator for that, too: fossil fuels, humanity's reliance upon them and the profits reaped from that status quo. Now, a few outcomes: pollution, catastrophic weather changes, terminal illnesses, stolen and seized land, corporate interests prioritised over ecological necessities, and a growing group that's driven to act because existence is at stake. Turning a text subtitled Learning to Fight in a World on Fire into a fictional feature, How to Blow Up a Pipeline joins all of the above, stressing links like it is looping string from pin to pin, and clue to clue, on a detective's corkboard. In his second feature after 2018's smart and effective camgirl horror Cam, writer/director Daniel Goldhaber isn't trying to be subtle about what dovetails in where. With co-screenwriters Jordan Sjol (a story editor on Cam) and Ariela Barer (also one of How to Blow Up a Pipeline's stars), he isn't attempting to rein in the film's agenda or complexity. This movie tells the tale that's right there in its name, as eight people from across America congregate in Texas' west with a plan — an octet of folks who mostly would've remained loosely connected, some strangers and others lovers and friends, if they weren't desperate to send a message that genuinely garners attention. Goldhaber's latest is explosive in its potency and thrills, and startling in its urgency, as it focuses on a decision of last resort, the preparation and the individual rationales before that. How to blow up hedging bets on-screen? That's also this tightly wound, instantly gripping, always rage-dripping picture. Read our full review. INFINITY POOL Making his latest body-horror spectacle an eat-the-rich sci-fi satire as well, Brandon Cronenberg couldn't have given Infinity Pool a better title. Teardowns of the wealthy and entitled now seem to flow on forever, glistening endlessly against the film and television horizon; however, the characters in this particularly savage addition to the genre might wish they were in The White Lotus or Succession instead. In those two hits, having more money than sense doesn't mean witnessing your own bloody execution but still living to tell the tale. It doesn't see anyone caught up in cloning at its most vicious and macabre, either. And, it doesn't involve dipping into a purgatory that sports the Antiviral and Possessor filmmaker's penchant for futuristic corporeal terrors, as clearly influenced by his father David Cronenberg (see: Crimes of the Future, Videodrome and The Fly), while also creating a surreal hellscape that'd do Twin Peaks great David Lynch, Climax's Gaspar Noe and The Neon Demon's Nicolas Winding Refn proud. Succession veteran Alexander Skarsgård plunges into Infinity Pool's torments playing another member of the one percent, this time solely by marriage. "Where are we?", author James Foster asks his wife Em (Cleopatra Coleman, Dopesick) while surveying the gleaming surfaces, palatial villas and scenic beaches on the fictional island nation of Li Tolqa — a question that keeps silently pulsating throughout the movie, and also comes tinged with the reality that James once knew a life far more routine than this cashed-up extravagance. Cronenberg lets his query linger from the get-go, with help from returning Possessor cinematographer Karim Hussain. Within minutes, the feature visually inverts its stroll through its lavish setting, the camera circling and lurching. As rafters spin into view, then tumble into the pristine sky, no one in this film's frames is in Kansas anymore. Then, when fellow guest Gabi (Mia Goth, Pearl) gets James and Em into a tragic accident, which is followed by arrests, death sentences and a wild get-out-of-jail-free situation, no one is anywhere they want to be, either. Read our full review. BROKER No matter how Hirokazu Kore-eda's on-screen families come to be, if there's any actual blood between them, whether they're grifting in some way or where in the world they're located, the Japanese writer/director and Shoplifters Palme d'Or winner's work has become so beloved — so magnificent, too — due to his care and sincerity. A Kore-eda film is a film of immense empathy and, like Like Father, Like Son, Our Little Sister, After the Storm and The Third Murder also in the prolific talent's past decade, Broker is no different. The setup here is one of the filmmaker's murkiest, with the feature's name referring to the baby trade. But showing compassion and humanity isn't up for debate in Kore-eda's approach. He judges the reality of modern-day life that leads his characters to their actions, but doesn't judge his central figures. In the process, he makes poignant melodramas that are also deep and thoughtful character studies, and that get to the heart of the globe's ills like the most cutting slices of social realism. It isn't just to make a buck that debt-ridden laundromat owner Sang-hyun (Song Kang-ho, Parasite) and orphanage-raised Dong-soo (Gang Dong-won, Peninsula) take infants abandoned to the Busan Family Church's 'baby box' — a chute that's exactly what it sounds like, available to mothers who know they can't embrace that part for whatever reason — then find good families to sell them to. There's a cash component, of course, but they're convinced that their gambit is better than letting children languish in the state system. In Kore-eda's usual kindhearted manner, Broker sees them with sensitivity. Even if blue hues didn't wash through the film's frames, nothing is ever black and white in the director's movies. The same understanding and tenderness flows towards mothers like So-young (Lee Ji-eun, Hotel Del Luna, aka K-Pop star IU), whose decision to leave Woo-sung (debutant Park Ji-yong) isn't easily made but puts Broker on its course. Read our full review. REALITY Sydney Sweeney is ready for her closeup. Playwright-turned-filmmaker Tina Satter obliges. A household name of late due to her exceptional work in both Euphoria and The White Lotus, Sweeney has earned the camera's attention for over a decade; however, she's never been peered at with the unflinching intensity of Satter's debut feature Reality. For much of this short, sharp and stunning docudrama, the film's star lingers within the frame. Plenty of the movie's 83-minute running time devotes its focus to her face, staring intimately and scrutinising what it sees. Within Reality's stranger-than-fiction narrative, that imagery spies a US Air Force veteran and National Security Agency translator in her mid-twenties, on what she thought was an ordinary Saturday. It's June 3, 2017, with the picture's protagonist returning from buying groceries to find FBI agents awaiting at her rented Augusta, Georgia home, then accusing her of "the possible mishandling of classified information". Reality spots a woman facing grave charges, a suspect under interrogation and a whistleblower whose fate is already known to the world. It provides a thriller of a procedural with agents, questions, allegations and arrests; an informer saga that cuts to the heart of 21st-century American politics, and its specific chaos since 2016; and an impossible-to-shake tragedy about how authority savagely responds to being held to account. Bringing her stage production Is This a Room: Reality Winner Verbatim Transcription to the screen after it wowed off-Broadway and then Broadway, Satter dedicates Reality's bulk to that one day and those anxious minutes, unfurling in close to real time — but, pivotally, it kicks off three weeks earlier with its namesake at work while Fox News plays around her office. Why would someone leak to the media a restricted NSA report about Russian interference in getting Donald Trump elected? Before it recreates the words genuinely spoken between its eponymous figure and law enforcement, Reality sees the answer as well. Read our full review. CORSAGE Britain's two Queen Elizabeths have enjoyed their fair share of film and TV depictions, aided by Cate Blanchett, Judi Dench, Margot Robbie, Helen Mirren, Claire Foy, Olivia Colman, Imelda Staunton and more — to name just a few — but they're not the only royals of that first name to grace the screen. While the spelling differs slightly and she's played as more of a Diana-style people's princess in her latest stint in cinemas, Empress Elisabeth of Austria (also Queen of Hungary) has received several celluloid and pixel resurrections of her own. Corsage ranks among the best of them, as famed as Austria's Sissi films from the 50s are and as recently as Netflix's The Empress hit streaming, in no small part due to two other outstanding women. One is Luxembourgish actor Vicky Krieps (Bergman Island), who is shrewd, wry and wily as the Bavarian-born wife to Emperor Franz Joseph I. The other is Austrian writer/director Marie Kreutzer (The Ground Beneath My Feet), whose handsomely staged and smartly anachronistic feature is no mere dutiful biopic. Corsage's lead casting is the dream it instantly seems on paper; if you're wondering why, see: Krieps' scene-stealing work opposite Daniel Day-Lewis in 2017's Phantom Thread. Here, she's been earning deserved awards — the Best Performance prize in the 2022 Cannes Film Festival's Un Certain Regard section among them — for a portrayal that never feels like she's stepping into someone else's shoes or jumping back to the past for a part. Krieps is, naturally. Also, given that Sissi lived between 1837–1898, viewers have no way of knowing how close this characterisation is. But Krieps' fierce, dynamic and layered performance goes far further than easy impersonation, or providing a period-appropriate rendering of the Empress based on how history dictates that women of the era behaved (or what flicks set then or focusing on regal women back then have served up before). Corsage is a portrait of a lady, after all, and not of a time. Read our full review. SCRAPPER Trust a movie that's all about connection and pluck to boast plenty itself. The second of cinema's 2023 father-daughter pictures out of Britain that's directed by a first-time feature filmmaker called Charlotte — the first: Charlotte Wells' Aftersun — Charlotte Regan's Scrapper couldn't be better cast or any more fearless about telling its tale. Starring as 12-year-old Georgie, a pre-teen striving to survive on her own with any help from adults or the authorities after her mum Vicky's (Olivia Brady, The Phantom of the Open) death from cancer, debutant Lola Campbell is an electrifying find. Fresh from playing a model in Triangle of Sadness, Harris Dickinson is now an absent rather than ideal dad, a part that he infuses with equal doses of soul, sorrow, charisma and cheek. And, recognising that she's hardly skipping through new narrative territory, writer/director Regan heaps on character and personality. This is a perky, bright and bubbly take on a kitchen-sink story. There's sadness in 2023's Sundance Film Festival Grand Jury Prize-winner, too, with Scrapper scoring its award in the fest's World Cinema Dramatic Competition. There's anger as well, especially about a society that has Georgie convinced that staying solo in the council flat she lived in with her mother — a space that she's now fastidious about keeping exactly as it was before heartbreak struck — is her top choice. But Regan sees colour amid the grey, plus possibilities alongside struggles. Her view is clear-eyed but never steely. Regan unblinkingly witnesses the realities of working-class existence, yet also spies joy and whimsy, and similarly isn't afraid of getting surreal. This is a flick with talking spiders — cue literal bubbles, of the speech variety — alongside scrapping to get by. Read our full review. SHAYDA Whether or not Noora Niasari was ever explicitly told to write what she knew, the Iranian Australian filmmaker has taken that advice to heart. Her mother listened to the same guidance first, even if it was never spoken to her, either. The latter penned a memoir that has gone unpublished, but helped form the basis of the powerful and affecting Shayda. This account of a mum and her daughter attempting to start anew in a women's shelter doesn't entirely stick to the facts that writer/director Niasari and her mother lived through. The Sundance-premiering, Melbourne International Film Festival-opening, Oscar-contending feature — it's Australia's entry for Best International Feature Film at the 2024 Academy Awards — isn't afraid to fictionalise details in search of the best screen story. Still, the tale that's told of courage, resilience, rebuilding lives and finding a new community is deeply and patently personal. Perhaps even better, it's inescapably authentic. Niasari peers back at being barely of primary-school age and making a new home. Fleeing to a women's shelter is the only option that the film's eponymous figure (Zar Amir Ebrahimi, 2022's Cannes Best Actress-winner for Holy Spider) has to get away from the abusive Hossein (Osamah Sami, Savage River), whose controlling nature is matched by that of their patriarchal culture. So, Shayda leaves with six-year-old Mona (debutant Selina Zahednia). As she waits for her divorce proceedings to go through — a complicated task under Iranian law and customs — she seeks refuge at a secret site overseen by the caring Joyce (Leah Purcell, The Lost Flowers of Alice Hart). Even surrounded by kindness and filled with desperation for a better future, every iota of Shayda's decision is fraught and tense; Niasari starts the film with Mona at an airport being told what to do if she's ever there with her father, should he try to take her not only away from her mum but also back to Iran. Read our full review, and our interview with Noora Niasari. OF AN AGE You Won't Be Alone isn't just the name of Macedonian Australian writer/director Goran Stolevski's debut feature, which hit cinemas in 2022. It's also a phrase that applies now that his second film is here. Of an Age initially premiered in the same year as well, bowing in Melbourne International Film Festival's opening-night slot — and, while it tells of growing up queer in 90s Melbourne, falling in love for the first time, then sifting through the aftermath a decade later, it's a glorious companion piece to its predecessor. No one is chosen by a sorceress here. The place isn't Macedonia, the period isn't the 19th century and supernatural shapeshifting isn't part of the narrative. But even just a mere duo of movies into his helming career, Stolevski makes pictures that profoundly ruminate upon two of life's purest truths: that absolutely everything changes and, consequently, nothing completely lasts forever. 1999 is inching towards becoming Y2K when Of an Age begins, and 17-year-old Nikola aka Kol (Elias Anton, Australia Day) is only hours from taking to the floor at a Melbourne dance championship. That's how his day is meant to pan out, at least, and what he's preparing for when the film meets him practising his smooth ballroom moves in his suburban garage — conjuring up visions of John Travolta in a flick made famous two decades prior, in fact. Kol's ordinary morning fever breaks, however, thanks to friend and dance partner Ebony (Hattie Hook, Savage River) and her bender of an evening. She's awoken on the beach in Altona with no idea where she is, scrounging up change for the payphone call to say she thinks she'll miss the recital unless Kol can pick her up. To attempt to make his big performance, he has to convince Ebony's older brother Adam (Thom Green, Eden) to play taxi — and he's still all aflutter with anxiety, and just the inertia of being so keyed up from endeavouring to sort things out, when he slides into the twentysomething's brown car and feels sparks fly instantly. Read our full review. THE ORIGIN OF EVIL Laure Calamy doesn't star in everything that's hitting screens big and small from France right now, but from Call My Agent! and Only the Animals to Full Time and The Origin of Evil, audiences can be forgiven for feeling otherwise. Calamy isn't new to acting, either, with a resume dating back to 2001; however, her in-demand status at present keeps showering viewers with stellar performances. Indeed, The Origin of Evil is a magnificent Calamy masterclass. She's playing a part while playing a part, and she makes both look effortless. The Antoinette in the Cévennes César Best Actress-winner is also a picture of unnerving determination and yearning, and resourcefulness and anxiety, too, as a seafood-factory worker usually tinning anchovies, then packing herself into a mix of Knives Out, Succession, The Talented Mr Ripley and Triangle of Sadness. Unleashing in-fighting upon a wealthy family residing on Côte d'Azur island Porquerolles, this instantly twisty and gripping thriller from Faultless and School's Out writer/director Sébastien Marnier (who collaborates on the screenplay with Amore mio scribe Fanny Burdino) takes a setting that'd do The White Lotus proud as well, then wreaks havoc. On the agenda in such lavish and scenic surroundings, which come filled with an unsettling menagerie of taxidermied animals: witnessing savage squabbling over who'll inherit a business empire, bathing in the kind of bitterness that only the bonds of blood among the affluent and entitled can bring, more than one person wishing that patriarch Serge Dumontet (Jacques Weber, The World of Yesterday) would shuffle off this mortal coil and, just as crucially, not everything being what it seems. Read our full review. FINGERNAILS In the world of Fingernails, 'Only You' isn't just a 1982 pop song that was made famous by Yazoo, is easy to get stuck in your head, and is now heard in this film in both French and English. It's also the philosophy that the first English-language feature by Apples filmmaker Christos Nikou has subscribed its characters to as it cooks up a fascinating sci-fi take on romance. In a setup somewhat reminiscent of Elizabeth Holmes' claims to have revolutionised blood testing (see: The Dropout), Fingernails proposes an alternative present where love can be scientifically diagnosed. All that's needed: an extracted plate of keratin, aka the titular digit-protecting covering. At organisations such as The Love Institute, couples willingly have their nails pulled out — one apiece — then popped into what resembles a toaster oven to receive their all-important score. Only three results are possible, with 100 percent the ultimate in swooning, 50 percent meaning that only one of the pair is head over heels and the unwanted zero a harbinger of heartbreak. When Fingernails begins, it's been three years since teacher Anna (Jessie Buckley, Women Talking) and her partner Ryan (Jeremy Allen White, The Bear) underwent the exam, with the long-term duo earning the best possible outcome — a score that's coveted but rare. Around them, negative results have led to breakups and divorces as society's faith is placed not in hearts and souls, but in a number, a gimmick and some tech gadgetry (one of the sales pitches, though, is that finding out before getting hitched will stop failed marriages). As their friends go the retesting route — satirising the need for certainty in affairs of the heart pumps firmly through this movie's veins — Anna hasn't been able to convince Ryan to attend The Love Institute as a client. She's soon spending her days there, however, feeding her intrigue with the whole scenario as an employee. When she takes a job counselling other pairs towards hopeful ever-after happiness, she keeps the career shift from her own significant other. Quickly, she has something else she can't tell Ryan: a blossoming bond with her colleague Amir (Riz Ahmed, Sound of Metal). Read our full review. THE INSPECTION If war is hell, then military boot camp is purgatory. So told Full Metal Jacket, with Stanley Kubrick's masterpiece making that observation echo and pierce with the relentlessness of machine-gun fire. Now, The Inspection stresses the same point nearing four decades later, plunging into the story of a gay Black man enlisting, then navigating the nightmare that is basic training. This too is a clear-eyed step inside the United States Marine Corps, but drawn from first-time fictional feature filmmaker Elegance Bratton's own experiences. New Yorker Ellis French (Jeremy Pope, One Night in Miami) is the Pier Kids documentarian's on-screen alter ego — an out queer man who has spent a decade from his teens to his mid-20s homeless after being kicked out by his ashamed mother Inez (Gabrielle Union, Strange World), and pledges his post 9/11 freedom away for a place to fit in, even if that means descending into a world of institutional homophobia and racism. It would've been easy for Bratton to just sear and scorch in The Inspection; his film is set in 2005, "don't ask, don't tell" was still the US military forces' policy and discrimination against anyone who isn't a straight white man is horrendously brutal. Life being moulded into naval-infantry soldiers is savage anyway; "our job is not to make Marines, it's to make monsters," says Leland Laws (Bokeem Woodbine, Wu-Tang: An American Saga), Ellis' commanding officer and chief state-sanctioned tormentor. And yet, crafting a film that's as haunting as it is because it's supremely personal, Bratton never shies away from Ellis' embrace of the Marines in his quest to work out how he can be himself. There's nothing simple about someone signing up for such heartbreaking anguish because that's the only option that they can imagine, but this stunning movie is anything but simple. Read our full review. SISU Lean, mean and a Nazi-killing machine: that's Sisu and its handy-with-a-hunting-knife (and pickaxe) protagonist alike. This stunningly choreographed Finnish action film's title doesn't have a literal equivalent in English, but writer/director Jalmari Helander's (Rare Exports: A Christmas Tale) latest effort means stoic, tenacious, resolute, brave and gritty all in that four-letter term; again, both the movie and the man at its centre fit the description. Former soldier Aatami Korpi (Jorma Tommila, also Rare Exports: A Christmas Tale) has one aim. After he strikes gold and plenty of it in Lapland's far reaches, he's keen to cash in. For someone who has already lost everyone and everything to World War II, that requires transporting his haul; however, the year is 1944 and German troops still lurk even as the combat winds down. Accordingly, getting those gleaming nuggets from the wilderness to a bank means facing a greedy and unrelenting platoon led by Helldorf (Aksel Hennie, The Cloverfield Paradox), who can spy a payday and an exit strategy for himself. Before anything yellow shimmers, Nazi-filled tanks are sighted, a single shot is fired or a blow swung, Sisu explains its moniker as "a white-knuckled form of courage and unimaginable determination". Text on-screen also advises that "sisu manifests itself when all hope is lost." As a film, Sisu may as well be shorthand for John Wick meets Inglourious Basterds meets Django, the iconic 1966 spaghetti western that Quentin Tarantino riffed on with Django Unchained, too — plus all of that meets the work of legendary spaghetti western director Sergio Leone as well. The carnage is that balletic. The Nazi offings are that brutal, roguish and inventive. And valuing deeds over dialogue as a lone figure dispatches with nefarious forces against an unforgiving landscape, and no matter what they throw at him, is firmly the setup. Read our full review. COBWEB When Song Kang-ho hasn't been starring in Bong Joon-ho's films, he's been featuring Park Chan-wook's and Kim Jee-woon's, plus Lee Chang-dong's and Hong Sang-soo's as well. One of Korea's acting greats boasts a resume filled with the country's directing greats — so getting the Memories of Murder, The Host, Thirst, Snowpiercer and Parasite star, plus Joint Security Area, Sympathy for Mr Vengeance, Lady Vengeance and Secret Sunshine talent, to play a filmmaker for his The Good the Bad the Weird and The Age of Shadows filmmaker feels like perfect casting even before Cobweb starts spinning its reels. Song's career highlights are already many, complete with a Cannes Best Actor Award for working with Japan's Hirokazu Kore-eda in Broker. Here, he's reliably and rakishly charming in a movie-making ode and on-set farce. For his own director Kim, Song plays a director Kim — but on-screen version Kim Ki-yeol is living in the 70s, and also in a rut. Once an assistant to a famed and acclaimed helmer who has passed away, now he's openly mocked by critics for his trashy fare in one of Cobweb's first scenes. He's made most of a masterpiece, however, or so he believes. The only thing that's required to ensure it's a complete classic is two more days to undertake re-shoots. His film is meant to be finished, but he's adamant that the cast and crew reteam (and his producer foot the bill) to ensure that the creative visions that keep haunting his dreams can become a feted triumph. Convincing everyone that he needs to isn't the only tricky feat, with challenges upon challenges unspooling the longer that the fictional Kim and his colleagues spend bustling. Read our full review. THE BLUE CAFTAN In The Blue Caftan, a tailor's hands say everything that needs conveying about how he holds himself in the world. That garment-maker is Halim (Saleh Bakri, My Zoe), and he plies he trade in the Moroccan city of Salé, in a humble store overseen by his no-nonsense wife Mina (Lubna Azabal, Rebel). Refusing to use machines, Halim is meticulous in his work. He's patient, careful and thorough, as one needs to be in the painstakingly detailed job of hand-embroidering women's traditional tunics. As a result of his precision and artistry, he isn't short on customers — and that rigour and commitment seeps from him like breath whether he's letting Mina run the show; training Youssef (first-timer Ayoub Missioui), the apprentice brought on to help meet the demand for his exquisite wares; or finding ways to deal with his feelings, including the pull he feels towards his new protege. For her sophomore feature after the also-tender and moving Adam, writer/director Maryam Touzani again makes a delicately layered and intricately woven film — a movie that digs deep into a subject considered taboo in Morocco, too, via an exceptionally well-observed triple character study. If her pictures say everything they need to about the filmmaker herself, then Touzani clearly values intimate and weighty connections, examining the needless pressures enforced by antiquated attitudes, the bonds that spring in such complex circumstances, and heartbreakingly poignant pictures about that list. She both appreciates and elicits sensitive performances, too, with Adam alum Azabal again superb under the helmer's gaze, and Bakri just as wonderful. It's no wonder that The Blue Caftan, with its resonant tale, rich cinematography and willingness to surprise while remaining emotionally raw as well, was chosen as Morocco's 2023 Best International Feature Oscar contender. MARCEL THE SHELL WITH SHOES ON Every couple has in-jokes, a valuable currency in all relationships, but only Jenny Slate and Dean Fleischer-Camp have turned a cute private gag into Marcel the Shell with Shoes On. The Parks and Recreation actor and the Fraud director are no longer together romantically, marrying and divorcing in the 13 years since they first gave the world the cutest talking shell anyone could've imagined; however, they've now reteamed professionally for an adorable film based on their 2010, 2011 and 2014 shorts. Marcel the Shell with Shoes On also gave rise to two best-selling children's picture books, unsurprisingly, following a familiar internet-stardom path from online sensation to print and now the big screen. Neither Slate and Fleischer-Camp's faded love nor their joint project's history are ignored by their footwear-sporting seashell's cinematic debut, either; in fact, acknowledging both, whether subtly or overtly, is one of the things that makes this sweet, endearing, happily silly, often hilarious and deeply insightful movie such an all-round gem. That inside jest? A voice put on by Slate, which became the one-inch-high anthropomorphic Marcel's charming vocals. In Marcel the Shell with Shoes On's three initial mockumentary clips, the tiny critter chats to an unseen filmmaker chronicling his life, with earnestness dripping from every word. ("My name is Marcel and I'm partially a shell, as you can see on my body, but I also have shoes and a face. So I like that about myself, and I like myself and I have a lot of other great qualities as well," he advises in his self-introduction.) The same approach, tone and voice sits at the heart of Marcel the Shell with Shoes On's feature-length leap, of course, but so does a touching meditation upon loss, change and valuing what's truly important. Fleischer-Camp plays the movie's documentarian, mostly off-camera, who meets Marcel and his grandmother Connie (voiced by Isabella Rossellini, Cat Person) after moving into an Airbnb following a relationship breakup — and, yes, their work together becomes a viral phenomenon. Read our full review.
Here's something that 2023 has that 2022 didn't: a Golden Globes ceremony. In his opening monologue, this year's host Jerrod Carmichael addressed the reasons why, including the Hollywood Foreign Press Association's historical lack of diversity. He also unpacked why he was asked to take to the microphone: "because I'm Black". Sparkling dresses, gleaming tuxedos, almost every famous face ever, plenty of shiny trophies going to worthy talents: that was all a part of the 2023 Golden Globes, which handed out its gongs on Wednesday, January 11 Australian and New Zealand time. So were frank speeches about the state of the industry, and the paths that many of this year's award-winners took to getting the accolades they deserve. When Ke Huy Quan said that "for so many years, I was afraid I had nothing more to offer" — chatting about the gap between starring in Indiana Jones and the Temple of Doom as a kid to making Everything Everywhere All At Once in 2022 — there really shouldn't have been a dry eye in the house. When his co-star Michelle Yeoh spoke about the surprise she garnered when people in the US discovered that she could speak English, the anger was palpable. Yeoh and Quan are just two of this year's Golden Globe winners, emerging victorious from a hefty list of nominees. Covering big- and small-screen contenders, they had ample company. And, among award recipients and presenters alike, the important and entertaining moments kept coming, such as Colin Farrell thanking Jenny the donkey from The Banshees of Inisherin, Elvis' Austin Butler asking to be played off to 'Suspicious Minds', Wednesday's Jenna Ortega telling everyone to watch 1962 French New Wave classic Jules and Jim, and Carmichael apologising "as a gay man" to Jennifer Coolidge in response to The White Lotus' second season. Also among the highlights: Carol Burnett Award-recipient Ryan Murphy giving 2022 Globe-winner MJ Rodriguez, the first trans woman to score a Golden Globe, a moment of recognition to make up for last year's lack of a ceremony; Volodymyr Zelenskyy's beamed-in speech; Steven Spielberg talking about finally being ready to dive into his own past directly after flirting with it across his filmography; Coolidge's mile-a-minute run-through of her rollercoaster career, and saying she'd come back for more American Pie; and Quinta Brunson's shoutout to Bob Odenkirk. Next stop for winners of the Golden Globe's film categories: the Academy Awards. Is Australia's own Cate Blanchett set to win her third Oscar, after picking up a Globe for Tár? Can Bollywood gem RRR keep winning fans everywhere it goes? Will 2023 keep being Yeoh and Quan's year, as 2022 was? These are your new questions. Amid all of the above, if you're wondering who and what else nabbed Golden Globes this year, the full rundown is below — and you can also check out our picks for the 15 winners you can watch right now: GOLDEN GLOBE NOMINEES AND WINNERS: BEST MOTION PICTURE — DRAMA Avatar: The Way of Water Elvis The Fabelmans — WINNER Tár Top Gun: Maverick BEST PERFORMANCE BY AN ACTRESS IN A MOTION PICTURE — DRAMA Cate Blanchett, Tár — WINNER Olivia Colman, Empire of Light Viola Davis, The Woman King Ana de Armas, Blonde Michelle Williams, The Fabelmans BEST PERFORMANCE BY AN ACTOR IN A MOTION PICTURE — DRAMA Austin Butler, Elvis — WINNER Brendan Fraser, The Whale — WINNER Hugh Jackman, The Son Bill Nighy, Living Jeremy Pope, The Inspection BEST MOTION PICTURE — MUSICAL OR COMEDY Babylon The Banshees of Inisherin — WINNER Everything Everywhere All at Once Glass Onion: A Knives Out Mystery Triangle of Sadness BEST PERFORMANCE BY AN ACTRESS IN A MOTION PICTURE — MUSICAL OR COMEDY Lesley Manville, Mrs. Harris Goes to Paris Margot Robbie, Babylon Anya Taylor-Joy, The Menu Emma Thompson, Good Luck to You, Leo Grande Michelle Yeoh, Everything Everywhere All at Once — WINNER BEST PERFORMANCE BY AN ACTOR IN A MOTION PICTURE — MUSICAL OR COMEDY Diego Calva, Babylon Daniel Craig, Glass Onion: A Knives Out Mystery Adam Driver, White Noise Colin Farrell, The Banshees of Inisherin — WINNER Ralph Fiennes, The Menu BEST MOTION PICTURE — ANIMATED Guillermo del Toro's Pinocchio — WINNER Inu-Oh Marcel the Shell with Shoes On Puss in Boots: The Last Wish Turning Red BEST MOTION PICTURE — NON-ENGLISH LANGUAGE All Quiet on the Western Front Argentina, 1985 — WINNER Close Decision to Leave RRR BEST PERFORMANCE BY AN ACTRESS IN A SUPPORTING ROLE IN ANY MOTION PICTURE Angela Bassett, Black Panther: Wakanda Forever — WINNER Kerry Condon, The Banshees of Inisherin Jamie Lee Curtis, Everything Everywhere All at Once Dolly De Leon, Triangle of Sadness Carey Mulligan, She Said BEST PERFORMANCE BY AN ACTOR IN A SUPPORTING ROLE IN ANY MOTION PICTURE Brendan Gleeson, The Banshees of Inisherin Barry Keoghan, The Banshees of Inisherin Brad Pitt, Babylon Ke Huy Quan, Everything Everywhere All at Once — WINNER Eddie Redmayne, The Good Nurse BEST DIRECTOR — MOTION PICTURE James Cameron, Avatar: The Way of Water Daniel Kwan and Daniel Scheinert, Everything Everywhere All at Once Baz Luhrmann, Elvis Martin McDonagh, The Banshees of Inisherin Steven Spielberg, The Fabelmans — WINNER BEST SCREENPLAY — MOTION PICTURE Todd Field, Tár Daniel Kwan, Daniel Scheinert, Everything Everywhere All at Once Martin McDonagh, The Banshees of Inisherin — WINNER Sarah Polley, Women Talking Steven Spielberg, Tony Kushner, The Fabelmans BEST ORIGINAL SCORE — MOTION PICTURE Carter Burwell, The Banshees of Inisherin Alexandre Desplat, Guillermo del Toro's Pinocchio Hildur Guðnadóttir, Women Talking Justin Hurwitz, Babylon — WINNER John Williams, The Fabelmans BEST ORIGINAL SONG — MOTION PICTURE 'Carolina' by Taylor Swift, Where the Crawdads Sing 'Ciao Papa' by Alexandre Desplat, Guillermo del Toro, Roeban Katz, Guillermo del Toro's Pinocchio 'Hold My Hand' by Lady Gaga, BloodPop, Benjamin Rice, Top Gun: Maverick 'Lift Me Up' by Tems, Rihanna, Ryan Coogler, Ludwig Göransson, Black Panther: Wakanda Forever 'Naatu Naatu' by Kala Bhairava, M.M. Keeravani, Kala Bhairava, Rahul Sipligunj, RRR — WINNER BEST TELEVISION SERIES — DRAMA Better Call Saul The Crown House of the Dragon — WINNER Ozark Severance BEST PERFORMANCE BY AN ACTRESS IN A TELEVISION SERIES — DRAMA Emma D'Arcy, House of the Dragon Laura Linney, Ozark Imelda Staunton, The Crown Hilary Swank, Alaska Daily Zendaya, Euphoria — WINNER BEST PERFORMANCE BY AN ACTOR IN A TELEVISION SERIES — DRAMA Jeff Bridges, The Old Man Kevin Costner, Yellowstone — WINNER Diego Luna, Andor Bob Odenkirk, Better Call Saul Adam Scott, Severance BEST TELEVISION SERIES — MUSICAL OR COMEDY Abbott Elementary — WINNER The Bear Hacks Only Murders in the Building Wednesday BEST PERFORMANCE BY AN ACTRESS IN A TELEVISION SERIES — MUSICAL OR COMEDY Quinta Brunson, Abbott Elementary — WINNER Kaley Cuoco, The Flight Attendant Selena Gomez, Only Murders in the Building Jenna Ortega, Wednesday Jean Smart, Hacks BEST PERFORMANCE BY AN ACTOR IN A TELEVISION SERIES — MUSICAL OR COMEDY Donald Glover, Atlanta Bill Hader, Barry Steve Martin, Only Murders in the Building Martin Short, Only Murders in the Building Jeremy Allen White, The Bear — WINNER BEST TELEVISION LIMITED SERIES OR MOTION PICTURE MADE FOR TELEVISION Black Bird DAHMER — Monster: The Jeffrey Dahmer Story The Dropout Pam & Tommy The White Lotus — WINNER BEST PERFORMANCE BY AN ACTRESS IN A LIMITED SERIES OR A MOTION PICTURE MADE FOR TELEVISION Jessica Chastain, George and Tammy Julia Garner, Inventing Anna Lily James, Pam & Tommy Julia Roberts, Gaslit Amanda Seyfried, The Dropout — WINNER BEST PERFORMANCE BY AN ACTOR IN A LIMITED SERIES OR A MOTION PICTURE MADE FOR TELEVISION Taron Egerton, Black Bird Colin Firth, The Staircase Andrew Garfield, Under the Banner of Heaven Evan Peters, Dahmer — MONSTER: The Jeffrey Dahmer Story — WINNER Sebastian Stan, Pam & Tommy BEST PERFORMANCE BY AN ACTRESS IN A SUPPORTING ROLE IN A LIMITED SERIES, ANTHOLOGY SERIES OR MOTION PICTURE MADE FOR TELEVISION Jennifer Coolidge, The White Lotus — WINNER Claire Danes, Fleishman Is in Trouble Daisy Edgar-Jones, Under the Banner of Heaven Niecy Nash, Dahmer — Monster: The Jeffrey Dahmer Story Aubrey Plaza, The White Lotus BEST PERFORMANCE BY AN ACTOR IN A SUPPORTING ROLE IN A LIMITED SERIES, ANTHOLOGY SERIES OR MOTION PICTURE MADE FOR TELEVISION F. Murray Abraham, The White Lotus Domhnall Gleeson, The Patient Paul Walter Hauser, Black Bird — WINNER Richard Jenkins, Dahmer — Monster: The Jeffrey Dahmer Story Seth Rogen, Pam & Tommy BEST PERFORMANCE BY AN ACTRESS IN A SUPPORTING ROLE IN A MUSICAL-COMEDY OR DRAMA TELEVISION SERIES Elizabeth Debicki, The Crown Hannah Einbinder, Hacks Julia Garner, Ozark — WINNER Janelle James, Abbott Elementary Sheryl Lee Ralph, Abbott Elementary BEST PERFORMANCE BY AN ACTOR IN A SUPPORTING ROLE IN A MUSICAL-COMEDY OR DRAMA TELEVISION SERIES John Lithgow, The Old Man Jonathan Pryce, The Crown John Turturro, Severance Tyler James Williams, Abbott Elementary — WINNER Henry Winkler, Barry For further details about the 2023 Golden Globes, head to the awards' website.
Not all that long ago, the idea of getting cosy on your couch, clicking a few buttons, and having thousands of films and television shows at your fingertips seemed like something out of science fiction. Now, it's just an ordinary night — whether you're virtually gathering the gang to text along, cuddling up to your significant other or shutting the world out for some much needed me-time. Of course, given the wealth of options to choose from, there's nothing ordinary about making a date with your chosen streaming platform. The question isn't "should I watch something?" — it's "what on earth should I choose?". Hundreds of titles are added to Australia's online viewing services each and every month, all vying for a spot on your must-see list. And, so you don't spend 45 minutes scrolling and then being too tired to actually commit to anything, we're here to help. We've spent plenty of couch time watching our way through this month's latest batch — and, from the latest and greatest to old favourites, here are our picks for your streaming queue from September's haul of newbies. BRAND NEW STUFF YOU CAN WATCH IN FULL HEARTBREAK HIGH Teen-focused dramas always reflect the generation they're made for, and returning Australian favourite Heartbreak High is no different. Today's high school-set shows often come with more than a few nods backwards as well, though. Just like Beverly Hills, 90210, Saved by the Bell and Gossip Girl before it — like Degrassi's multiple go-arounds across more than four decades now, including a new take that's set to land in 2023 — Heartbreak High 2.0 knows it has a history and doesn't dream of pretending otherwise. 90s worship is in fashion anyway, so all those Doc Martens, nose rings, baggy jeans, slip dresses and oversized band t-shirts not only could've adorned the initial show's cast. As this revival returns to what worked so well the first time around, takes a few cues from Euphoria, Sex Education and Never Have I Ever as well, and finds its own intensity, that blast-from-the-past aesthetic proves a natural fit. Sporting such decade-crossing attire is a fresh-faced — and fresh-to-the-franchise — cohort of Hartley High students. The years and teens have changed, but the location, like plenty of the outfits, remains the same. When the eight-episode new season begins, Amerie (Ayesha Madon, The Moth Effect) and Harper (Asher Yasbincek, How to Please a Woman) are life-long best friends, but their sudden rift after a drunken night at a music festival changes everything. Amerie doesn't know why Harper has suddenly shaved her head, let alone cut all ties with her. She's just as shocked when the mural they've graffitied in an unused school stairwell, chronicling who's dated, had a crush on and slept with who among the year 11s, is scandalously outed. And their classmates, including the non-binary Darren (screen first-timer James Majoos), their bestie Quinni (Chloe Hayden, Jeremy the Dud), heartthrob Dusty (Josh Heuston, Thor: Love and Thunder), his smug pal Spider (Bryn Chapman Parish, Mr Inbetween), mullet-wearing food delivery driver Ca$h (Will McDonald, Home and Away), and Bundjalung basketballer Malakai (Thomas, Troppo), all get drawn into the resulting (and immediately easy-to-binge) chaos. Heartbreak High streams via Netflix. Read our full review. WE'RE ALL GOING TO THE WORLD'S FAIR "Hey guys, Casey here. Welcome to my channel. Today I'm going to be taking the World's Fair Challenge." So says We're All Going to the World's Fair's protagonist (feature newcomer Anna Cobb) twice to start this absorbing horror film, to camera, in what makes a spectacular opening sequence. Next, an eerie wave of multicoloured light flashes across her face. Watching her response brings the also-excellent She Dies Tomorrow to mind, but Casey has her own viral phenomenon to deal with. She's doing what she says she will, aka viewing a strobing video, uttering a pivotal phrase and then smearing blood across her laptop screen — and she promises to document anything that changes afterwards, because others have made those kinds of reports. Written, directed and edited by fellow feature debutant Jane Schoenbrun, the instantly eerie and intriguing We're All Going to the World's Fair is that record. Schoenbrun's film is more than that, however. It also charts the connections that spring and splinter around Casey just by joining the online trend, where her videos spark others in return — and the spirals she goes down as she watches, which then sparks a response in her own way, too. A portrait of isolation and alienation as well, while chronicling the after effects of playing a virtual horror game, We're All Going to the World's Fair is also a picture of an always-recorded world. Take your lockdown mindset, your social-media scrolling, all that Zooming that defined the beginning of the pandemic and a gamer vibe, roll them all together, and that's still not quite this arresting movie — which keeps shifting and evolving just like Cobb's enigmatic and evocative performance. The entire flick earns that description and, not that it needs an established name's tick of approval, the fact that The Green Knight and A Ghost Story director David Lowery is an executive producer speaks volumes. We're All Going to the World's Fair streams via Shudder. RAMY In the dramedy that bears his name, Ramy Youssef (Don't Worry, He Won't Get Far on Foot) is a quintuple threat. He created Ramy, plays Ramy, executive produces, and also frequently writes and directs — and, in a show about a Queens-born first-generation American Muslim raised in New Jersey to Egyptian parents, as Youssef himself is, there's no doubting that the stories he's telling are personal. There's a difference between bringing your own exact existence to the screen and conveying the truth behind your experiences, however, with Ramy falling into the second category as it charts its eponymous figure's struggles as his faith conflicts with his lifestyle. Since its first season in 2019, the series has always been so deeply steeped in the lived reality of feeling torn between two cultures, and so specific in its details, too. And yet, it's also so universal and relatable in its emotions and insights. None of the above changes in season three, welcomely so, in what's one of Ramy's finest moments yet. In this ten-episode third run, the lives of Ramy and his loved ones are rarely blessed with fine moments — and Ramy Hassan, Youssef's on-screen alter-ego, keeps threatening his own heart, mind and soul with his choices. Season two ended with a short-lived marriage and the fallout still lingers, but Ramy has thrown himself into making his Uncle Naseem's (Laith Nakli, Ms Marvel) diamond business a success as a distraction. He has money, his own place and, soon, his own jewellery outfit, although that doesn't herald happiness. For his sister Dena (May Calamawy, Moon Knight), nor has striving hard to take the bar exam, especially when her parents Maysa (Hiam Abbass, Succession) and Farouk (Amr Waked, Wonder Woman 1984) are open about how differently they see her and her future to Ramy. As the elder Hassans also grapple with Farouk being out of work, plus decades of feeling like they're treading water, Ramy remains a stunningly perceptive and engaging exploration of the battle to remain true to oneself — and one's hopes, dreams and religion — while also proving a rich, poignant and devastatingly well-acted comedy. May more come. Ramy streams via Stan from Friday, September 30. DO REVENGE Sequels aren't the only way to get nostalgic, or to thrust a beloved old-school film — or several — into the now. A high school-set comedy about exactly what it's moniker describes, Do Revenge joins Heathers, The Craft, Jawbreaker and Jennifer's Body in charting teens chasing vengeance. Mean girls abound, too, and when 'Kids in America' starts playing, it's a Betty of a Clueless nod (and just one of many, including pastel uniforms that could've been pulled out of Cher Horowitz's computerised wardrobe). Casting Sarah Michelle Gellar as the principal and dropping 'Praise You'? The Cruel Intentions winks keep thrilling like a young Ryan Phillippe. The list goes on, to the never-grow-up delight of, well, everyone — because writer/director Jennifer Kaytin Robinson (Someone Great) and co-scribe Celeste Ballard (Space Jam: A New Legacy) clearly know and love the type of movie they're making as much as the rest of us. Unleashing more references than a school library doesn't always play well — in the latest Scream movie, it gets repetitive and fast; in whodunnit parody-slash-homage See How They Run, it's a touch too clever-clever — but Do Revenge radiates pure fun and affection. At its centre: queen bee Drea (Camila Mendes, Riverdale), who climbed her exclusive private school's social ladder, hid her modest background and dated the dream boy Max (Austin Abrams, Euphoria) until a sex scandal tarnishes her reputation. With newcomer Eleanor (Maya Hawke, Stranger Things), who also has her own grudge against one of their classmates, she hatches a Stranger on a Train-esque plan: they'll avenge each other's wrongs and bring down their respective tormentors. Robinson and Ballard have a ball getting savage yet sweet, as does a cast that also includes Game of Thrones' Sophie Turner, 13 Reasons Why's Alisha Boe and Ms Marvel's Rish Shah — and devilish twists come with the self-aware fandom. Do Revenge streams via Netflix. HOCUS POCUS 2 Twist the bones and bend the back, Hocus Pocus has returned for another horror-comedy attack — and there's no doubting that this 29-years-later sequel adores its predecessor. Disney loves reviving and extending its popular past hits, whether as new remakes, followups or ever-sprawling franchises. In the majority of cases, it's committed to sticking to the same already-winning formula, too. So, pushing the cackling Sanderson sisters to the fore again, Hocus Pocus 2 unsurprisingly doesn't overly mess with the tried-and-tested template. Once again starring Bette Midler (The Addams Family 2), Sarah Jessica Parker (And Just Like That...) and Kathy Najimy (Music), it's another family-friendly tale of Salem witches trying to eat children to remain alive and youthful forever. And, it doubles down on everything that the Mouse House thinks made the OG flick such a beloved 90s favourite to begin with — more songs, more OTT siblings, more teens trying to foil their plans to run amok, amok, amok and more Massachusetts-set mayhem, namely That means that Hocus Pocus 2 plays like a greatest-hits do-over as much as a second effort. New movie, same setup, a few fresh faces and an obvious yearning to keep the saga's black flame candle burning: that's director Anne Fletcher (Hot Pursuit) and screenwriter Jen D'Angelo's (Young Rock) film. After adding an origin story for Winnie (Midler), Mary (Najimy) and Sarah (Parker), as well as Billy Butcherson (Doug Jones, What We Do in the Shadows), they're all unleashed upon modern-day Salem by 16-year-old Becca (Whitney Peak, Gossip Girl), her best friend Izzy (Belissa Escobedo, Sex Appeal) and magic shop owner Gilbert (Sam Richardson, The Afterparty) — and nostalgically entertaining hijinks ensue. Hocus Pocus 2 isn't subtle or restrained, or keen to do much more than worship its predecessor, but spells do work more than once. Hocus Pocus 2 streams via Disney+ from Friday, September 30. BLONDE Usually when a film leaves you wondering how it might've turned out in other hands, that isn't a great sign — but Blonde, the years-in-the-making adaptation of Joyce Carol Oates' fictionalised Marilyn Monroe biography of the same name, demands a watch. It's a fascinating movie, including for what works astoundingly well and what definitely doesn't. In the first category: Ana de Armas (The Gray Man) as Norma Jeane Mortenson, the woman who'd become not just a star and a sensation during her life, but an icon across the six decades since. Also exceptional: the almost-uncanny recreations of oh-so-many images that captured Mortensen/Monroe, including a plethora that are iconic themselves. In the second camp, however, falls Blonde's decision to filter its central figure's story through her death, as though that was the most important thing about her — and that it was inevitable. No one ever wants to be defined by one thing. Monroe certainly didn't, as Blonde itself depicts. She fiercely yearned to be known as more than a sex symbol who drew crowds to cinemas and attracted intense media interest — but being objectified was a part of her Hollywood experience, including here from the moment that a first studio meeting ends horrifically. As written and directed by Australian filmmaker Andrew Dominik, in his latest feature to unpack larger-than-life true tales after Chopper and The Assassination of Jesse James by the Coward Robert Ford, Blonde reductively sees that awful treatment, her childhood struggles, her tumultuous marriages and romances, her miscarried or aborted pregnancies, and her late-career on-set antics as all leading to the conclusion that's long been a matter of history. Far more engrossing is the movie's efforts to unpack the truth and pain behind all of Monroe's career-defining images, and to plunge the audience into a fraught headspace with her — and that soulful and phenomenal lead performance. Blonde streams via Netflix. NEW AND RETURNING SHOWS TO CHECK OUT WEEK BY WEEK LOS ESPOOKYS In the US, it was one of the best new shows of 2019. In Australia, thanks to a hefty delay in bringing it to our screens, it earned that distinction in 2021. The one silver lining for the latter? The gap between Los Espookys' first season and its second has proven much shorter Down Under — but more of this Spanish-language HBO comedy was always going to be worth the wait. The premise is a gem; the cast is a delight; the cavalcade of horror references is so savvily worked in that it almost puts every other winking, nodding, nudging show or movie to shame; and there remains nothing else on television or streaming like it. Sharp, witty, absurd, affectionate, insightful, charming, oh-so-distinctive, perhaps the best unofficial (and unrelated) successor to The Mighty Boosh yet: that's Los Espookys again and again, even more so in season two, although it's also a must-see that's best experienced rather than described. The same rings true for the Los Espookys gang and their business: horror IRL. It genuinely is a business for genre devotee Renaldo (Bernardo Velasco, Museo) and his pals Andrés (Julio Torres, Shrill), Úrsula (Cassandra Ciangherotti, This Is Not a Comedy) and Tati (Ana Fabrega, Father of the Bride), turning a passion into a line of work with a steady-enough list of customers. In an always-unpredictable affair co-created by Torres, Fabrega and Our Flag Means Death's Fred Armisen, the group stages spooky setups for folks willing to pay — gloriously outlandish and OTT scenarios, always with a tactile and DIY feel, resulting in both impressive and hilarious outcomes. Those installations keep coming, and so does both personal and interpersonal chaos for the crew (plus Renaldo's parking valet uncle Tico, as played by Armisen), particularly after Tati can't quite adjust to marriage, Andrés navigates life beyond the luxury he grew up in, Renaldo keeps being haunted and Úrsula tries to fend off persistent TV offers. Los Espookys streams via Binge. THE LORD OF THE RINGS: THE RINGS OF POWER Like knowing that House of the Dragon was coming, and winter as well, it's been impossible to avoid news about The Lord of the Rings: The Rings of Power. The stunning-looking series has been in the works for five years, and is already locked in for five seasons, all jumping back to Middle-earth's Second Age. That's a period of elves, men, dwarves and harfoots — precursors to hobbits — and of the lurking evil of Sauron, plus orcs, trolls and more. It's also when the titular jewellery is forged. On the page, it's largely been covered in an appendix to Tolkien's Lord of the Rings books, taking this new series into previously unseen on-screen territory. And, as The Rings of Power focuses on, it's where Galadriel and Elrond's tales truly kicked in, with Morfydd Clark (Saint Maud) taking over from Cate Blanchett and Robert Aramayo (The King's Man) doing the same for Hugo Weaving, with their characters thousands of years younger. The young Galadriel narrates The Rings of Power's explanatory introduction, setting the scene for the show's fight against Sauron — and slowly putting the pieces in place for the compilation of a fellowship to do so. She tells of the dark lord Morgoth and his defeat in wide-ranging wars. She notes that the elf Finrod (Will Fletcher, The Road Dance) was convinced that Sauron, Morgoth's apprentice, still lingered afterwards. And she advises that such a belief and the search to prove it right cost Finrod, her brother, his life. Alas, during relative peace, as Middle-earth has been under since Morgoth was vanquished, isn't a prime time to take up that fight. But she's still scouring far and wide for Sauron, even if High King Gil-galad of the Elves (Benjamin Walker, The Ice Road) wants to bathe her in glory for past victories instead. If that's the path she took, there wouldn't be much of a series — and that's just the start of a thrilling show that also spends time with the dwarves of Khazad-dum, fellow elf Arondir (Ismael Cruz Córdova, The Undoing) among the humans, and harfoot Nori Brandyfoot (Markella Kavanagh, True History of the Kelly Gang) and her fellow diminutive creatures. The Lord of the Rings: The Rings of Power streams via Prime Video. Read our full review. ANDOR When it arrived in 2016 between Star Wars: Episode VII — The Force Awakens and Star Wars: Episode VIII — The Last Jedi, Rogue One: A Star Wars sent a message in its own spy-slash-heist flick way: it wouldn't be slavishly beholden to the Star Wars franchise's established and beloved universe. It felt earthier and murkier, more urgent and complicated, and far more steeped in everyday reality — within its science-fiction confines, of course — and more concerned with the here and now of its specific narrative than the bigger saga picture. It was certainly and unshakeably bleaker, and felt like a departure from the usual template, as well as a welcome risk. The same proves true of impressive streaming prequel Andor, which slips into its namesake's routine five years prior. The Galactic Empire reigns supreme, the Rebel Alliance is still forming and, when the series opens, Cassian (the returning Diego Luna, If Beale Street Could Talk) is a wily thief living on the junkyard planet of Ferrix. A Blade Runner-esque sheen hovers over a different place, however: the industrial-heavy, corporate-controlled Morlana One, which couldn't be further under the boot of the Empire if it tried. As Monos-style flashbacks to Cassian's childhood aid in fleshing out, he's searching for his sister, but his latest investigatory trip results in a confrontation and the Preox-Morlana Authority on his trail. Back on Ferrix, he endeavours to hide with the help of his friend/presumed ex/mechanic/black-market dealer Bix Caleen (Adria Arjona, Morbius) and droid B2EMO (Dave Chapman, Star Wars: Episode IX — The Rise of Skywalker), while keeping his latest antics a secret from his adoptive mother Maarva (Fiona Shaw, Killing Eve). But, even after being told to drop the case, persistent Imperial Deputy Inspector Syril Karn (Kyle Soller, Poldark) and higher-ranking officer Dedra Meero (Denise Gough, Under the Banner of Heaven) aren't willing to give up. Andor streams via Disney+. Read our full review. ATLANTA You can't escape yourself. As Atlanta sent Earnest 'Earn' Marks (Donald Glover, Guava Island), his cousin and rapper Alfred 'Paper Boi' Miles (Brian Tyree Henry, Bullet Train), their Nigerian American pal Darius (Lakeith Stanfield, Judas and the Black Messiah) and Earn's ex Vanessa (Zazie Beetz, also Bullet Train) around Europe in the show's third season earlier in 2022, that truth became inescapable, too. Hopping everywhere from Amsterdam to Paris and London, the group saw the daily reality of being Black Americans linger with them at every destination — and their personal ups and downs as well — no matter how wild, weird, bleak or hopeful the circumstances they were in. Arriving mere months later, season four kicks off by also exploring that point, including in a debut episode that sees Atlanta, the city, haunt the show's main players. They're back home and there's no way they couldn't know it, whether they're on scavenger hunts, stuck in carparks or being chased. Just a handful of episodes in, Atlanta's fourth season also examines another truth that's always sat at the core of the show: that for better and for worse, there's no place like home. That applies to the physical location, but also to the homes we make with other people — family, friends and everything in-between. Earn and Van gravitate closer together, but their relationship has always ebbed and flowed. Al keeps pondering what success really means, too. In the process, Glover's superbly smart, blistering and often-surreal unpacking of race relations lays bare the nation it usually calls home, as it did so incisively in its first two seasons, while never failing to challenge, surprise and swing big. That the show's final season also clearly muses on legacies obviously couldn't be more fitting; however it ends, no doubt in a thoroughly unpredictable and yet also ridiculously apt way, it'll always be a great on Glover, Henry, Stanfield and Beetz's resumes. Atlanta streams via SBS On Demand. THE PATIENT In one of 2022's new streaming standouts, Bad Sisters, Brian Gleeson tries to get to the bottom of a suspicious death. In another, The Patient, Domhnall Gleeson plays a serial killer. The two shows have more differences than commonalities, but it's clearly a great time for the Frank of Ireland-co-starring Gleeson brothers and twisty tales about crime. For Run's Domhnall, he co-leads a show about a murderer who enlists a therapist to try to stop his homicidal urges. Sam Fortner does indeed sit in Alan Strauss' (Steve Carell, Minions: The Rise of Gru) office and seek his help, but as well as hiding his eyes and face behind sunglasses, he keeps his real name, the bulk of his personal details and bloody pastime to himself. It's only after Strauss wakes up chained in Fortner's house that the latter feels comfortable enough to come clean and truly ask for assistance, albeit under terrifying circumstances for his captive. Domhnall Gleeson's on-screen resume isn't short on highlights, including Ex Machina and Brooklyn. Carell's has blatantly boasted many, spanning both comedies (Anchorman: The Legend of Ron Burgundy and The Office, obviously) and dramas (including his Oscar-nominated work in Foxcatcher). Accordingly, it should astonish no one that they're both instantly gripping in The Patient, as their characters bounce off of each other in inherently grim circumstances; however, they're each also in career-best form. The psychological-thriller series works as two commanding, textured and high-stakes character studies as Fortner demands Strauss' professional best, and ensures he isn't capable of refusing — and works through their respective baggage cat-and-mouse-style from there. In fact, it hits its marks so well that the show's concise format (each episode clocks in at between 20–25 minutes) keeps viewers wanting more. The Patient streams via Disney+. RICK AND MORTY The longer that Rick and Morty continues, the more it galaxy- and time-hopping mayhem it slings at the screen, aka whatever out-there sci-fi situations that creators Justin Roiland (Solar Opposites) and Dan Harmon (Community) can conjure up. But the more that this Back to the Future-inspired animated hit continues, too, the more that it proves a tragedy about choices made and not — and how even having all the science-fiction gadgetry in this and every other world and dimension can't make everything perfect always, because that's just not human (or alien, animal or Birdperson) nature. Season six of the series was always going to get contemplative given how the past season ended, of course, and because that's been baked into the show since day one. Still, the oft-quoted "wubba lubba dub dub" feels particularly weighty this time around, considering what it really means: "I am in great pain, please help me". Rick Sanchez (voiced by Roiland) has been saved, but that initially tears the Smith family apart — by now, they know (and we know) that Rick and his daughter Beth (Sarah Chalke, Firefly Lane), son-in-law Jerry (Chris Parnell, Archer), grandson Morty (also Roiland) and granddaughter Summer (Spencer Grammer, Tell Me a Story) aren't quite the versions of themselves they once were. Also part of the season's first few episodes: Beth getting close to Space Beth, also with consequences throughout her household; exploring what it means to offload parts of your life you're not happy with; and a good ol'-fashioned "yippee ki-yay!"-shouting Die Hard parody. In other words, it's all quintessential Rick and Morty, just getting deeper with each new run of episodes. Naturally, when Peter Dinklage (Cyrano) voices an alien equivalent of Hans Gruber, it's gold, and yet another classic Rick and Morty moment. Rick and Morty streams via Netflix. Need a few more streaming recommendations? Check out our picks from January, February, March, April, May, June, July and August this year. You can also check out our running list of standout must-stream 2022 shows so far as well — and our best 15 new shows from the first half of this year, top 15 returning shows and best 15 straight-to-streaming movies.
Not quite certain what to get your loved ones for Christmas this year? Then you clearly haven't spent enough time at a festive market. It's virtually impossible to browse your way through hundreds of stalls and come up empty-handed — in fact, that'd take more effort than picking gifts for your nearest and dearest. Your next place to put the above theory to the test: the Nundah Christmas Twilight Markets, which take place from 4–10pm on Saturday, December 7, 2024. Yes, there really will be quite the lineup of places to grab handmade presents, including clothes, jewellery, art, homewares, soap, candles and all things edible. You'll find both gourmet foods and festive treats on offer as well (including bites to eat while you're there). For your $3 entry fee, you can enjoy a stint of shopping under the site's fairy lights at Nundah Markets' usual spot on Station Street. And, you can stop in at the North Pole-themed bar, too. Decorations will be decking the walls with more than boughs of holly, and live music is also on the agenda.
Add Shane Delia to the list of high-profile culinary figures setting up shop in Queensland, with the Melbourne-based chef and restaurateur announcing his first move north — and debut restaurant in Brisbane — with a 2025 opening slated. His new eatery doesn't yet have a name, but it will follow in the footsteps Guy Grossi's Settimo, Adrian Richardson's BŌS, and Andrew McConnell's Supernormal and Bar Miette when it launches at the Thomas Dixon Centre, Queensland Ballet's West End base. When Delia's newcomer joins Delia Group's roster of venues alongside the Victorian capital's Maha, Maha North, Maha East and Jayda, diners can expect Delia's focus on Middle Eastern flavours and rich, bold, spice-fuelled dishes — plus an evolving menu. The venture is a partnership with Queensland Ballet, with Delia Group taming up with the former's hospitality partner VenuesLive. "I'm excited to be launching a restaurant in Brisbane. It's long been a desire of mine to open a venue in this city — what is continually proving to be a vibrant new culinary destination in Australia," said Delia, announcing the news. "I look forward to bringing my passion for bold flavours, rich spices and diverse culinary traditions to Brisbane, crafting an experience that complements Queensland Ballet's artistic excellence." View this post on Instagram A post shared by Shane Delia (@shanedelia) In an Instagram story, Delia also noted that the restaurant has been in the works for a year, and this'll be his first signature restaurant outside of Melbourne, with more details to be unveiled in the coming months. There's no exact opening date yet, either; however, the plan is for the eatery to anchor the Thomas Dixon Centre's dining options, not only adding to the performing arts precinct but helping it become a new arts and hospitality hub. [caption id="attachment_893063" align="alignnone" width="1920"] Maha North, Pete Dillon[/caption] [caption id="attachment_972449" align="alignnone" width="1920"] Maha East[/caption] Find Shane Delia's currently unnamed Brisbane restaurant at the Thomas Dixon Centre, 406 Montague Road, West End, sometime in 2025 — we'll update you with more details when they're announced. Keep an eye on the Delia Group website for more details in the interim. Top image: Angharad Gladding.
The macadamia-lined hills of the Noosa Hinterland are home to Fila Casablanca, a luxury farm stay designed for those who want to slow down without compromising on style. You might feel like you're a world away from anything here, but in reality, the six-bedroom estate is just 20 minutes from the buzzy Hastings Street and moments from Eumundi Markets. The design blends heritage Queensland architecture with contemporary, globally influenced elements and a deep connection to place. Set across 38 acres, Fila Casablanca is the vision of celebrated designer Alex Zabotto-Bentley, who worked with the existing Queenslander on the site as a foundation and reimagined it with locally sourced timber, hand-cut stone and mineral paints infused with pigments from the property's macadamia leaves and tree barks, as well as the nearby tropical rainforest. Furniture and textiles sourced from villages in Morocco, India and Indonesia sit comfortably side-by-side with bespoke Australian-made pieces, creating a richly layered interior that still feels grounded in the region's natural rhythms. The main house includes four bedrooms, each with an ensuite and private retreat, while an adjacent two-bedroom cottage offers extra space for groups or multi-family stays. Floor-to-ceiling glazing, vertical timber slats and textural finishes cast soft light and long shadows that transform throughout the day, inviting the outdoors in. Wellness is a key part of the experience, with a private gym, infrared sauna and cold plunge all housed in the property's dedicated wellness hub, The Shed. There's also a treatment room for private facials or massages, but therapists can also come directly to the suites. Fila Casablanca's concierge service can also arrange yoga, pilates and seasonal feasts cooked by private chefs, so guests can shape the stay exactly as they want it — be it an immersive retreat or a slower-paced escape. Top images: Aimee Dodge Photography.
If you're a fan of twisty TV shows about wealth, privilege, power, influence, the vast chasm between the rich and everyday folks, and the societal problems that fester due to such rampant inequality, then 2021 has been a fantastic year. The White Lotus fit the bill, and proved such a hit that it's coming back for a second season. Squid Game, the high-stakes Korean horror-thriller absolutely everyone binged over the last month, ticks the box as well. And, so does Succession, with the much-acclaimed HBO drama finally returning for a third season. No series slings insults as savagely as this Emmy, Golden Globe, BAFTA, Critics' Choice, Writers Guild and Directors Guild Award-winner. No show channels feuding and backstabbing into such an insightful and gripping satire of the one percent, either. Succession isn't just whip-smart, darkly piercing and frequently laugh-out-loud funny about its chosen milieu; it's the best drama on TV, one of the best-written shows on television, and among the best series all-round in general as well. So, here's two pieces of good news: firstly, Succession's third season is as biting, scathing and entertaining as viewers have come to expect, and might just be its finest yet; and, secondly, HBO has just renewed the show for a fourth season. Neither of these revelations is particularly surprising, but they're still excellent. Announcing the renewal, HBO noted that in the US, the series' third-season premiere was its most-watched episode to-date. It did herald Succession's return after a two-year wait — a gap that left viewers with quite the cliffhanger, as well as a huge hankering for more of its witty words. Indeed, before the series first graced TV screens back in 2018, you mightn't have realised exactly how engaging it is to watch people squabbling. Not just everyday characters, either, but the constantly arguing — and ridiculously well-off and entitled — family of a global media baron. Those power plays and the verbal argy-bargy make Succession compulsively watchable, and so do the pitch-perfect performances that deliver every verbal blow. Of course, as created by Peep Show's Jesse Armstrong — someone who knows more than a thing or two about black comedy — the idea that depiction doesn't equal endorsement is as rich in Succession and its brand of satire as its always-disagreeing characters. [caption id="attachment_830169" align="alignnone" width="1920"] David Russell/HBO[/caption] In season three, all those Roy family antics and the bitter words they inspire are in full swing yet again. Succession has always riffed on a scenario that also sits at the heart of fellow hits Arrested Development and Game of Thrones — families clashing over their empire — but this version doesn't need dragons to be ruthless. That feeling only heightened at the end of season two, when Kendall (Jeremy Strong, The Trial of the Chicago 7), the son always seen as the natural successor to patriarch Logan (Brian Cox, Super Troopers 2), decided to publicly expose the family's dark business secrets. Now, the series is wading through the fallout, with Logan's other children — Connor (Alan Ruck, Gringo), Shiv (Sarah Snook, Pieces of a Woman) and Roman (Kieran Culkin, Infinity Baby) — caught in the middle agin. This brood's tenuous and tempestuous relationship only gets thornier the more the show goes on, and its examination of their privileged lives — and what that bubble has done to them emotionally, psychologically and ideologically — only deepens in season three. All four Roy children are still trying to position themselves as next in line at Logan's company, of course, with the future of the business in jeopardy not only due to his advancing years, or the takeover bids and government interest that've been a big part of its two seasons so far, but thanks to all the in-fighting. When they pop up in the third season, Alexander Skarsgård (Godzilla vs Kong) and Adrien Brody (The Grand Budapest Hotel) complicate the Roys' precarious situation even further. That's this show's bread and butter, and it's glorious — and it just keeps finding the ideal cast members. With season three only two episodes in at the time of writing, exactly when season four will hit screens hasn't been revealed. For now, you can check out the full Succession season three trailer below: The first two episodes of Succession's third season are available to view via Foxtel, Binge and Foxtel On Demand, with new episodes dropping weekly. Exactly when the series' fourth season will drop hasn't yet been revealed. Top image: Macall B Polay/HBO.
Everyone likes shopping and hanging out by the water, which Portside's regular markets know and understand — especially when festive season is approaching. If you really like browsing and buying, taking in the riverside air, and having a reason to stop for a bite and a drink, you'll want to head to Hamilton on Saturday, December 7. From 3–7pm, you can shop, stroll, sip and purchase gifts, which sounds like a mighty fine weekend itinerary. A heap of stalls will be offering up everything from art and plants to ceramics and accessories — and more. If you've been to markets at the Gasworks or in Fish Lane, you'll have a firm idea of what you're in for, because The Market Folk is behind all of the above and is running this Portside event as well. To give your shopping a soundtrack, there's usually piano tunes echoing through the Hamilton precinct. And, if those hunger pangs strike — or you're just keen on having a drink — the precinct has plenty of eateries onsite. Images: Claudia Baxter.
There's a line towards the end of Drive-Away Dolls that's so glorious, so hilarious and so descriptive of the film's plot that it feels like Ethan Coen and Tricia Cooke's lesbian road-movie comedy caper could've sprung from it alone. The dialogue in question spans eight words that are best discovered by watching, riffing on a familiar phrase — and it's marvellous. Ethan is no stranger to writing sparklingly witty and sidesplitting banter. His filmography is filled with it and, with his sibling Joel, he has two Oscars for Best Screenplay, winning for Fargo's original script and No Country for Old Men's adaption. The Coen brothers' own O Brother, Where Art Thou?, A Serious Man, True Grit and The Ballad of Buster Scruggs also scored them nominations, as did co-penning the Steven Spielberg-directed Bridge of Spies. Ethan and Tricia — who are not only married, but have past experience working together thanks to the latter's role editing some Coen brothers' movies, starting with The Big Lebowski — didn't base Drive-Away Dolls' narrative on that particularly perfect line. That's not how Ethan pens his scripts, he tells Concrete Playground, whether Joel or Tricia is his co-writer. "We write very much, as me and Joel always wrote, in order — in scene order, not knowing, not outlining, and not knowing where we're going in terms of outline, or certainly not in terms of future lines of dialogue that we want to work in," he explains. "So that came up because the situation warranted at that point." What a situation that Drive-Away Dolls dives into; there might be only one Coen attached, but it's still pure Coens. Two lesbian friends attempt to hightail it away from their everyday Philadelphia lives — one after a fresh breakup; the other unable to relax since her last relationship ended quite a while earlier, and just in general — with Tallahassee, Florida their destination. Margaret Qualley (Poor Things) plays the outgoing, confident, as-casual-as-they-come Jamie, who soon has police officer Sukie (Beanie Feldstein, American Crime Story) for an ex. Geraldine Viswanathan (Cat Person) is the perennially stressed and uptight Marian. Their getaway idea: driving a car that needs taking to their destination anyway, aka the eponymous cheap car-hire service. But their mistakenly allocated vehicle has hidden cargo, which sets a couple of bickering and bumbling goons (Plane's Joey Slotnick and The Blacklist's CJ Wilson) on their trail. There's an anarchic everything-that-can-go-wrong-will air to Jamie and Marian's eventful road trip, and to the antics of the men following their every move (and to the storyline's twists, which bring in characters played by The Last of Us' Pedro Pascal, The Color Purple's Colman Domingo, Oppenheimer's Matt Damon and The Burial's Bill Camp, too). But this isn't the soulful Inside Llewyn Davis; rather, Raising Arizona, Burn After Reading, The Big Lebowski, O Brother, Where Art Thou? but queer, touring lesbian bars and featuring wall dildos is the vibe. "I think the only thing that we wanted, we definitely wanted to make it a fun queer movie. And, we thought about Cynthia Plaster Caster very early on. She was someone we were like 'okay, we're going to work something like that into the plot'," advises Tricia. [caption id="attachment_942716" align="alignnone" width="1920"] Margaret Qualley, Beanie Feldstein, Tricia Cooke, Geraldine Viswanathan and Ethan Coen. Photo by Marion Curtis / StarPix for Focus Features.[/caption] How do Coen and Cooke really tie all of those elements together, including the artist — "not famous now, kind of forgotten," Ethan notes — known for making plaster casts of celebrity penises? ("Later on, she also cast women's breasts," stresses Tricia; "she wasn't a one-trick pony," adds Ethan.) Uproariously, in their gleeful version of a B-movie, with a 60s- and 70s-inspired spirit, and while crafting a period piece. The movie's action is set in the 90s, where today's ever-present technology can't simplify the scenario. It feels like a throwback several times over, then, and like writer/director/producer Coen and writer/editor/producer Cooke are having an absolute ball making it. Harking back three decades is a nod to Drive-Away Dolls' history as well, with the film initially conceived and scripted back then under the name Drive-Away Dykes. With that moniker, it was indeed a case of coming up with the title, adoring it, then basing the whole movie around it. With the film that's resulted all these years later in cinemas Down Under from Thursday, February 22, we chatted with its two guiding forces about finally bringing it to the screen — including while Ethan and Joel take a break from their collaborations (Ethan and Tricia teamed up to make 2022 documentary Jerry Lee Lewis: Trouble in Mind first, while Joel helmed 2021's The Tragedy of Macbeth solo). Also covered: how Drive-Away Dolls' narrative came about, digging the script back up, casting Qualley and Australia's own Viswanathan, and loving making comedy capers. On Coming Up with Drive-Away Dolls' Story — and Its Original Title Tricia: "Well, we did come up with Drive-Away Dykes — a friend of mine and I, not Ethan and I. And I went home and I mentioned it to Ethan, and he was like 'that's a great name. We should write that movie'. So it just started out because drive-away — I don't know if you have them in Australia, but here they're companies where you can go and get a car, and you can drive it, and you drop it off wherever the owner of the car wants it driven. So we thought that was an interesting beginning of a road movie. And then, ending up with the wrong car — or what might possibly be in this car that they weren't anticipating. So we started from there." Ethan: "Trish came up with the title Drive-Away Dykes in the Pravda bar in New York, down on Lafayette." Tricia: "Yeah, which sadly is no longer there." Ethan: "I hear they're putting up a plaque there, like Fat Black Pussycat, where Bob Dylan wrote 'Blowin' in the Wind' — but it's where you conceived Drive-Away Dykes." Tricia: "Excellent. I can't wait." On How the Film Finally Come to Fruition Decades After Initially Writing the Script Ethan: "Actually, it was just because me and Trish worked on a documentary together — we made a documentary movie about Jerry Lee Lewis — and we just enjoyed working together. Not that we hadn't before. Trish would cut some of mine and Joel's movies. But we enjoyed working together, and we thought 'hey, we've got this old script that we didn't manage to get made, so why don't we look at that again, and rewrite it again, and make the movie?'." Tricia: "We both had time. Ethan had kind of decided to take a break, and our kids are grown now, and after the Jerry Lee Lewis movie it was kind of like 'okay, well, what we're going to do next? Well, we have this script here, so let's see if we can interest anyone'." On How Drive-Away Dolls' Screenplay Evolved Since the Original Version in the 90s Ethan: "It was not the case that we worked on it over the years. We wrote it and then forgot about it for many years. And when we did come back, we did rewrite it. How is it different? I think it's mainly the main two characters are a little more…" Tricia: "Fleshed out." Ethan: "In the rewrite, the odd couple thing is highlighted. The free spirit versus the uptight woman, that's more pointed in in the rewrite." Tricia: "And we also made it a period movie. When we wrote it initially, it was contemporary and it didn't feel right to keep it contemporary for a couple of reasons. It's a lot easier to find people now with cell phones and the internet, and all of that. And also, all of the lesbian bars and stuff, that was such a big part of my world back then, and that's all changed — not significantly, but it's different now. And so I felt like it wouldn't be a proper representation, and something I didn't know, going to a lot of queer bars in 2022." Ethan: "It's a weird paradox where lesbian birds then were a little more transgressive, or felt at least a little transgressive. And now, now they don't. And there aren't as many, weirdly. I don't know what explains that." On Casting Margaret Qualley and Geraldine Viswanathan as Jamie and Marian Ethan: "They both came in, and when each of them came in, we said 'okay, that's the person'." Tricia: "They went to the top of the list. Geraldine came in very early. We saw her maybe in the first group of people we auditioned. Margaret came in very late. So we kind of had a Marian, we knew we were very high on Geraldine — and had a few other Jamies, but when Margaret came in it was like 'oh, that's Jamie'. She just flopped down in the chair, and she had the spirit that Jamie had. That was a harder part to cast." On Ethan Directing His First Narrative Feature without Joel Ethan: "Weirdly, well, same and different. Weirdly the same because I made it with Tricia — and Trish isn't titularly the co-director, but she is in fact. I mean, we made the movie together. So in that respect, it's kind of familiar. You're just working with another person, and it's all very collegial, and it's the two of you making the movie. So it wasn't different in terms of me working by myself, because I wasn't working by myself. It's different because I'm working with a different person." Tricia: "Joel knows more than I do." On Still Making a Movie That Feels Like a Coen Movie — and Gravitating Towards Comedic Capers Ethan: "It just seems that kind of thing is promising story fodder. You know what I mean? It's what Trish was talking about —a drive-away, you go 'okay, what could make that story go? Okay, there's something in the car they don't know about. And there's bad guys who were after them because they're after the stuff in the car'. You're looking for an engine for the story, something to propel the story — that's a caper." Tricia: "And also, we love just being on the road here in the States. There's such a car culture. So much is out there, there's so much material out there — and it just seems like it could be fun. The scenery is always changing, there's always something of interest out there. So those are good things to play around with story-wise, too." Ethan: "And you get lots of good stuff. The bar at the beginning, the starting point of the trip, and that mirror bar at the end, the end point of the trip — and that's a story." Tricia: "Raising Arizona is definitely, when anyone asks 'what's your favourite Coen brothers movie?', I always say Raising Arizona. Probably because I didn't work on it, but also it's just so much fun to watch them do wacky things — Goodman, and…" Tricia, to Ethan: "Oh, there's another!" Ethan: "Goodman and Bill Forsythe." Tricia: "We're trying to think of all of the dumb men in cars that have been in Ethan's movies." Drive-Away Dolls released in Australian and New Zealand cinemas on Thursday, February 22. Read our review. Images: Wilson Webb / Working Title / Focus Features.
Since it premiered at the 2024 Venice International Film Festival, earning Nicole Kidman the event's Best Actress prize in the process, two scenes from Babygirl have received the internet's ample and avid attention. In one, intern Samuel (Harris Dickinson, The Iron Claw) orders CEO Romy Mathis (Kidman, The Perfect Couple) a glass of milk, unprompted on her part, in a public bar at after-work drinks with their colleagues, keeping his eyes affixed in her direction from across the room as she sips it. In another, George Michael's 'Father Figure' soundtracks a slinky hotel-suite dance — a romp that's equal parts seductive and awkward — that's given by Samuel as Romy watches on. As it charts the duo's heated affair, and the yearning for satisfaction that's driving it so deeply, Babygirl is filled with moments that linger. It's teeming with sequences that other movies to follow are bound to nod to, remake, covet and wish that they had conjured up first, too. It starts with one, with Romy and her theatre-director husband Jacob (Antonio Banderas, Paddington in Peru) getting intimate at home in bed, then Romy rushing to another room to finish the job alone. Another pivotal scene arrives early, as the picture's central pair initially meet on a New York City street. They're both headed to the same place — it's Samuel's first day at Romy's robotics automation company, in fact — but before she knows who he is or that he's working for her, she's spellbound by how he calms down a dog that lunges her way. With her third feature behind the lens — her debut, 2019 Dutch drama Instinct, inspired Kidman to get in touch; 2022's Bodies Bodies Bodies, her second, saw the filmmaker give horror-comedy a delightfully entertaining spin — writer/director Halina Reijn clearly knows how to get viewers to submit. Watching Babygirl means surrendering swiftly to a smart and savvy exploration of desire, identity, control and vulnerability. It means being plunged into Romy and Samuel's thorny relationship, and all of the emotions that it swirls up, as Kidman and Dickinson turn in magnetic, raw and fearless performances. It also means being taken in by a reimagining of the erotic thriller with an unyielding female gaze. And yes, Reijn is well-aware, as viewers also should be, that a film like this, that addresses the orgasm gap and follows a woman seeking sexual fulfilment, mightn't feel so bold and rare in a perfect world where more such movies existed. Part of Babygirl's complexity is the dynamic of submission and domination between Romy and Samuel. Often daring, confident, assertive and brazen, he's largely in the latter role, but he can also be vulnerable and uncertain. At the office, in their professional realm, at the business that she founded and now leads, she has the power. One thing is certain chatting with Reijn and Dickinson, however: making a picture that's not just an erotic thriller, but a comedy of manners in its own way, a clear fantasy, a relationship drama, a kinky romance and a workplace thriller as well, they both happily submit to Kidman worship. When he chats with Concrete Playground, Dickinson has his pile of discs from the Criterion Closet, aka every cinephile's dream location, within reach. Taking us through his picks, he holds each DVD up: "one of them is our dearest Nicole," he beams with To Die For in his hand. Reijn's admiration for Kidman started as an actor herself, with her performing career dating back to the 90s. For challenging theatre parts, the Black Book and Valkyrie star would think about the Aussie talent, and attempt to channel her bravery. "She's god," Reijn tells us. Dickinson's role in Babygirl joins a resume that features one of the all-time great big-screen debuts, with his also-hypnotic turn in 2017's Beach Rats instantly marking him as a certain star. His filmography since constantly proves that true; after parts in TV's Trust and as a Disney prince in Maleficent: Mistress of Evil, the 2020s have kept him busy. See: everything from franchise entry The King's Man and the page-to-screen Where the Crawdads Sing to whodunnit See How They Run, Palme d'Or-winner Triangle of Sadness, Emma Corrin (Nosferatu)-led TV must-see A Murder at the End of the World and the World War II-set Blitz. With Beach Rats, The Souvenir: Part II, Scrapper and now Babygirl, he's also enjoyed a stellar run working with female filmmakers. "I've always been really lucky with the films that have come my way and the directors that have come my way, and a lot of them being women, and I've just been grateful for that," Dickinson advises. "Whether it's coincidence or not, I think that a lot of these women you're talking about have a deep access to a certain sensitivity, and an understanding and a humour, that maybe other people don't have. I guess I'll go where they go — and I'll go where they lead me." A couple of trends pop up with Babygirl for Reijn as well. Kidman sits at the heart of them. Casting her female lead in a New York-set, and Christmas-set, erotic thriller about a complicated marriage, Reijn sees the film as a female-skewed response to Eyes Wide Shut, which ticks all of the same boxes. As Australian viewers can't avoid noticing, there's more than just one Aussie touch to Babygirl, too, with Talk to Me's Sophie Wilde playing Romy's assistant Esme and 'Never Tear Us Apart' by INXS on the movie's soundtrack. "It is coincidental, but I don't think it is coincidental," Reijn notes. How did the writer/director shape Babygirl from hearing from a story about another woman from a friend? How did she purposely invert the status quo of 80s and 90s erotic thrillers — and also approach juggling her movie's eager mix of tones? Why was Dickinson initially a little reluctant to sign on, and what did he tap into as Samuel? What goes into a great dance scene for him? We also spoke with Reijn and Dickinson about all of the above, plus much more. On How Babygirl Evolved From Reijn Hearing From a Friend About a Woman Who Had Been Married for 25 Years Without Orgasming with Her Husband Halina: "Honestly, what happened was my response to it. Which was 'what, that's insane!' — something like that. And I went home and I was like 'wait, why did I react like that?'. It was almost like I was judging it. I was like 'no, that can't be true'. Then I started to think about my own experiences that I often had thought about in the past, that it took too long for me to orgasm at the hands of a man — and that I was very insecure, and that I had faked it on occasion just to make him feel better or to just get it over with, or because I was so ashamed and I didn't dare to really ask for him to change the way he was doing it or whatever. Then I started to talk to other women. I was losing it because I was so afraid to do it, but I just forced myself to talk to my girlfriends, to ask them like this, like 'can I ask you something?'. And then it turned out that a lot of my friends had similar stories. Then I started going online to research it, and then I just found out there's a huge orgasm gap. And we're not talking about it. Not enough, not in Hollywood movies. And part of the problem is that the stories that we see, for all the pornography that we see, but also the Hollywood movies — TV is a little bit ahead of us — Hollywood movies are letting women have orgasms in ways that are not possible physically. Even movies that are arthouse, even movies that are supposed to be half produced by women. So I felt it was time to really talk about that — and as a symbol for women in general, for women not orgasming or women not daring to ask for what they want on a deeper existential level, and women not having space enough to even explore themselves." On the Run of Projects That's Led Dickinson to Babygirl — and What It Means to Enjoy Such a Diverse Range of Work Harris: "It's been just a dream, and I've been so lucky that people have let me do this as a job still. I pinch myself every day with the realisation that I get to act and play all these different people, and get to do it with people that I admire. Triangle of Sadness was a huge thing for me. Being part of that was a real turning point. And same with Scrapper and The Iron Claw — all of those things you mentioned are just all in such different worlds. That's the goal for me, is to step into really different, unusual worlds that challenge me as a performer and force me into new versions of myself as well — new skins. Not to sound pretentious, but that's all I ever wished for, is just to have a versatile set of experiences and roles. And I've really been able to, I've been offered that, so I'm grateful." On How Reijn Fleshed Out Babygirl's Narrative Around a Woman in a Sexually Unfulfilling Long-Term Marriage Halina: "I think it all came from the question that I had, because I felt as women, we are so conditioned to become what others — or what we think others — want, and want us to be. So what society expects of us: that we should be perfect mothers and perfect career women and perfect daughters and perfect lovers, and have a perfect vagina and a perfect face. And look young. I felt that all of that, and the idea that we're playing all these different roles and that we're performing all of these different roles and forget to be our authentic self, that made me ask the question: is it possible to love all the different layers of myself? Because if I would accept the darker sides of myself, I would maybe be able to be more my authentic self and let go of all these ideas of perfection. So that is where all the ideas came from. I just thought 'what is the best profession, then, for her to have?'. It's all about chaos and control, really, and so I thought it would be very appropriate for her to be a CEO of a robotics company. Because she's a product of the sexual revolution, she grew up in cults and communes, she was named by a guru — and her whole life is an answer to that, which is the white picket fence, total control. And I thought it's kind of like the beast against machine, if you want to exaggerate it. And the whole movie is informed by that contradiction between control, surrender — the beasts, the civilised layer of ourselves." On What Dickinson Drew Upon to Play a Character Swinging Between Control and Surrender Harris: "Everything. Insecurity and pain and anger and love, it's all part of it, isn't it. It all boils down to what it means to be a human — and I think just normal everyday stuff as well. But the stakes for them, the stakes for them were higher. The stakes of the relationship and the affair, they were high. Confusion as well. Navigating something that you don't understand. Navigating feelings of your own that you don't understand." On How Reijn Knew That Dickinson Was Babygirl's Samuel Halina: "The moment that Nicole said 'I want to do this', first I couldn't sleep for joy and I was overexcited and full of adrenaline. But the next thing is, of course, who's going to play that young man opposite her? Who's going to be able to not only be challenging her as an actor, but be dominating her in these scenes? Someone like her, a total icon and one of the best actors on the planet, how are you going to find a young person to be able to match that? And then, weirdly, during that time I saw Triangle of Sadness. And I had never seen him before. I was so intrigued. And then I went home, and that night I saw Beach Rats, and I was mesmerised. Already Triangle of Sadness had me completely intrigued. But Beach Rats — and then I just saw all of his work, anything he did, the shortest movies, the old movies, everything. I a) got obsessed — and then I also found out that he was very tall, which might sound weird, but it is very important me. As an actress, I've had so many scene partners where I didn't feel that I could show my full strength because I was afraid that they couldn't hold it, not only physically but also emotionally. And so I felt 'this is just a perfect guy, he is the perfect age'. I was lucky enough to get a Zoom with him after he read the script, and and that only made me more confident that I had to have him. But it took me a couple of conversations with him because he was quite — he's very British, he's a very strong-willed person, and I really had to convince him that my movie would be an exploration of consent and power and surrendering control in a layered, complex way, and it was not going to be 50 Shades of Grey. And then he said 'yes', and both me and Nicole knew, even without — she didn't even meet him — we both knew it was going to work out. They met at the most-crazy place, they met at the Met Gala, because they were both there. I texted them both, I was like 'try to find each other'. And I was like a mother sitting here in my apartment — 'aaah, I hope it's going to work out'. Then they both texted me that they felt the other person was amazing, and then we were off to the races." On What Convinced Dickinson After His Initial Reluctance — and What He Was Keen to Explore Harris: "I think it was that initial fear that made me want to do it. And Halina, Halina, I trusted Halina, talking to her and understanding her vision for it and her approach. It made me trust her. It made me intrigued. I wanted to be in her world. I think the character itself was really complex. The opportunity to play someone that was kind of unreliable in their approach, they share information that is unreliable, I liked that. I liked that there was unanswered questions around who he was and where he came from and how he got there. I enjoyed those ambiguities. Also his manner and his directness, and his chameleon-like capabilities. They were all qualities that intrigued me about him. And getting to have fun within those scenes, play the humour and play the embarrassment, I thought it was all very nuanced and human stuff — so always exciting for an actor to jump into." On Reijn Casting Her Long-Held Source of Inspiration in Kidman Halina: "She contacted me after my first movie and that was, of course, a moment of total insanity for me. I thought I was having a psychosis when she contacted me, because I literally carried her around in my heart for so long as a torch against fear. Because I was part of a theatre group that made very, very radical theatre, so I had to do very scary things and I would always channel her. So it was insane to me when she called me. And then we just immediately hit it off, because I think what really connects us — and I mean, for me she's god, so I would never compare myself to her — but what is similar is that we both, however, in life we all have ego, we all have fear, we all have vanity, we all have all these worries about small things, but when she starts to act, or when she embarks on a creative journey, her vanity and ego is at the door; I think that is for me exactly the same. So whatever I am in my daily life, which is a totally a flawed, weird clown, when I start to be creative, there's ego death. There's complete ego death. And that is what connects us and makes — it's almost like a twin soulmate feeling. She calls it sometimes that we communicate through telepathy. And so working together became this really strange, almost-spiritual experience, in which we both just felt such an urgency to tell this story, and such dedication — and also to the humour of it and the playfulness of it and the lightness of it. And to bring warmth to this story, and to hopefully inspire women to liberate themselves a little bit more. That's what I think connects us." On What Excited Dickinson About Collaborating with Kidman Harris: "She's just got such an incredible body of work. She's so impressive. And everything that she's done, she's worked with some of our finest directors. I just was massively excited to get to watch her work, but also work alongside her and really get a chance to be close to that as a performer. But separate to that, she's just a lovely person. She makes everyone around her feel very encouraged and collaborative and creative, and that's just all you could ever ask for in this scenario. It's a difficult subject and it's some vulnerable stuff, and you want someone that's going to go there all the way with you." On Reijn's Embrace of the Eyes Wide Shut Connection, Knowing That Audiences Would Bring Their Knowledge of Kidman's Filmography to the Movie Halina: "When she came onboard, when she said 'I want to play this character' — and what also happened, so first of all, that, of course that it was going to be her, but then the strike happened. And I wrote the whole movie for summer, so I wrote that the second home is going be in The Hamptons, and they were going to be swimming in the ocean. It was completely, in that sense, a very different energy field. Then, because of the strike, we had to reschedule to Christmas. And A24 called me and said 'after the strike, the moment the strike ends, you need to rewrite, you need to rewrite the whole thing. It needs to be Christmas'. And then, of course, I thought Eyes Wide Shut, because it's the best Christmas movie ever. [caption id="attachment_652177" align="alignnone" width="1920"] Eyes Wide Shut[/caption] But I also thought about Eyes Wide Shut that it was funny that, if you look at Eyes Wide Shut, of course it has a lot of similar themes about midlife crisis, about sexual exploration, about monogamy versus polygamy, and all of these things — but she only tells him her fantasy, then we go on the whole journey with him, almost as a revenge, as a kind of Pandora's box is opened and now he has to go on this journey. It's an amazing journey but what is her journey? We don't know. We don't go there. We just hear her talk about it. We get some flashes. So I thought it is actually an answer in a way, but I only thought this after the fact, to be honest with you — it's an answer to Eyes Wide Shut. It is a female's journey into what is sexuality, what is monogamy, what do I really want and how hard is it to talk about that in an intimate, very long-term relationship, and how easy, weirdly, is it to be with a stranger and to reinvent myself with this young, strange man? That paradox is amazing to me. I am very grateful that there is some sort of strange magical connection between those movies." On How Dickinson and Kidman Brought Both Chemistry and Awkwardness — and Attraction and Uncertainty — to Romy and Samuel Harris: "Well, we didn't do loads of work. We had some rehearsals, but we really tried to focus on just getting the reality there and finding the nuance. But mostly it just came from not discussing stuff and just trying it. And we didn't talk a bunch. We didn't get to know each other loads. We just did it and tried it and didn't get in the way of ourselves too much, and I think that ended up working out for the best." On the Babygirl's Tonal Balancing Act Harris: "It's always tricky figuring out the tone, what kind of thing you're in. But it starts to fall into place, especially when you have a very strong, assertive voice with a director like Halina — you end up just trusting them and trusting their vision for it, and you fall into place. And it becomes the film it's supposed to be. All of that stuff that you try, it gets mixed up into the pot and then the dish gets made. You throw it all in, you throw the ingredients and you see which ones come out the other side." Halina: "I thought it was incredibly hard to — I really, as an actress, I'm retired now, but I got so many scripts in my life that I didn't understand the tone. It was like 'what do they want?'. So I felt it was my duty to make it very clear, especially because I take this challenge of 'oh, I'm going to make my own genre' —well, then you better know what you put on the page. So I really try to capture the tone in my writing — and on purpose, because this is how I feel. This is where we stand, I feel, as women. We just got the right to vote. Until 1987, we had to have a male guardian with us to get a business loan. It's still proven that if we lose ten pounds of weight, that we get a promotion in our work easier than if we get a master's degree. We're nowhere. So I wanted to show that in how I use genres. So I start out with these very masculine sexual thriller references,of the 90s. And then I venture into a world where everybody turns out to be ambiguous, and it's way more relatable and human and complex and nuanced. I'm using, on purpose, I'm swapping gender — like the scene in 9 1/2 Weeks where Kim Basinger is stripping to a Joe Cocker song and Mickey Rourke is sitting there watching her, I wanted to really copy that scene, but then reverse the gender, swap the gender, where Nicole is sitting there and he's dancing to 'Father Figure'. And all these little Easter eggs, so that you can continually be confused about who has the power, who's chasing who, who's blackmailing who — and is the woman in control, or is she the mascochist, or is her masochism super dominant? And that is where the comedy of manners element steps in and it becomes more of a fable and a fairy tale. And yes, what was hard about it is that I wanted it to be funny. And sex and humour is not always easy to connect, just like horror and humor in Bodies Bodies Bodies was a hard balancing act. But I just love that kind of challenge. Not everybody gets it, because some people feel that when people are laughing in the audience at Babygirl, they feel they don't want that. They want people to not laugh about it because they take it so seriously. But it's meant to make you laugh. It's meant to show you how we're all helpless as humans. We're just trying to control the chaos, but we can't. And that's what my movie is about, it's about pure vulnerability. So it was a balancing act, but I really enjoyed it." On What Goes Into a Memorable Dance Scene, Such as Babygirl's Seductive-Yet-Awkward Hotel Moment, for Dickinson Harris: "Well, I think you said it: seductive, awkward. You don't want it to be too rehearsed. You want it to be silly. You want it to be meaningful. You want it to be awkward. You don't want to be like some Magic Mike planned thing — it's got to feel authentic to the character. But also, I think in that particular scene – well, there's the two dance scenes. There's the rave, which is something different, that's just total hedonism. And then in the hotel, it's almost like a little mating call. He's feeling it out. He's performing to her a little. He's embarrassed. But he's also kind of enjoying the freedom of it. It's like a little bit of liberation for him as well. So there was a lot a lot going on in that scene." Babygirl opened in cinemas Down Under on Thursday, January 30, 2025.
This article is part of our series on the diverse highlights of NZ's Canterbury region, from city to snow. To book your Christchurch trip, visit the 100% Pure New Zealand website. Bars on buses, pop-up public buildings and shipping container shopping centres — it's what you expect to see in some of the most cutting-edge cities in the world, but is it what you expect to see on the South Island of New Zealand? This is the land of the long white cloud's inventive, industrious and inspiring city of Christchurch today. Excitement and opportunity are stirring everywhere in a city with a fresh slate. It's in the small bars that have appeared in deserted streets, the designers who have started working a disused tannery and the locals who just want to contribute to the new incarnation of their city. For most, it's an inspiring time to be in New Zealand's second largest city, and there's no better time to visit. Here are four areas in which the city is thinking laterally and pulling off big things. Hospitality: C1 Espresso Christchurch is catching up to Auckland and Wellington in the cool stakes and forging its own rep for great coffee, small bars and a focus on local produce.. "We're all starting again and we've got an opportunity to redefine ourselves," says Sam Crofskey, owner of High Street's C1 Espresso. Pioneering the second wave coffee movement through to the third in Christchurch since 1996, C1 is famous for its pneumatic tube system that delivers burgers and fries to you at 100 km/hr. While there is something very Fifth Element about it, but this system is actually more in tune with the past than the future, as the tubes are part of the building's former life as a bank. "There is so much opportunity in the city," Sam says. "You can open a bar in an alleyway or upstairs above a shop or whatever." And people are. Bars specialising in whiskey, craft beer and local wine have popped up in unlikely places and are almost always buzzing with crowds. Retail: Re:START A temporary structural solution is driving the retail industry: shipping container shopping. Re:START encouraged retailers to establish temporary spaces in shipping containers to grow their businesses. Located in Cashel Square, Re:START has been one of Christchurch's biggest successes. (It's also home to Dimitri's, possibly the best souvlaki in the South Island.) In addition to what's happening in the city centre, retail has found an unlikely home-away-from-home in the industrial side of town. Ten minutes drive from the CBD in Woolston, an old tannery has become the new home of Christchurch's boutique designers and retailers. After owning the site for near on 20 years, Alasdair Cassels was able to redevelop the space into an arcade-like shopping mall, aptly dubbed The Tannery. Giving designers a place to create and sell their wares, The Tannery became a meeting place as well as a shopping destination — at a time when the city had nothing else like it. Art: Gap Filler Colour flows through Christchurch in the form of street art. From almost any vantage point you're bound to be in viewing distance of at least two pieces of work, with murals painted on the sides of buildings both abandoned and inhabited and outdoor installations littered over disused blocks. What's happened in Christchurch has shown that adversity exemplifies creativity. Seeing a way to breathe new life into the city, artists have used bare walls to redefine the mood and vision of the urban area. A mural painted We got the sunshine lights up Madras Street, a super-size Rhone portrait sits on one side of Cathedral Junction and local artist Wongi 'Freak' Wilson has left his mark all over town. As well as this, 'Gap Filler' projects are placed all over the city, activating vacant spaces with interactive installations. Walking around, it's likely that you'll hear someone playing the drums (in the Sound Garden), see someone having a boogie in front of a washing machine (at the Dance-O-Mat) or sitting on a giant Astroturf couch. Once a super conservative city, Christchurch now thrives on new work that will continue to shape and develop with it. If you're an artist with a crazy idea, Christchurch is the one city that might just let you do it. Infrastructure: Cardboard Cathedral As well as Re:START, which can be moved at any time, the Cardboard Cathedral is an incredible example of how great transitional architecture can be. Erected as a place of worship by emergency architect Shigeru Ban, the structure is made largely from cardboard tubes and looks like a picture of perfect symmetry from the inside. It's temporary, but it's meant to last around 50 years. But permanency is the ultimate goal, and plans for infrastructure and urban living are well underway. New Christchurch looks like it's going to be one hell of a city. Feature image and Rhone mural image courtesty of Jocey K, Cardboard Cathedral courtesy of Forgemind ArchiMedia via photopin.
Whether you can't get enough of Euphoria, are a Succession stan or adore True Detective, streaming HBO's hits in Australia has meant making a date with Binge since 2020. The platform launched as an offshoot of pay TV service Foxtel — following past platforms Presto — with the slate of shows from the beloved US network as its number-one drawcard. Back then, it was Game of Thrones, Westworld, Chernobyl, Veep and Big Little Lies luring in subscribers; now, it's House of the Dragon, The Last of Us and The White Lotus, too. Whichever HBO series you adore — and how many of them are on your must-watch list — you'll be making a date with Binge for the foreseeable future. Or, with Foxtel if you still prefer. Either way, Warner Bros Discovery, which owns HBO, has just made a new deal with Foxtel and Binge to keep its series on those Aussie services. The Foxtel Group will remain the home of HBO, Max Originals, Warner Bros and Discovery programming as part of a multi-year partnership extension — and the only place you'll be able to see shows like all of the above. Other series involved include set-to-return programs such as Winning Time: The Rise of the Lakers Dynasty, Perry Mason, And Just Like That..., The Sex Lives of College Girls and Peacemaker. And, the deal covers newcomers like The Idol, political drama White House Plumbers, the Robert Downey Jr- starring The Sympathizer, The Palace with Kate Winslet and The Batman spinoff The Penguin. Plus, when they make their way from cinemas to streaming, upcoming flicks such as Dune 2, Barbie, Aquaman and The Lost Kingdom and other DC Extended Universe movies will also hit Binge and Foxtel. "This landmark partnership cements our position as the partner of choice to the world's largest entertainment studios. We are delighted Warner Bros Discovery chose us as we continue our long-standing partnership together with optionality at its core. A unique business model like ours that covers multiple platforms and brands means we can partner for the long term and together we will continue to entertain millions of Australians every day for years to come," said Foxtel Group CEO, Patrick Delany, announcing the deal. "Foxtel Group are a long-term, historic partner for Warner Bros Discovery in Australia, and we are thrilled to deepen this strong collaboration with a renewed agreement that reflects the scale and opportunity of Foxtel Group's growing suite of products and customer base," added James Gibbons, Warner Bros Discovery President and Managing Director, Western Pacific. In America since 2020, and rolling out through Latin America, the Caribbean and parts of Europe since, HBO streams its lineup of shows via its own platform, HBO Max, which hasn't yet made it to Australia. Based on the new deal with Foxtel and Binge, doesn't look set to anytime soon. "As we look to drive strategic growth of our business across all platforms locally, this deal also provides optionality for future collaboration, including for our future streaming service, that will ultimately offer Australians greater access to the world-class storytelling and much-loved brands Warner Bros Discovery is renowned for," said Gibbons. The Australian Financial Review reports that HBO Max won't make its way Down Under until at least 2025. For more information, head to the Binge and Foxtel websites. Top image: HBO.
Baz Luhrmann has always had a knack for casting. As his three-decade filmography shows, he's long had a talent for plenty more — dazzling imagery, pitch-perfect needle drops, and a hyperactive and immersive vibe that makes viewers feel like they've stepped right into his movies, for starters — but his films are always immaculately cast. He had 90s teens swooning over Leonardo DiCaprio and Claire Danes. His made Elizabeth Debicki a star via The Great Gatsby. And just try to name someone who didn't want Ewan McGregor to serenade them after Moulin Rouge!. You can't; they don't exist. Elvis, Luhrmann's biopic about the king of rock 'n' roll, is no different. Indeed, the acclaimed Australian filmmaker wouldn't have made it if he wasn't able to find the right actor for the job. And that stellar stroke of casting, enlisting Once Upon a Time in Hollywood's Austin Butler to sport the pompadour, sideburns and oh-so-many jumpsuits, has exactly the effect that Luhrmann intended. Watching Butler in the film's meticulous recreations of Presley's live performances, you instantly understand why the singer became an icon. You see what audiences in the 50s, 60s and 70s saw. Even better: you feel as thrilled and excited as they must've felt. Charting Presley's life from his birth in Tupelo, Mississippi to his death in 1977 at the age of 42 — as told by his manager Colonel Tom Parker (Tom Hanks) — Elvis spans the details that a big-screen biography about one of entertainment's most famous names needs to. It's also made by a filmmaker with his own name recognition and sense of style. The result: an Elvis movie and a Luhrmann movie. It has the swagger of both. It mixes Presley's songs — some sung by Butler, some by the man himself, some blending the two — with hip hop. It sashays between swirling imagery and a Luhrmann-esque sensory onslaught to concerts so electrifying that you can almost smell the sweat. It's little wonder that Elvis debuted at the Cannes Film Festival to a 12-minute standing ovation. It's also unsurprising that bringing the film back to Australia, including to the Gold Coast where it was shot, was one helluva party. During the whirlwind Aussie tour, ahead of the movie's local release on June 23, we chatted to Luhrmann about all things Elvis — spanning everything from telling more than just Presley's story to Butler's virtually fated casting, thank you, thank you very much. THE MUSIC BIOPIC ALL SHOOK UP From Strictly Ballroom, his hit debut back in 1992, through to his 2013 adaptation of The Great Gatsby, his most recent big-screen release until now, music has been a crucial part of Luhrmann's films. Perhaps that's why Elvis feels like a movie that he was always going to make — and the style of feature, a music biopic, that was always going to pop onto his resume at some point. Asked if it felt that way to him, Luhrmann says that he was drawn to making more than just a music biopic. "I always liked the way Shakespeare would take a historical figure and make a bigger idea," he says — and as Romeo + Juliet fans know, Luhrmann's long been a fan of the Bard. "And I was so in love with Amadeus. I don't know how old I was when I saw that, but the thing about that film is it's called Amadeus but it's not really about Mozart. It's Salieri's story — and who the hell is Sailieri? That's the point of the movie. He was the most famous composer on the planet, and god goes and puts genius in this piglet of a person and he's very angry about it. So the film's about jealousy," Luhrmann continues. "I wanted to use the canvas of Elvis and Colonel Tom Parker — never a Colonel, never a Tom, never a Parker — this giant, out-there character, who, you know, was a carnival barker and a sort of Svengali type. He saw this kid who had grown up in one of the few white houses in the Black community and went 'I don't know what he's doing but that's the best carnival act I've ever seen'. And I just think the spread of the life — the 50s, 60s, 70s — if you want to explore America, what a great canvas. And through music, what a great canvas." FROM DANCING TO 'BURNING LOVE' TO DIRECTING AN ELVIS MOVIE Thanks to a wonderful piece of trivia from Luhrmann's past, directing Elvis almost seems like it was meant to be. He says the same about Butler playing Elvis — but only Luhrmann won a dancing contest to 'Burning Love' when he was ten. "I did. I went up to the DJ and I said 'hey mate, can you put on 'Burning Love' because it really gets going, you know?' Luhrmann recalls. "And we had the matinees at our little cinema for a while" — because, yes, Luhrmann's father Leonard ran a small-town movie theatre when he was growing up — "and I just thought he was cool". Ask a teenage Baz about Presley, though, and his answer would've differed. Unpacking why is part of the reason he has made Elvis now. "Pretty quickly, by the time I was about 18, I was into Bowie and stuff like that, and Elvis kind of was in the background," Luhrmann says. "But I think he was always present to me, but I was also very aware that under 35, he's just kind of a Halloween costume. My kids are like, he's the funny guy in the white suit, you know?" "Anything that is iconic, that becomes rusty — at some point something iconic must've been amazing, must've felt amazing, but it's just become ossified," Luhrmann continues. "So I've spent my life taking kind of implausibly cheesy things and trying to re-code them so that what they felt like, you can feel again." In what quickly proves typical Luhrmann fashion, he has an anecdote to explain, one relating to one of the most memorable songs in his movies yet. "When I was doing Moulin Rouge!, we were thinking about the key love song, and I was at a piano bar in San Diego. And 'Your Song' came on. And the guy was like "it's a little bit funny…" — every cheesy bar in the world would play 'Your Song' by Elton John. But I went home with Anton [Monsted, the film's executive music supervisor, and Elvis' music supervisor as well] and we listened to the original recording. And, we realised, what an amazing song." GETTING THE RIGHT ELVIS IN THE BUILDING Call it a case of suspicious minds: if Luhrmann was going to make Elvis, he wasn't going to cast just anyone. The world is full of Elvis impersonators, which is a skill all of its own. But that wasn't what Luhrmann was looking for — and although Harry Styles was also considered, the pop star wasn't what the director was after, either. Butler wanted the part so badly that he made and sent a video of himself singing 'Unchained Melody' before Luhrmann was even casting. "It wasn't like an audition," the filmmaker says. "He talks about it now, but I only learned recently or during the process that what happened was, he'd made another video and it wasn't good, he thought. And he had lost his mum the same year that Elvis did. So he has this nightmare and he goes down the stairs and thinks 'what I am going to do with this terror?'." "So he goes down and he just sort of, he's in a bathrobe, and he's playing it, and shooting with an iPhone as he's singing it. And I thought, it wasn't an audition. I thought it was like spy cam or something. I said 'who is this? What is this?'." "And then he came in, and pretty much he was Elvis from the moment he walked in," Luhrmann continues. "He just kept getting more and more Elvis, to the point where during the pandemic I had to tell him to slow down, like he was going to break himself. But I think it's like a life or death commitment for him." THOSE PHENOMENAL LIKE-YOU'RE-THERE CONCERT SCENES Strictly Ballroom had brilliantly choreographed and shot ballroom scenes. Moulin Rouge! was filled with big musical numbers, including in the eponymous Parisian establishment. The Great Gatsby boasted parties that could sit in the dictionary under 'decadence'. Luhrmann knows how to direct a spectacle — and, in Elvis, that comes via the concert scenes. Chatting about them, he credits the team effort — and Butler. "Firstly, you've got to start with Austin, whose commitment — it was like, it's a freak situation. I mean, his casting in the role is almost a freak situation. It's like forces beyond me almost, without getting too Hammer horror. He was drawn to be in this movie, and I wasn't going to make it unless I could find someone to play it," Luhrmann notes. "Then, COVID meant that whatever he was doing, he had to do it for another year. And by then he was so Elvis." Obviously, there's more to Elvis' centrepiece scenes than just pointing the camera at the Butler, as exceptional as he is. Luhrmann was determined to use the recreated footage to show — rather than tell — the audience what made Presley a star, and so incendiary, and why he was such a hit. Again, viewers don't just see the singer and his impact; they feel it, like they're there in that audience in the 50s, 60s and 70s. "Working with [cinematographer] Mandy Walker and [executive music producer] Elliott Wheeler, and the music people and all that, [we were] making sure shot by shot — making sure the look, shot by shot, it was identical in many regards," Luhrmann says. "But then you flip the coin, and you show what you didn't see in the documentaries and what you don't see in the concert footage. So it's getting the two sides to it." Elvis screens in Australian and New Zealand cinemas from June 23. Read our full review. Image: Hugh Stewart / © 2022 Warner Bros. Entertainment Inc. All Rights Reserved.
Something delightful has been happening in cinemas in some parts of the country. After numerous periods spent empty during the pandemic, with projectors silent, theatres bare and the smell of popcorn fading, picture palaces in many Australian regions are back in business — including both big chains and smaller independent sites in Sydney, Melbourne and Brisbane. During COVID-19 lockdowns, no one was short on things to watch, of course. In fact, you probably feel like you've streamed every movie ever made, including new releases, Studio Ghibli's animated fare and Nicolas Cage-starring flicks. But, even if you've spent all your time of late glued to your small screen, we're betting you just can't wait to sit in a darkened room and soak up the splendour of the bigger version. Thankfully, plenty of new films are hitting cinemas so that you can do just that — and we've rounded up, watched and reviewed everything on offer this week. LIGHTYEAR In the realm of franchise filmmaking, "to infinity and beyond" isn't just a catchphrase exclaimed by an animated plaything — it's how far and long Hollywood hopes every hit big-screen saga will extend. With that in mind, has a Pixar movie ever felt as inevitable as Lightyear? Given the main Toy Story plot wrapped up in 2019's Toy Story 4, and did so charmingly, keeping this series going by jumping backwards was always bound to happen. So it is that space ranger figurine Buzz Lightyear gets an origin story. That said, the trinket's history is covered immediately and quickly in this film's opening splash of text on-screen. Back in the OG Toy Story, Andy was excited to receive a new Buzz Lightyear action figure because — as this feature tells us — he'd just seen and loved a sci-fi movie featuring fictional character Buzz Lightyear. In this franchise's world, Lightyear is that picture. It's hard not to see Lightyear as a new cash cow — the Toy Story series' cash calf, perhaps. It's also difficult not to notice that the Disney-owned Pixar has made a movie that renders a famed character a piece of film-promoting merchandise, all while also releasing a new range of Lightyear-promoting merch so that IRL kids can have their own Buzz Lightyear toy again, too. In 2049, will audiences be watching a flick about someone who saw this as a child, nagged their parents for a Buzz and developed their own love of animation, space, franchises or all of the above? It wouldn't be surprising. Of course, there's form for making Buzz a movie tie-in toy; the overarching series' other main figure, pull-string cowboy Woody, stemmed from a fictional western TV show called Woody's Roundup. Maybe that's what Pixar will now make next. Or, perhaps it'll release a film or show based on one of Lightyear's new characters, feline robot companion SOX. Yes, you can now buy toy versions of it in reality as well, because of course you can. Buzz Lightyear and a cute cat that talks? The head of Disney merchandising must've seen potential piles of cash stacked to infinity and beyond purely at the thought of it, and director Angus MacLane (Finding Dory) along with him. Thankfully, as calculated as Lightyear's existence clearly is — and it's as blatantly engineered by bean counters as any movie can be — it's still likeable enough. It only slightly feels like a flick that might've actually come out around 1995, though, even if Apollo 13 sat second at the global box office that year (behind Toy Story, fittingly). And, after sending the wonderful Soul and Turning Red straight to streaming during the pandemic, plus Luca, it's also a standard pick for Pixar's return to the big screen. Buzz the live-action film hero — flesh and blood to in-franchise viewers like Andy, that is, but animated to us — also goes on an all-too-familiar journey in Lightyear. Voiced by Chris Evans (Knives Out) to distinguish the movie Buzz from toy Buzz (where he's voiced by Last Man Standing's Tim Allen), the Star Command space ranger is so convinced that he's the biggest hero there is, and him alone, that teamwork isn't anywhere near his strength. Then, as happens to the figurine version in Toy Story, that illusion gets a reality check. To survive being marooned on T'Kani Prime, a planet 4.2 million light-years from earth filled with attacking vines and giant flying insects, the egotistical and stubborn Buzz needs to learn to play nice with others. For someone who hates rookies, as well as using autopilot, realising he can only succeed with help takes time. Read our full review. MEN Since popping up over the last decade, the term 'elevated horror' has always been unnecessary. Used to describe The Babadook, It Follows, The Witch, Get Out, Hereditary, Us, Midsommar and more, it pointlessly claims that such unsettling flicks have risen above their genre. Each of these movies is excellent. They all boast weight and depth, trade in metaphors with smarts and savvy, and have style to go with their creeps and thrills. But thinking that's new in horror — that pairing unease with topical woes or societal fears is as well — is as misguided as dubbing Michael Myers a hero. With a name that makes its #MeToo-era point plain, Men has been badged 'elevated', too, yet it also does what horror has at its best and worst cases for decades. That the world can be a nightmare for women at the hands of men isn't a fresh observation, and it's long been a scary movie go-to. Still, Men stresses that fact in an inescapably blunt but also unforgettable manner. The film's setting is an English manor, where Harper Marlowe (Jessie Buckley, The Lost Daughter) hopes for a solo stint of rest, relaxation and recuperation. Processing a tragedy, shattering memories of which haunt the movie as much as its protagonist, she's seeking an escape and a way to start anew. The initial hint that she won't find bliss comes swiftly and obviously, and with a sledgehammer's subtlety. Arriving at an idyllic-looking British countryside estate, Harper is greeted by an apple tree. She plucks one from the abundant branches, then takes a bite. Soon, she's told by her host Geoffrey (Rory Kinnear, Our Flag Means Death) that it's forbidden fruit. He also says he's joking — but in this garden, a woman will again shoulder a society's blame and burdens. As overt and blatant as this early exchange is, there's an intensely unnerving look and feel to Men from the outset. Returning to the big screen after excellent sci-fi TV series Devs, writer/director Alex Garland isn't a stranger to visually stunning, deeply disquieting films that ponder big ideas; see: the complex, eerie and sublime Ex Machina, plus the similarly intricate and intriguing Annihilation. Oscar Isaac doesn't turn up this time, let alone dance. Buckley and Kinnear do turn in mesmerising and magnificent powerhouse performances amid the perturbing mood and spectacular imagery. Gender expectations also get probed and challenged, as do genres. And, things get strange and insidious after Harper tries to lap up her bucolic surroundings. Those blood-red walls sported by Harper's atmospheric centuries-old home-away-from-home? That's another glaring warning. Also discomforting: the jump-scare glitch when she video chats with her best friend Riley (Gayle Rankin, GLOW), after being told by Geoffrey — who is polite but never direct, perfectly satirising both stiff-upper-lip Britishness and the fine line between being courteous and patronising — that reception isn't the best. And, when Harper ventures out of the house, she discovers scenic treasures alongside hardly hospitable locals. She's a woman plagued by troubles that don't begin as her own, and she's forced to devote everything she has to moving past them and surviving. That Harper is played with such instinctive and physical feeling with Buckley, who just keeps going from strength to strength thanks to Beast, Wild Rose, Chernobyl, I'm Thinking of Ending Things, Fargo and her Oscar-nominated efforts in The Lost Daughter, is one of Men's biggest assets. Read our full review. THE KITCHEN BRIGADE When a chef sticks to a tried-and-tested recipe, it can be for two reasons: ease and excellence. Whipping up an already-proven dish means cooking up something that you already know works — something sublime, perhaps — and giving yourself the opportunity to better it. That process isn't solely the domain of culinary maestros, though, as French filmmaker Louis-Julien Petit makes plain in his latest feature The Kitchen Brigade. The writer/director behind 2018's Invisibles returns to what he knows and does well, and to a formula that keeps enticing audiences on the big screen, too. With the former, he whisks together another socially conscious mix of drama and comedy centring on faces and folks that are often overlooked. With the latter, he bakes a feel-good affair about finding yourself, seizing opportunities and making a difference through food. Returning from Invisibles as well, Audrey Lamy (Little Nicholas' Treasure) plays Cathy, a 40-year-old sous chef with big dreams and just as sizeable struggles. Instead of running her own restaurant, she's stuck in the shadow of TV-famous culinary celebrity Lyna Deletto (Chloé Astor, Delicious) — a boss hungry for not just fame but glory, including by dismissing Cathy's kitchen instincts or claiming her dishes as her own. Reaching boiling point early in the film, Cathy decides to finally go it alone, but cash makes that a problem. So, to make ends meet, she takes the only job she can find: overseeing the food in a shelter for migrants, where manager Lorenzo (François Cluzet, We'll End Up Together) and his assistant Sabine (Chantal Neuwirth, Patrick Melrose) have been understandably too busy with the day-to-day business of helping their residents to worry about putting on a fancy spread. From the moment that Cathy arrives at the hostel, thinking she's interviewing for a restaurant gig rather than auditioning to cook for young men happy with ravioli, The Kitchen Brigade sets up a simple culture-clash scenario — in the realm of cuisine, contrasting its protagonist's gourmet expectations with the shelter's reality. When she cottons on to what's in store, she's gruff, wary and unimpressed, and learning to open up while making bonds with the hostel's inhabitants, all of whom yearn for new lives as well, comes as expectedly as pairing a baguette with cheese. Following familiar steps and still hitting the spot is a cooking staple, however, and it works with Petit's feature. He doesn't reach the pinnacle of charming culinary movies, or of underdog stories, but the end result goes down smoothly and is never less than palatable. Unsurprisingly, The Kitchen Brigade is at its best when it's fleshing out its characters amid the recognisable narrative beats, with Petit scripting with producer Liza Benguigui-Duquesne and screenwriter Sophie Bensadoun based on Bensadoun's idea — and, when it's doing what the floral industry-set The Rose Maker did, which used a comparable setup to dive into the layers and prejudices engrained in French society. Like that thematically similar, also-sincere and perceptive movie, The Kitchen Brigade benefits from fine central performances, adding depth and texture that mightn't have bubbled to the fore otherwise. Lamy, the ever-reliable Cluzet, Fatoumata Kaba (Validé) as Cathy's self-starter best friend, first-timer Yannick Kalombo as aspiring chef GusGus and Mamadou Koita (Dernier maquis) as soccer hopeful Djibril: they all leave an imprint, seasoning the cinematic meal. If you're wondering what else is currently screening in Australian cinemas — or has been lately — check out our rundown of new films released in Australia on March 3, March 10, March 17, March 24 and March 31; April 7, April 14, April 21 and April 28; and May 5, May 12, May 19 and May 26; and June 2 and June 9. You can also read our full reviews of a heap of recent movies, such as The Batman, Blind Ambition, Bergman Island, Wash My Soul in the River's Flow, The Souvenir: Part II, Dog, Anonymous Club, X, River, Nowhere Special, RRR, Morbius, The Duke, Sonic the Hedgehog 2, Fantastic Beasts and the Secrets of Dumbledore, Ambulance, Memoria, The Lost City, Everything Everywhere All At Once, Happening, The Good Boss, The Unbearable Weight of Massive Talent, The Northman, Ithaka, After Yang, Downton Abbey: A New Era, Wheel of Fortune and Fantasy, Petite Maman, The Drover's Wife The Legend of Molly Johnson, Doctor Strange in the Multiverse of Madness, Firestarter, Operation Mincemeat, To Chiara, This Much I Know to Be True, The Innocents, Top Gun: Maverick, The Bob's Burgers Movie, Ablaze, Hatching, Mothering Sunday, Jurassic World Dominion, A Hero and Benediction.
There really is a festival dedicated to everything you can think of. We've said it before, and we know we'll say it again. Still, given that Redcliffe has a two-day fest dedicated to flying kites, we know that the statement is accurate. Yep, it's the event your inner seven-year-old will love — and, let's be honest, your adult self will too. It's a breezy way to spend the weekend, that's for sure. It's also a celebration of the simple pleasure of letting the wind catch a brightly coloured combination of wood, string and fabric, and then watching it soar. Of course, KiteFest is exactly what you make of it, whether something peaceful or action-packed is on your personal agenda. If you just want to stare at the sky, you can do that. If you want to browse market stalls, listen to live music, hop on a few carnival rides, watch roving performers and more — including world-class professional kite flyers, high-flying fly board performers, back-flipping sky skis and high-speed jet ski routines — you can do that too.
On the scale of personal injustices, there are few more contemptible or infuriating misdeeds than taking credit for another person’s work. In the artistic world it’s considered a violation of such repugnance that it’s said to offend one’s very ‘moral rights’, being both ’the right of Attribution’ (the right to be recognised as the creator of an original work) and ’the right against False Attribution’ (the right to prevent someone else from saying your work is theirs). Big Eyes, the latest film by director Tim Burton, is a true story based on one of the most egregious example of that violation in living history. Beginning in the late 1950s, it chronicles the decade-long deception perpetrated by the artist Walter Keane (Christoph Waltz) and his iconic ‘big eyes’ paintings. The key word there is ‘deception’, because in reality they weren’t his paintings at all; they were painted by his wife, Margaret (Amy Adams). With millions of dollars made from sales and celebrities the world over seeking their own originals, Big Eyes is a fascinating study in sexual politics and the exponential toxicity of deceit, particularly in an age when the status of a divorced single-mother was tantamount to both social and professional exile. In the leads, Adams and Waltz are both perfectly cast. Adams brings a wonderful sensitivity to the role, capturing the irrepressible passion of an artist and the burgeoning guilt of a woman who chose financial security over artistic integrity. Opposite her, Waltz is pure charisma: a salesman with a cheshire cat grin and an undeniable talent for marketing. The man could sell sand to a desert, then convince himself he invented the sand. ‘Delusional Disorder’ is the medical term for his condition, and its destructive powers are neatly showcased here. This is by far one of Burton’s most understated films, eschewing most of his traditional quirkiness and cartoonish aesthetic in favour of a picture most reminiscent of Ed Wood. Even the score, provided almost inevitably by Danny Elfman, opts for the subtle touch with hardly a whole-tone scale to be heard. That’s not to say there isn’t fantastic design at play, with the set, costuming and even colour choices wonderfully recreating '50s and '60s kitsch. It’s all very pretty, but just like its subject matter, Big Eyes is something of a masquerade: a fetching and uncomplicated visual that belies a much darker truth.
Anyone that's spent time at Kirra has fond memories of Kirra Beach Hotel. Since late 2023, the Gold Coast pub wants you to drop by to make new ones. Three years after closing down, including being demolished in 2021, the water-adjacent watering hole returned to pouring drinks by the surf as part of the new Kirra Point Precinct. Eleven years in the making, the beachside spot is making this stretch of Kirra look rather different. Residential and vacation apartments are on the way, with a 116-unit tower dedicated to folks living the beach life year-round. If you're not residing or staying onsite, you can still look forward to hitting the shops, plus gaining a new excuse to sip and snack while feeling the coastal breeze. One of development's big drawcards: its seafront perch. Another: the return of Kirra Beach Hotel, complete with killer ocean vistas. This neighbourhood favourite is aiming to level up the classic beachside pub concept. A watering hole has stood onsite since 1956, but this current iteration is all new. Designed to be breezy and casual — think: a sunny beer garden opposite the surf, five-metre-high ceilings and windows letting the fresh air in — it sprawls across 1300 square metres on the corner of Marine Parade and Miles Street, and is filled with surfing memorabilia heroing the sport's famous names like Mick Fanning and Joel Parkinson. Attracting all kinds of beachgoers is another big focus. So, Kirra Beach Hotel includes a family-friendly bistro, a public bar and a sports bar filled with hefty TVs. For a tipple to take home, there's also a bottle-o that champions homegrown fare. And, for anyone heading by straight from the beach, there's a tub of thongs for folks who don't have shoes with them. If you're dropping by for something to eat, pub favourites such as fish and chips (of course), schnitzels and beef rissoles with mash return, sitting on the menu alongside burgers, meats from the grill, salads and raw seafood. Local produce is firmly in the spotlight, as are trawler-fresh weekly seafood specials. Think: oysters both natural and kilpatrick, bugs and prawns by the half kilo, tempura-battered bug tails in toasted brioche rolls and stacked platters. Brews-wise, expect to sip local names like Balter and Burleigh Brewing on the beer side, and Brookie's Gin for spirits. Australian wines help round out the drinks selection — which is just one of the new Kirra Beach Hotel's many things to say cheers to.
Turning the State Library of Queensland into a reading, writing and chatting haven, this year's Brisbane Writers' Festival has pulled out all of the stops when it comes to its chosen art form. Expect everything from enlightening discussions about world views other than your own, to accounts of reporting from the thick of conflict, to an ode to gossip — as well as our five must-see sessions.
When Presumed Innocent begins, Rusty Sabich (Jake Gyllenhaal, Road House) has devoted his career to putting away Chicago's criminals. As the chief deputy under the city's District Attorney, he's long lived and breathed his job, plus the upholding-the-law responsibility that comes with it. He knows the city's wrongdoers. He knows the system that punishes them for their misdeeds. He knows the courts and their inner workings. In other words: he knows how to do his job and, he thinks, how to make his hometown safer. Sabich is well-aware of what legally befalls those who fall afoul of society's standards, too — but what he isn't expecting, not for a second, is to be soon treated the same way. Audiences with knowledge of both film and literary history can see what's coming. This eight-part Apple TV+ series is the latest page-to-screen show from David E Kelley — and also another program with a story that already made the leap from bookshelves to the big screen before getting the television treatment. In recent years, Kelley has ushered A Man in Full, Anatomy of a Scandal, Nine Perfect Strangers, The Undoing and Big Little Lies down the first route. He's taken The Lincoln Lawyer down the second as well. His pedigree spinning legal narratives dates back to LA Law, The Practice, Ally McBeal and Boston Legal. Now, he's adapting author Scott Turow's debut 1987 novel, which initially became a hit 1990 Harrison Ford (Indiana Jones and the Dial of Destiny)-starring feature. Turning Presumed Innocent's tale into a series and the passage of more than three decades are each a gift to its complexity, strengthening and building it in the way that a prosecutor with the aid of time and the perspective that it affords might construct their approach. There's more of the former, obviously, to fill out the intricacies of a scenario where a hotshot legal eagle usually firmly on the right side of the law is now a suspected murderer — and more space to ensure that the misogyny of the 80s and 90s doesn't still shine through. When Presumed Innocent became a movie, it was in the Fatal Attraction, Disclosure and Basic Instinct era, when Michael Douglas (Franklin) kept providing the face of men supposedly victimised by assertive women. If he'd led this picture, it wouldn't have come as a surprise. But just as Fatal Attraction has been updated for the small screen, so has Presumed Innocent. The setup: with being the main attorney under DA Raymond Horgan (Bill Camp, who also appeared in A Man in Full) already a fraught situation — aka an election year — Sabich's life is upended when his colleague Carolyn Polhemus (Renate Reinsve, 2021's Cannes Best Actress-winner for The Worst Person in the World) is found dead. The circumstances closely resemble a case that the two had previously worked on, so Rusty takes point in attempting to bring the perpetrator to justice. It seems a logical choice. Only professional envies fuel any qualms in the office. That said, what only his supportive wife Barbara (Ruth Negga, Good Grief) knows is that Rusty and Carolyn had an affair, which almost tore apart the Sabichs' marriage. A secret like that doesn't stay quiet, especially with Horgan's adversary Nico Della Guardia (O-T Fagbenle, Loot) and Rusty's ambitious counterpart Tommy Molto (Peter Sarsgaard, Memory) looking to appease the electorate, and quickly, as they each aspire to climb to the top jobs. No one needs to commence an investigation to uncover the resentment directed like daggers from Tommy to Rusty, both before and after the latter's romance with Carolyn is exposed. Kelley has a penchant for courtroom dramas, so that's where Presumed Innocent is headed, with Rusty on trial for murder. Kelley of late also adores facades crumbling, equally revealing how pledging to live happily ever after with the one that you love isn't the same as truly knowing them. Rusty's obsession, with the fixated texts and emails to prove it, are that shattering. The question lingers, as it's meant to: does Presumed Innocent's protagonist deserve the viewers' presumption of innocence? The legal system must impart it, although Molto and his gleeful smirk can't, won't and don't. But should those watching give him the benefit of the doubt (and there are many doubts)? Should heartbroken artist Barbara and her and Rusty's teenaged kids Jaden (debutant Chase Infiniti) and Kyle (Kingston Rumi Southwick, 9 Full Moons), for that matter, or Horgan and his wife Lorraine (The Color Purple's Elizabeth Marvel, Camp's IRL spouse) as well? Also, as the series embraces Apple TV+'s beloved murder-mystery genre (see also: The Afterparty, Bad Sisters, Black Bird and Criminal Record, for example), what other queries should Detective Alana Rodriguez (Nana Mensah, The Diplomat) be asking as she helps Rusty attempt to clear his name? Presumed Innocent hasn't skimped on casting, to its advantage. With Gyllenhaal, who haunted in Donnie Darko and Nightcrawler in immensely different ways, the show earns not only a gripping central performance but a slippery one. Kelley doesn't ever paint his protagonist as a hero or anything as clearcut. Amid frames that do the same visually, he sees both the light and the darkness, which Gyllenhaal can jump between like flipping a switch. As both Reinsve and Negga flesh out the women caught up in Rusty's mess, and Sarsgaard eats up the screen — particularly when Rusty and Molto face off in court — Presumed Innocent poses more questions, however, about taking any one trait or behaviour as indicative of a broader picture. Lying in some instances doesn't mean lying always. Having a loved one's back isn't the start of unconditional and perpetual reassurance. Putting your career first once isn't the same as doing it forever. Bearing a grudge doesn't mean being driven by only animosity. With murkiness and shades of grey, there's also no holding back, then — or on twists. Cliffhangers land at the end of most episodes, as tailor-made for a viewing model that began with a double drop, then doles out the rest of the episodes week by week, regardless of if that's how viewers watch. While what it will entail beyond a brand-new case hasn't been revealed, including for its stars, a second season is on the way. Alongside season one's fellow executive producer JJ Abrams (Star Wars: Episode IX — The Rise of Skywalker), Kelley will be back, though, so presuming that more comfortable lives will implode is more than reasonable. Check out the trailer for Presumed Innocent below: Presumed Innocent streams via Apple TV+.
This is a blast: before its second season even arrives, Fallout has already been renewed for a third. Prime Video has announced not only that the hit video game-to-television adaptation will return in December 2025, but that more is on the way after that. That's what happens when a series becomes one of the platform's top-three most-watched shows ever, notching up more than 100-million viewers globally. It was true when Fallout was locked in for season two, and it remains the case now: bring a massively beloved video game to TV in the right way and viewers will come flocking. That worked for The Last of Us as well, which is currently streaming its second season and also has a third in the works. While Fallout will initially take viewers back to the wasteland before 2025 is out — complete with stars Ella Purnell (Yellowjackets), Walton Goggins (The White Lotus) and Aaron Moten (Emancipation) returning as Lucy, The Ghoul and Maximus, respectively — there's no exact December date for season two as yet. Understandably, there's also no release date at all locked in for season three so far. For the second season, though, viewers can look forward not only to picking up where season one's finale left off, but to venturing through the Mojave wasteland to New Vegas. When it dropped its initial eight episodes in 2024, Fallout took its cues from the games that first debuted on computers back in 1997, with three released sequels, a fourth on the way and seven spinoffs all following. The live-action television iteration follows Lucy, a lifelong vault-dweller, who leaves her cosy underground digs to navigate the irradiated wasteland that earth has remained for two centuries after the nuclear apocalypse. Crossing her path: bounty hunter The Ghoul, who has ties to life before the devastation; and Maximus, an aspiring soldier with the Brotherhood of Steel, who don giant robotic suits. In this nightmarish future, a hellscape filled with mutants, wild west vibes and plenty of violence awaits beyond the bunker that the optimistic Lucy, daughter of Hank (Kyle MacLachlan, Blink Twice), who oversees Vault 33, has always called home. Bringing the chaos to life is a behind-the-scenes team featuring Westworld creators Jonathan Nolan and Lisa Joy, as well as Geneva Robertson-Dworet (Captain Marvel) and Graham Wagner (Silicon Valley) as writers and co-showrunners. And yes, Bethesda Game Studios has a hand in it as well. "The holidays came a little early this year — we are thrilled to be ending the world all over again for a third season of Fallout," advised Nolan and Joy, announcing the news. "On behalf of our brilliant cast and crew, our showrunners Geneva and Graham, and our partners at Bethesda, we're grateful to our incredible collaborators at Amazon MGM Studios and to the amazing fans as we continue our adventures in the wasteland together." There's no sneak peek for Fallout season two yet, but you can check out the trailer for season one below: Fallout streams via Prime Video. Season two will arrive in December 2025 — we'll update you with an exact release date when one is announced. Read our review of season one, and our interview with Walton Goggins, Ella Purnell and Aaron Moten. Images: courtesy of Prime Video.
Not to be confused with recent Australian film Limbo, six-part Aussie dramedy In Limbo takes its title to heart, and also uses its eponymous idea as fuel for a supernatural buddy comedy. Before the end credits run on the show's first episode, Nate (Bob Morley, Love Me) is palling around with his lifelong best mate Charlie (Ryan Corr, House of the Dragon) from the afterlife — and the dearly departed Brisbanite is stuck. He isn't staying by choice. Instead, he hasn't moved on. He can't, and he doesn't know why he's lingering. Audiences can instantly guess in general terms, because ghost fare both comic and spooky overflows with spirits tied to the mortal coil via unresolved business, but In Limbo is never about scares and definitely isn't only about laughs. While Nate grapples with his newly loitering status, Charlie is reeling over losing his best friend unexpectedly at the age of just 38. Initially, he thinks that spying his pal again is a drunken hallucination in his grief-stricken state, especially given that he found the body. No one else can see Nate, not his widow Freya (Emma Harvie, Colin From Accounts); the eight-year-old daughter, Annabel (Kamillia Rihani, The Twelve), he doted on; or his very Catholic mother Maria (Lena Cruz, Wellmania) and affable father Frank (Russell Dykstra, Irreverent). As Charlie does his best to help his pal's family cope, he's the sole one spotting Nate as an apparition — and, more than that, he falls back into their usual rapport. It's Christmas, too, in this Sunshine State-shot and -set series, with facing the festivities after such a shock far from easy. As it heartily deploys Brisbane Powerhouse and New Farm Park as settings, that's a lot for one show to delve into — and delve it attentively does. On paper, In Limbo's mix seems delicate. It's an otherworldly sitcom with an odd couple at its centre, their bond transcending life and death, and it isn't afraid of having a sense of humour. That said, it's also a heartwrenching tragedy. In addition, it delivers a sincere musing on loss, shame and guilt, and a weighty exploration of mental health. And, In Limbo confronts how difficult it is to ask for assistance, and to notice when even your closest loved ones need it, plus the fact that men requiring a hand can still be regarded a weakness. Tackling mourning, mental struggles and suicide isn't simple, even in a show about someone haunting their best mate, and including when such topics have been increasingly popping up on Australian screens lately (see also: Totally Completely Fine). Created by Lucas Taylor, marking his second series for 2023 after Black Snow, In Limbo is clearly crafted with empathy and understanding for its subject matter, its characters and everyone among its audience that can relate. Penned by him as well, with Doctor Doctor's Tamara Asmar co-scripting and Trent O'Donnell (Ride the Eagle) and David Stubbs (Daffodils) directing, the show crucially doesn't attempt to offer any firm answers. Rather, whether facing a tough topic with humour, heart, or clear-eyed and head on, the series acts as a conversation starter — an important function. In Limbo entertains, engages and moves, potently so, but it's even more committed to being meaningful. There's zero doubt that the show knows how immensely hard it is to navigate loss — in fact, it leans in. In its opening episode, before Nate and Charlie switch from the comfortable banter that's flavoured their friendship since childhood to picking it up from the beyond, it sees the pain that becomes Charlie and Freya's second skins. It watches their expressions as everything they thought they knew crumbles. It sits with their confusion, sadness, desperation and yearning. It knows that nothing will ever be the same again, and that this will always be a part of them. In a rarity for on-screen depictions of death, In Limbo also acknowledges the mundane but essential tasks that the experience places on those left behind. It understands that finances need getting in order, funerals require planning and children need guiding. It wades through the conventions and expectations around how the bereaved grieve, and for how long; how they share the traumatic news and where; and how they start working through their new future. As the admin of mourning piles up, In Limbo also knows that everything changes but so much heartbreakingly stays the same. Here, Annabel still has soccer games to play. The festive season remains in full swing. Charlie hasn't forgotten about the looming divorce that he's been avoiding, either, and matters of addiction and domestic violence in his broader circle don't just fade away. It boasts considerate writing, compassionate aims and the right balance of comedy at its core; however, a series like In Limbo was always going to need the best cast that it could get. With Corr and Morley as its leads, it couldn't have managed better. The ever-excellent Corr plays a supremely complicated role with charm and sensitivity, which is no surprise given his Holding the Man, 1% and Wakefield-filled resume, and decades in the business. In a likeable and layered performance, he fleshes out Charlie's troubles, plunges into his doubts and challenges his grin-and-bear-it status quo. In Limbo dives deep into Charlie's whirlwind of emotions without Nate physically by his side, with Nate now his ghostly offsider and with his own problems, and doesn't ever dream of brushing past the character's flaws. Corr also makes such a great double act with Morley that filmmakers should be clamouring to pair them up again ASAP. The focus on 21st-century masculinity and friendship demands that their camaraderie feel real, which it achieves reliably and effortlessly. The series tasks Morley with providing an outwardly spirited portrayal with equal range as Corr, a feat that he similarly perfects. But In Limbo doesn't only value its main duo. Harvie's work is just as complex, Rihani makes an impact as Annabel, and Cruz and Dykstra are never reduced to grating in-laws. Cherishing everything you can while you can and peering beyond what's right in front of you beat at the heart of this thoughtful show, after all — and that's meaningful, too. Check out the trailer for In Limbo below: In Limbo streams via ABC iView.
Some shows commence with a dead girl wrapped in plastic. Others begin with a plane crash on a spooky island. With Outer Range, it all kicks off with a void. On the Abbott family ranch in Wyoming, in the western reach that gives the show its name, a chasm suddenly appears. A perfect circle swirling with otherworldly mist and resembling an oversized golf hole, it's just one of several troubles plaguing patriarch Royal (Josh Brolin, Dune), however. There is indeed a touch of Twin Peaks and Lost to Outer Range. A dash of Yellowstone, The Twilight Zone, The X-Files and whichever family-focused prime-time soap opera takes your fancy, too. As a result, while Royal is visibly disconcerted by the unexpected opening staring at him in an otherwise ordinary field, he has other worries. His rich, ostentatious and increasingly madcap neighbour Wayne Tillerson (Will Patton, Halloween Kills) suddenly wants a parcel of the Abbotts' turf, claiming mapping inaccuracies. One of Tillerson's mouthy and entitled sons, Trevor (Matt Lauria, CSI: Vegas), ends up in a bar spat with Royal's sons Rhett (Lewis Pullman, Them That Follow) and Perry (Tom Pelphrey, Mank). And there's also the matter of Perry's missing wife, who disappeared nine months back, leaving both her husband and their young daughter Amy (Olive Abercrombie, The Haunting of Hill House) searching since. Into this sea of faith-testing chaos amid such serene and dreamlike scenery, a stranger arrives as well: "hippie chick" backpacker Autumn Rivers (Imogen Poots, The Father). She just wants to camp for a few days on the Abbotts' stunning and sprawling land, she says. She just happened this way, she claims in the process. But the always-guarded, fiercely protective Royal is immediately suspicious — and while he still takes the fat wad of cash she waves around as payment to stay on the outskirts of the property that's been owned by his wife Cecilia's (Lili Taylor, Perry Mason) ancestors for generations, he remains openly and grimly wary. That's Outer Range's setup, although it's also just where the genre-bending new addition to Prime Video launches into its many mysteries. Across its eight-episode first season, it's a ranch-dwelling western, complete with a family battling secrets and struggles of both the internal and external kind, and left grappling with existential doubts when they keep being stripped of everything they believe in. It's an offbeat enigma, too, where bottomless gaps in the centre of the earth aren't the only things that can't be easily explained. Thanks to said hole and surrounding supernatural occurrences, it dives into eerie sci-fi as well. And with Indigenous acting sheriff Joy (Tamara Podemski, Run) trying to work out what's going on on several levels, all while campaigning to be elected to her job outright, it's also a detective quest and a thriller. In other words, it's a puzzle box of a program — and the weirder that Outer Range gets, and moodier as well, the more it intrigues and engrosses. Its giant twists are obviously best discovered by watching, but its small quirks are quickly compelling. This is a series where an ethereal feeling permeates the land, even when Royal is nowhere near the void he's desperate to keep hidden. It's a show where one of the other neighbour sons, the quiet yet perturbing Billy (Noah Reid, Schitt's Creek), loves breaking out into song, crooning 80s and 90s pop and rock hits at odd moments. At a funeral, he even sings Peter Gabriel and Kate Bush duet 'Don't Give Up', covering both parts himself and leaving mourners utterly bewildered. Reid is unnervingly difficult to peel your eyes away from in Outer Range, but the series is well-cast in every part — starting with Brolin as Royal, naturally. While the Milk Oscar-nominee has been happily dallying with sci-fi of late, including getting villainous in Avengers: Infinity War, Avengers: Endgame and Deadpool 2, his is a grounded performance here. He sidles in as a stern-and-silent western archetype, unfurling more of Royal's layers — and unpacking what it means to embody that portrait of western masculinity in the process — with each grimace and glare. Taylor does phenomenal work in support, and although Poots sometimes suffers from the thinner writing establishing Autumn's moves and motivations, she still commands the frame. Family, faith, fate, the land, legacies, the ties of love, the disappointments of life, the inexplicable elements inherent in all of the above: they're all baked into Outer Range, providing plenty of puzzle pieces for its actors to play with. That said, as created and co-written by TV first-timer Brian Watkins, the series turns those familiar components into something shadowy and surreal. Its narrative path isn't always tricky to predict — one huge late revelation especially — however, it constantly surprises in how it tackles its moments and dynamics on a scene-by-scene basis. That's what lingers in Billy's songs, overtly so. It's there in Cecilia's response to every trying development that's sent the Abbotts' way, usually with her at home, on the sidelines, yet no less impacted. And it blazes through in the choice of shots, which bask in the glory of nature's vast expanse but also see far more than just postcard-perfect wonders. The latter stem from a strong roster of contributors, spanning filmmakers such as She Dies Tomorrow's Amy Seimetz and A Cop Movie's Alonso Ruizpalacios in the director's chair, as well as cinematographers such as Waves and Red Rocket's Drew Daniels, The Last Black Man in San Francisco's Adam Newport-Berra, and Seimetz regular Jay Keitel. Helping ramp up the tension, composers Danny Bensi and Saunder Jurriaans' (Windfall, Becoming Cousteau, The White Tiger) anxiety-inducing score drips with tension, too. Pondering big ideas with heaving style and hefty ambition, Outer Range frequently looks and sounds cinematic — and, from the moment it first spies its gaping chasm, swiftly makes for beguiling viewing. With Jordan Peele's latest horror epic Nope also on its way in the coming months, 2022 seems set to be a big year for disquieting screen stories set amid vast American ranches and springing from stellar talent. What that film will bring is currently yet to be seen, of course, but Outer Range gives this entrancing trend an impressive start. Check out the trailer for Outer Range below: Outer Range's first two episodes are available to stream via Prime Video from Friday, April 15, with two new episodes dropping weekly until Friday, May 6.
How much yum cha can you eat in one sitting? The answer to that question will soon be on the menu at Queen's Wharf. The $3.6-billion addition to the Brisbane CBD's north bank has welcomed its latest eatery: Cantonese spot HUĀ. And while the restaurant opened its doors to kick off February 2025, one of its big drawcards is still to come, with bottomless yum cha set to be on offer in the future. There's plenty of reasons to visit HUĀ already, however, including enjoying a lineup of dishes crafted in collaboration with culinary veteran Ling Lee. The 77-year-old chef — and alum of Melbourne's Flower Drum, Silk Crown and Sun Kitchen — has helped oversee the menu, with Head Chef Danny Lui (Mei Wei Dumplings) leading the kitchen. Expect modern takes on Cantonese cuisine, plus a focus on sustainability, on a menu that'll change seasonally. "HUĀ represents a unique blend of Cantonese heritage and modern innovation. Not only does the menu offer an enticing selection of expertly crafted dishes, but the space itself is designed to completely elevate the dining experience," said Adam Duca, General Manager of Dining Concepts, which is behind HUĀ alongside The Star Brisbane. Wild-caught seafood, free-range meats and locally sourced organic vegetables feature across bites that include prawn-and-chive dumplings, seafood san choi bow, stir-fried scallops, deep-fried black truffle duck rolls and pan-fried kimchi lamb dumplings, to name just a few dishes — all pairing traditional Cantonese cooking techniques with fresh flavours. As for the decor, it skews elegant; think: a combination of rich and pastel hues, including greens and reds; floral touches, as seen on the wallpaper; lantern-style wall lighting flourishes; and booth seating. In addition to its main dining area, plus private rooms for gatherings, HUĀ features an al fresco terrace and a cocktail bar. From the latter, standout sips include a signature boozy iced tea, a lavender-heavy drink made with vodka, and a fruit tea-based concoction. Classic cocktails are also available, as is a selection of beer and wine by the glass. Alongside bottomless yum cha — which'll feature endless tea — a happy-hour menu is also on its way. Already on offer, though: two signature banquets, one for $88 per head and the other for $128. Or, for weekday lunch diners, an express banquet is available now as well, spanning three courses and a drink for $55.80 per person Monday–Friday from 1130am–3pm. Find HUA at Level 4, Terrace, The Star Brisbane, 33 William Street, Brisbane, operating from Tuesday–Sunday for lunch and dinner. Head to the venue's website for more information.
The 2023 FIFA Women's World Cup is last year's news, sadly. There's still two years to wait until Australia hosts the 2026 Women's Asian Cup. But 2024 is the year of the Paris Olympics — and in preparation for vying for gold, the Matildas are hitting the field Down Under. The country's national women's soccer team are playing two friendlies against China, the first in Adelaide on Friday, May 31 and the second in Sydney on Monday, June 3. And although both are sold out — giving the Tillies a massive 14 sellout games on home soil in a row — you can still tune in from home, or the pub, if you won't be in the South Australian or New South Wales capitals or haven't scored tickets. These are the Matildas' first games in Australia since the last match of the final Olympics qualifiers back in February. Taking place in Melbourne against Uzbekistan, that game turned out mighty well for the squad, resulting in a 10–0 scoreline their way and locking in a spot in Paris. This time, there's nothing but bragging rights on the line, but a Tillies game is still a Tillies game. To watch, 10Play and Paramount+ are your destinations — plus Network 10 on regular TV. Sam Kerr is injured, but the squad is filled with high-profile names, including Steph Catley donning the captain's armband, Ellie Carpenter as vice captain, and also everyone from Mackenzie Arnold, Alanna Kennedy, Caitlin Foord, Mary Fowler and Kyra Cooney-Cross to Hayley Raso, Michelle Heyman, Cortnee Vine and Lydia Williams. Expect the latter to spend some time in goal, given that the legend of the game announced that she'll retire from international football following the Olympics. After this, the Tillies kick off their quest for a medal in Paris on Friday, July 26 at 3am Australian time, playing Germany. Their first-round draw also includes matches against Zambia and the USA. In-between, you can get another Matildas fix via documentary Trailblazers, which hits Stan on Tuesday, June 4 — and if you're in Sydney on Monday, June 10, at a Vivid 2024 talk with Mackenzie Arnold and Tony Gustavsson. The Matildas vs China PR Friendlies 2024: Friday, May 31 — 8.10pm AEST / 7.40pm ACST / 6.10pm AWST Monday, June 3 — 7.40pm AEST / 7.10pm ACST / 5.10pm AWST The Matildas' friendlies against in China PR take place on Friday, May 31 and Monday, June 3, 2024— and you can watch via 10, 10Bold, 10Play and Paramount+. Images: Tiffany Williams, Football Australia.
'Bonjour!' will be the first thing you hear as you're swept off the street and into this small slice of France. Sending your mind into a momentary panic, you rack your brain for your best French phrases before remembering teleportal is yet to be invented and (sadly) you're still in New Farm, but luckily you've found Choquette. For those lucky enough to have travelled to France, remembering the quickly adopted daily ritual of visiting Parisian patisseries and boulangeries will have your travel bug rumbling hungry. While a travel addiction can't be cured with a nicotine patch, a good croissant here or there won't hurt. If you manage to step past the first counter displaying a mouth-watering selection of reasonably priced petit cakes you'll find a selection of pastries, fresh baked artisan bread and the all-mighty coffee machine. We recently crowned Choquette king of Brisbane's best croissant, and rightly so. Offering a huge crispy shell and a soft buttery flesh, it's a definite winner here. But let's not get off track. To reach a croissant you first have to wade past the likes of the Tarte au Citron ($6.40), a sweet pastry filled with lemon creme and topped with Italian meringue; the Le Pina Corianas ($7), coconut and pineapple dacquoise, vanilla cremoux with fresh pineapple, coriander and white chocolate; or the Shades of Chocolate stack ($7), a crisp praline feuilletine base with three chocolate mousse layers. One word describes each piece of sweet edible art. Delicieux! Opened in 2006, owner Lara Simple pulled this slice of France from her family's heritage, and after completing a short patisserie course used her contacts to recruit and convince French chefs and bakers to join her back in Brisbane. I think we owe one big 'merci beaucoup ' to Lara.
On his first-ever trip Down Under, on a tour that'll see him become the first Latin act to headline stadiums globally, one gig was never going to be enough for Bad Bunny in Australia. Accordingly, before general tickets for that already-announced show go on sale, Benito Antonio Martínez Ocasio has locked in a second Aussie concert due to presale demand — also in Sydney. Bad Bunny has won three Grammys and 11 Latin Grammys, starred in Bullet Train and hosted Saturday Night Live, among plenty of other achievements; however, he hasn't hit the stage in Australia — yet. By the time that summer 2025–26 is out, he'll tick a trip Down Under off of his list, with his DeBÍ TiRAR MáS FOToS world tour now including two shows in the Harbour City. ENGIE Stadium in the New South Wales capital is set to play host to Bad Bunny on both Saturday, February 28 and Sunday, March 1. He's playing the New South Wales capital in-between dates in Brazil and Japan, two other countries where the 'Mia', 'Callaíta', 'Qué Pretendes' and 'Vete' singer will perform live for the first time ever. Also on his itinerary: Dominican Republic, Costa Rica, Colombia, Mexico, Peru, Chile, Argentina, Brazil, Japan, Spain, Portugal, Germany, Netherlands, United Kingdom, France, Sweden, Poland, Italy and Belgium, all between November 2025–July 2026 so far. His DeBÍ TiRAR MáS FOToS-themed jaunt around the world is named for his latest album, which released in January this year and spent three weeks in a row atop the Billboard 200 chart. The Puerto Rican superstar's global tour will follow his upcoming No Me Quiero Ir de Aquí gigs, a 30-date residency at José Miguel Agrelot Coliseum in his homeland, which has sold over 400,000 tickets. Before that, he toured North America in 2024, and both North and Latin America in 2022. His DeBÍ TiRAR MáS FOToS shows will take him to Europe for the first time since his 2019 X 100pre tour. On the charts, DeBÍ TiRAR MáS FOToS, his sixth album, has kept garnering love — also sitting in the Billboard 200 top ten for 13 weeks, taking the number-one slot on Billboard's Latin Albums chart for 16 consecutive weeks and helping him become the first-ever Latin artist with 100 Billboard Hot 100 entries. Prior to both his No Me Quiero Ir de Aquí residency and DeBÍ TiRAR MáS FOToS world tour, Bad Bunny also has another date with SNL, this time as the musical guest on the season 50 finale that's being hosted by Scarlett Johansson (Fly Me to the Moon). Bad Bunny DeBÍ TiRAR MáS FOToS World Tour 2026 Australian Tour Saturday, February 28–Sunday, March 1 — ENGIE Stadium, Sydney Bad Bunny is playing ENGIE Stadium in Sydney in February and March, 2026. General ticket sales start at from 11am on Friday, May 9, 2025 —head to the tour website for more details.
Brotherly musician duo and Australian indie legends Lime Cordiale have announced a new initiative that merges music with their passion for environmental conservation and climate action: Lime Green Festival. This new festival, which is headed to Adelaide's Point Malcom Reserve on Saturday, April 18, prioritises not only positive energy in music but also a positive impact on the environment. Organised in partnership with Chugg Music, Lime Green Festival is an experiment in live music, trialling a new model of music festival that doesn't just tick the box for environmental concerns, but puts climate action at the centre of the entire event. The festival will be 100% off the grid, delivering a quality day of live music and providing a community platform for audiences to engage and learn about the sustainable possibilities of live events in the years to come. [caption id="attachment_1065642" align="aligncenter" width="1920"] PASH[/caption] Joining Lime Cordiale on the lineup are Sunshine Coast-native folk rockers The Dreggs, Adelaide's own chart-topping pop star aleksiah and up-and-coming four-piece pop rockers PASH. Lime Cordiale have also put the word out seeking local talent, with spots on the lineup reserved for artists chosen by the duo themselves, triple j Unearthed and event sponsor City of Charles Sturt. Lime Cordiale, real names Oli and Louis Leimbach, said, "From the accelerating loss of polar ice to the devastating algal blooms currently choking the South Australian coast, it is impossible to ignore that our climate is at a breaking point. For the last five years, we've wrestled with a deep, personal dilemma as environmentalists: Is our touring contributing to the problem? Does it still make sense in a world that's hurting? Should we continue to tour at all?" "We've decided that the answer isn't to stop, but to change," the brothers add. "Live music is about the vital connection between people, and we believe that connection is exactly what we need to fuel a new way of doing things. Our aim is to stage the greenest music festival Australia has ever seen—rethinking everything from renewable stage power and transport to how we handle food and human waste." The brothers hope this new model of festivals can find success first in regional SA, then the rest of the country, encouraging Aussie music fans to attend the festival and take part in the experiment for a better future of gigs, saying "We aren't claiming to be perfect; we will make mistakes along the way, but we are trying. We're inviting you to be part of this experiment. Come and hear some incredible Aussie music, but also come to see what a different future looks like. Let's find out what we can achieve, together." Lime Green Festival will take over Adelaide's Point Malcom Reserve on Saturday, April 18. Tickets will go on sale at 9am (AEDT) on Friday, January 23rd. A presale will run from 9am (AEDT) on Wednesday, January 21st – sign up here.
The strangest public holiday of the year is upon us, Brisbanites: the Ekka public holiday. This year, the Royal Queensland Show is well and truly happening. And, the day off we all get to enjoy it strawberry sundaes is back in its traditional Wednesday slot. It's still all a bit odd, though — as smacking a public holiday in the middle of an August week has always proven. No, that isn't a complaint. Yes, if nothing feels ordinary around your Ekka day off, thats understandable. Here's something that'll help you kick things off in style the night before, though: the return of the Hekka Festival to Greaser. Live tunes will hit the Fortitude Bar's garage stage, as well as a second stage, with the fest starting at 5pm and keeping on keeping on till late. On the bill: Pandamic, Total Pace, Annoying Neighbours, Mitch Please, Hot Reno, Pvcker Up, Naaki Soul, PHD!, Laura Mac and Black Bugs. Tickets cost $10 — and if you need any more of an incentive, Total Pace features members of I Heart Hiroshima, Violent Soho and DZ Deathrays. Images: Anwyn Howarth.
Tucking into some seafood, fried potatoes and a cold brew: if that's not a summer tradition, then we don't know what is. To be fair, given the sunshine and heat Brisbane is blessed with for most of the year, it's an all-the-time tradition really. A fancy version of fish, chips and beer, though? Well, that's something special. Trust Newstead Brewing to give an old favourite a new twist at Surf, Suds & Sumptuous. Following in the footsteps of their previous seasonal food-and-booze pairings — aka Weird, Wild & Wonderful and Dank, Dark & Delicious — they're making the most of the hot, hot, hot climate and giving us what we're all craving. Tickets cost $80, making it the most expensive fish and chips you've ever had in your life; however once the eating and drinking extravaganza kicks off at 6pm on January 17, we're guessing that you'll think it is worth it. Diners will be treated to four dishes featuring fresh local catches, including crab and ocean trout. And, in yet another tradition, each round will be paired with Newstead Brewing Co beers, with a first taste of their brand new beverage The Nundah also on the agenda.
Tranquility and Lutwyche now go hand in hand. So do pastels and Lutwyche; Mediterranean-style bathhouses and Lutwyche; and escaping life's chaos in saunas, steam rooms and ice baths in Lutwyche. The reason: Contro Wellness, where you can relax, slow down and put your wellbeing first. With its soft and calming hues, Contro Wellness has gone dreamy with its bathhouse setup. Patrons will find both traditional and infrared saunas, float therapy, mineral soaks, red-light therapy and salt therapy inside, too. Also, if you're keen on not just relaxation, but some alone time — or sharing your experience with a date or mate — this isn't the kind of place where you'll be using the facilities with other folks. All services are private, which is handy if you're also the type of person who finds trying to de-stress surrounded by people who don't know anything but calming. Price-wise, you'll be forking out at least $30, which is where Contro Wellness' services start. Sessions are also available in packs of five and ten, so you can plan out your future visits. And, the bathhouse lets you book in via its app, letting you lock in your next stint of unwinding at the touch of a button. Images: Contro Wellness, Luke Donegan.
Something delightful has been happening in cinemas across the country. After months spent empty, with projectors silent, theatres bare and the smell of popcorn fading, Australian picture palaces are back in business — spanning both big chains and smaller independent sites in Sydney, Melbourne and Brisbane. During COVID-19 lockdowns, no one was short on things to watch, of course. In fact, you probably feel like you've streamed every movie ever made, including new releases, comedies, music documentaries, Studio Ghibli's animated fare and Nicolas Cage-starring flicks. But, even if you've spent all your time of late glued to your small screen, we're betting you just can't wait to sit in a darkened room and soak up the splendour of the bigger version. Thankfully, plenty of new films are hitting cinemas so that you can do just that — and we've rounded up, watched and reviewed everything on offer this week. https://www.youtube.com/watch?time_continue=4&v=87RIVAc6MJU&feature=emb_logo SYNCHRONIC Justin Benson and Aaron Moorhead made a significant splash in genre circles with 2014's horror-romance Spring and 2017's excellent cult thriller The Endless, but they aren't currently household names. If the duo keep writing and directing mind-bending sci-fi like Synchronic, though, they will be sooner rather than later. The pair actually appear destined to become better known via Marvel. They're slated to helm one of the MCU's many upcoming Disney+ TV series, the Oscar Isaac-starring Moon Knight, in fact. But, they've already worked their way up from the US$20,000 budget of their 2012 debut Resolution to making movies with Anthony Mackie and Jamie Dornan. Here, with Marvel's own Falcon and Fifty Shades of Grey's leading man, they play with time, relativity, fate and brain-altering substances. They ponder the shadows that the past leaves on the present, the way that progressing through life can feel far more like a stumble than following a clear path, and how confronting loss and death can reframe your perspective on living, too. Those temporal jumps and existential themes aren't new, of course, and neither is the film's steely look and feel, and its willingness to get dark. That's the thing about Benson and Moorhead, however: few filmmakers can twist familiar parts into such a distinctive, smart and engaging package in the same way, and with each and every one of their movies. Synchronic shares its title with a designer drug. In the film's vision of New Orleans, the hallucinogen can be bought in stores — and plenty of people are doing just that. Shift after shift, paramedics Steve Denube (Mackie) and Dennis Dannelly (Dornan) find themselves cleaning up the aftermath, as users keep overdosing, dying in unusual ways and getting injured in strange mishaps. And, these aren't your usual drug-fuelled incidents. One, involving a snakebite, happens in a hotel without even the slightest sign of slithering reptiles. That's enough to arouse the world-wearied Steve and Dennis' interest, and to give them something to talk about other than the former's attachment-free life and the latter's marriage. Then Dennis' teenage daughter Brianna (Ally Ioannides, Into the Badlands) goes missing, and the two EMTs are instantly keen to investigate any links that the popular pill might have to her disappearance. Cue a film that initially drips with tension, dread and intensity; uses every tool at its disposal to take viewers on a trippy journey; and grounds its surreal imagery and off-kilter atmosphere in genuine emotions. Each of Benson and Moorhead's four films so far are strikingly shot and astutely written, and rank among the best horror and sci-fi efforts of the past decade, but they're also as thoughtful and resonant as they are intelligent and ambitious — and that's an irresistible combination. Read our full review. https://www.youtube.com/watch?v=V5R46NgopPw&feature=emb_logo ANOTHER ROUND Even the most joyous days and nights spent sipping your favourite drink can have their memory tainted by a hangover. Imbibe too much, and there's a kicker just waiting to pulsate through your brain and punish your body when all that alcohol inevitably starts to wear off. For much of Another Round, four Copenhagen school teachers try to avoid this feeling. The film they're in doesn't, though. It lays bare the ups and downs of knocking back boozy beverages, and it also serves up a finale that's a sight to behold. Without sashaying into spoiler territory, the feature's last moments are a thing of sublime beauty. Some movies end in a WTF, "what were they thinking?" kind of way, but this Oscar-shortlisted Danish film comes to a conclusion with a big and bold showstopper that's also a piece of bittersweet perfection. The picture's highest-profile star, Mads Mikkelsen (Arctic), is involved. His pre-acting background as an acrobat and dancer comes in handy, too. Unsurprisingly, the substances that flow freely throughout the feature remain prominent. And, so does the canny and candid awareness that life's highs and lows just keep spilling, plus the just-as-shrewd understanding that the line between self-sabotage and self-release is as thin as a slice of lemon garnishing a cocktail. That's how Another Round wraps up, in one the many masterstrokes poured onto the screen by writer/director Thomas Vinterberg (Kursk)) and his co-scribe Tobias Lindholm (A War). The film's unforgettable finale also expertly capitalises upon a minor plot detail that viewers haven't realised had such significance until then, and that couldn't typify this excellent effort's layered approach any better. But, ending with a bang isn't the movie's only achievement. In fact, it's full of them. The picture's savvy choices start with its premise, which sees the quiet and reserved Martin (Mikkelsen) and his fellow educators Tommy (Thomas Bo Larsen, Veni Vidi Vici), Peter (Lars Ranthe, Warrior) and Nikolaj (Magnus Millang, The Commune) all decide to put an out-there theory to the test. Motivated by real-life Norwegian psychiatrist Finn Skårderud, they conduct an experiment that involves being permanently sauced. Skårderud has hypothesised that humans are born with a blood alcohol deficit of 0.05 percent, so, with some cajoling needed on Martin's part, the quartet work that idea into their daily lives. Ground rules are established, and the shots, sneaky sips and all-hours drinking swiftly begins — and so splashes a tragicomic look at coping with mundane lives and the realities of getting older in an extreme fashion that's frank, unflinching, and yet also warm and sometimes humorous. Read our full review. https://www.youtube.com/watch?v=LNkmnVd9wHM&feature=emb_logo ASSASSINS On February 13, 2017, at the Kuala Lumpur International Airport, a man was assassinated in broad daylight. While standing by the self check-in kiosks at around 9am, he was approached from behind by two women. After they each rubbed their hands across his face, he was dead within the hour. For a plethora of reasons, the attack garnered global news headlines. Such a brazen murder, carried out not only in public but also in full view of the Malaysian airport's security cameras, was always going to receive worldwide attention. The use of extremely deadly chemical weapon VX obviously demanded scrutiny — and so did the fact that the victim was Kim Jong-nam, the estranged elder half-brother of North Korean leader Kim Jong-un. But, despite the onslaught of newsprint, pixels and airtime devoted to the incident when it happened, the full details behind it took time to unfurl. As Assassins explores, those facts are fascinating, gripping and distressing in equal measure. Indeed, if a Hollywood screenwriter had cooked up the story at the centre of Ryan White's (The Keepers) meticulously documentary, they would've been told that it's too far-fetched. Not that the world needs any additional reminders, but real life really is far stranger than fiction here. Across 104 minutes that relay an unmistakably and inescapably wild tale in an edge-of-the-seat yet never sensationalistic fashion, White asks the question that was on everyone's lips four years ago: why? That query has many layers. It starts with wondering why two women in their 20s — one from Indonesia, the other from Vietnam — with no clear political affiliations would kill an exiled North Korean who was once expected to lead his nation. From there, it expands to contemplate why Malaysian law enforcement officers and prosecutors were so content to believe that culprits Siti Aisyah and Doan Thi Huong acted without any involvement from North Korea, and why a number of the latter country's citizens were interviewed, but then released and allowed to return home without facing any legal repercussions. Aisyah and Huong certainly weren't afforded the same treatment. Charged with Kim Jong-nam's murder, they were put through a long trial, and faced the death penalty if convicted. The pair, who didn't know each other beforehand, pled their innocence from the outset. Both women were adamant that they had each been hired to make prank videos for a YouTube show and, as far as they knew, their efforts in Kuala Lumpur were part of their latest production. Read our full review. https://www.youtube.com/watch?v=BZNN9AttdBQ LONG STORY SHORT The type of guy who is always too busy to both make plans and stick to them, Teddy (Rafe Spall, Just Mercy) has a slippery relationship with time. He never seems to have enough to commit to anything right now, including setting a date to marry to his girlfriend of four years and new fiancée Leanne (Zahra Newman, Neighbours). Ever the procrastinator, he's always saying that he'll do everything later, too. Then, after an odd cemetery run-in with a mysterious woman (Noni Hazelhurst, Ladies in Black) that results in his wedding occurring just weeks later, Teddy's life starts slipping away in an unexpected fashion. Everything is normal when he climbs into bed on his wedding night but, when wakes up, he realises that it's suddenly a year later. Leanne hasn't skipped the past 12 months with him, although she does think that he's acting strangely (and, that he's simply freaking out because he forgot their anniversary). Teddy's best friend Sam (Ronny Chieng, Crazy Rich Asians) also doesn't believe that anything is amiss with the calendar, but plenty has changed. When another year glides by a few minutes later, everything changes yet again. Now, Teddy's claims that he doesn't have enough time take on much greater urgency, as he tries to work out what's going on, how to stop it and how to save his disintegrating marriage in the process. Writing, directing and appearing on-screen as a psychiatrist who exacerbates Teddy's frustrations, House of Lies and Superstore actor Josh Lawson turns filmmaker again with Long Story Short. He's still sticking with comedy, as he did with The Little Death, his last effort behind the camera. He's still happy to sketch out his narratives via broad strokes, too, and to pile on implausible details as well. Here, he starts with the supposedly romantic idea that a man will kiss any woman who wears the same dress as his girlfriend. That mistaken situation inspires Teddy's meet-cute with Leanne, and somehow sparks their whole relationship. It's about as believable as the beachfront Sydney house the apparently ordinary couple buy as their first marital home — so, when Teddy starts jumping through time, that seems feasible in comparison. From there, Long Story Short packages the expected manchild and relationship cliches with familiar temporal-hopping tropes, and can't hide that fact by shouting out to Groundhog Day. Physically resembling his director more often than not, Spall plays rattled well enough. Newman does her best in a thinly written role that simply has Leanne reacting to Teddy's chaos. But being suddenly whisked through time and missing this flat movie wouldn't be a bad outcome for audiences, unless you're the type of viewer who loves Aussie flicks filled with all the usual tourist-courting visuals. https://www.youtube.com/watch?v=a4mxHlXBy_g THE PEOPLE UPSTAIRS A film like Spanish comedy The People Upstairs lives and dies on the strength of its performances. That's not a criticism of the movie's script; rather, it's recognition that its conversation-fuelled dramas and sudden, drastic twists and turns need the right actors to sell everything that unfurls across its brief 82-minute running time. Thankfully, writer/director Cesc Gay (A Gun in Each Hand, Truman) has amassed a top-notch cast. That's hardly surprising — he has worked with his male leads Javier Cámara (Narcos) and Alberto San Juan (Advantages of Travelling by Train) before, and his female leads Belén Cuesta (Money Heist) and Griselda Siciliani (Morir de Amor) boast considerable resumes. But, had any of the quartet missed even the slightest of beats, the whole film could've crumbled, and badly. As the long-married Julio and Ana, Cámara and Siciliani are asked to convey years of unhappiness that's long threatened to push the couple apart, but to still find enough of a spark in their wearied relationship to explain why they're still together (and not just via the smoke that radiates from their frequent arguments). As the upstairs-dwelling Salvo and Laura, San Juan and Cuesta are tasked with looser roles; however, they also have to roll with the punches when their characters keep shocking and surprising their downstairs neighbours. For Julio, the Friday night that attracts the movie's attention should just be an ordinary evening. Coming home from his music teaching gig, he has papers to grade and doesn't plan on doing much else. Alas, after mentioning in passing the day prior that she'd like to invite Salvo and Laura over, Ana has followed through — and they arrive not long after Julio walks in the door, notices the new rug and starts an argument. From there, The People Upstairs stays within Julio and Ana's apartment and follows their awkward get-together with Salvo and Laura. The latter pair notice the tension immediately, and they have very specific ideas about how to ease it. Plenty of comedies of manners have stepped into comparable terrain, to the point that dinner party movies have become their own subgenre, but Gay and his cast never let the situation feel too familiar. While the film makes the most of its nicely appointed set, which helps, how its stars deliver the lively content of Julio, Ana, Salvo and Laura's chats remains crucial. The movie's comedy, and the pondering of changing societal norms that's baked into it, wouldn't work otherwise. That's not to say that The People Upstairs always hits its targets; although short, some of its conversations become not only purposefully circular, but also repetitive. But when the tightly written script and the cast performing it all sparkle, so does the feature. https://www.youtube.com/watch?v=c85aXHth_uQ&feature=youtu.be UNSOUND In Unsound, Finn (feature first-timer Yiana Pandelis) and Noah (Reece Noi, When They See Us) meet by chance. When the latter wanders into the club for Sydneysiders with hearing impairments that the former runs in the city's northern beaches, a connection springs, although both enter the relationship with other things on their mind. Attendance at the neighbourhood centre has been waning, and the locals complain about Finn's weekly dance parties. Tucking his long hair up under a cap while he stands behind the DJ decks by night and helps children learn Auslan by day, Finn is also slowly taking steps to cement his identity as a transgender man. As for the British-accented Noah, he's just arrived in Australia after touring the UK with his pop singer mentor Moniqua (Christine Anu), and his mother Angela (Paula Duncan, Neighbours) has hardly given him a warm welcome. So, Unsound follows Finn and Noah's romance, but that's just one of the things the film is interested in. While both lead characters receive ample screen time, Finn's experiences as a person who is deaf and with his transition are frequently thrust to the fore. That's a welcome move — not because Noah's efforts to step out of his absent father's shadow, take his career seriously and cope with his often-dismissive mum don't deserve attention, but because inclusive movies about trans men and people who are hearing impaired are rarely this thoughtful (and rarely exist at all, really). Directed by TV veteran Ian Watson (Heartbreak High, Home and Away) and penned by Ally Burnham (Nice Package), Unsound might bring both 52 Tuesdays and Sound of Metal to mind, which are excellent movies to even remotely resemble; however, this small feature with big ambitions and a heartfelt impact is always its own film. Absent touristy Sydney shots that constantly remind you where it's set, and favouring a low-key, lived-in aesthetic instead, it dedicates its running time to plunging into Finn's life and portraying it authentically, a task that it doesn't lose sight of even for a minute. The texture and detail in Burnham's script, especially in fleshing out the movie's characters, isn't just admirable but essential. It's little wonder, then, that Pandelis always makes Finn feel as if he could walk off the screen — although the performer also deserves ample credit. Noi also more than does his part justice, in a well-cast film all-round (see also: scene-stealer Olivia Beasley as one of Finn's colleagues, and a grounded turn from The Boy From Oz star Todd McKenney as Finn's father). And, the use of sound to convey the joy that Finn and his friends feel at their Saturday night dance parties is one of the picture's many astutely calibrated touches. Unsound is currently screening in Melbourne cinemas, and will open in Sydney and Brisbane cinemas on March 18. https://www.youtube.com/watch?v=cb7iVXzGics&feature=youtu.be ESCAPE FROM EXTINCTION As well as introducing the world to Joe Exotic and his out-there story, Tiger King: Murder, Mayhem and Madness initiated many viewers into the horrors of roadside zoos and exotic animal menageries. Consider Escape From Extinction the counterpoint, then. Focusing on the other end of the zoo and aquarium industry — the professional, well-funded, properly run type — it sings the praises of establishments worldwide that have been doing their part to help save threatened and endangered species from disappearing. The figures, which the film quotes often (and repeats frequently, too), speak volumes. It's impossible not to be moved by the numbers of species already lost, others teetering on the brink, the dwindling populations left in some cases and, after successful conservation programs, the hard-earned upswings as well. But, it's also impossible not to see this feature as a prolonged advertisement, and an attempt to redress the criticism of keeping animals in captivity stoked by not just Tiger King, but animal activism in general, including high-profile campaigns to release creatures such as Keiko, the orca from the Free Willy films. American Humane produced the movie, so the latter is hardly surprising — but even if you didn't know that when you stepped into the cinema, you'd easily guess. With Helen Mirren's calm but no-nonsense voice providing its narration, Escape From Extinction largely operates in two modes: bigger-picture overviews and individual case studies. If you've delved into the ever-growing subgenre that is animal-focused environmental documentaries before (such as 2020's David Attenborough: A Life On Our Planet), you'll have heard many of the movie's main overall messages. If you've paid any attention to news coverage of recent disasters, including Australia's bushfires, you'll also be familiar with its top-level details. When first-time director Matthew R Brady gets specific, however, the film endeavours to find its own niche — and to pad it with its clear viewpoint at the same time. Accordingly, there's more than a little awkwardness to some segments, especially when you compare the section about sharks being unfairly maligned by popular culture (yes, Jaws gets a mention) and the black-and-white footage and sinister soundtrack used whenever activists are shown protesting. Of course, the fight to save animals from extinction is a worthy one. The view that many zoos play an important part is worth espousing, too. And the experts, wildlife veterinarians, scientists, zookeepers and other industry figures assembled as taking heads are all clearly passionate about their work and about conservation. But, as Escape From Extinction shows, a film can make a plethora of valid and important points and still clumsily and forcefully push an agenda at the same time. https://www.youtube.com/watch?v=UIxq3UCcJmw LOVE, WEDDINGS & OTHER DISASTERS Filmmaker Garry Marshall passed away in 2016, ending his career with three terrible movies focused around specific occasions: Valentine's Day, New Year's Eve and Mother's Day. As well as being awful, all three took star-studded ensemble casts, split them across separate but eventually interlinked vignettes, and told tales relating to the celebrations in each feature's title. While Marshall clearly didn't helm it, Love, Weddings & Disasters takes its cues from his aforementioned films. It's directed by Dennis Dugan, though, who otherwise has the Adam Sandler-starring Happy Gilmore, Big Daddy, I Now Pronounce You Chuck & Larry, You Don't Mess with the Zohan, Grown Ups and its sequel, Just Go With It and Jack and Jill on his resume. Sandler doesn't show up here, though, because he's made a decision far wiser than Jeremy Irons (Watchmen), Diane Keaton (Poms), Maggie Grace (Fear the Walking Dead) and Diego Boneta (Monster Hunter). Indeed, it's difficult to see what anyone appearing on-screen saw in Dugan's script, other than the filmmaker himself — who plays the obnoxious host of a TV dating show called Crash Couples that sees strangers literally chained together in an attempt to win $1 million. Yes, the clips involving the latter are as excruciating as they sound but, in fairness, so is everything else about this supremely unfunny and unromantic supposed rom-com. Putting the word 'disaster' in this movie's moniker couldn't be more apt. Nor could its opening scene, where the ultra-competitive Jessie (Grace) drops her soon-to-be ex-boyfriend while skydiving. She also crashes into a lakeside ceremony, with the footage going viral and earning her the nickname 'wedding trasher' — which is a problem given that she wants to work in the industry. Just eight days before a Boston mayoral candidate and his bride-to-be are due to get hitched, Jessie scores her big chance. Trying to play nicely with veteran Lawrence Philips (Irons) while planning the ceremony isn't easy, though, especially when he's preoccupied after being set up on a blind date with Sara (Keaton), a woman with a visual impairment. More of Love, Weddings & Other Disasters' bite-sized tales link in with these narratives from there, involving musicians, buskers, Crash Couples and tours of the city, and they're all just as cliched and thinly thought-out. That's one of the movie's problems, but it's also near-incoherently shot and edited, and looks as if all of its budget went to paying Irons and Keaton. It's hard to say they were worth the money, because he's just asked to be prim, proper and uptight, and she somehow agreed to play a woman who is blind and trips over all the time. That's Dugan's idea of prime romantic-comedy material, and it's enough to harden even the softest of hearts in dismay. If you're wondering what else is currently screening in cinemas — or has been lately — check out our rundown of new films released in Australia on July 2, July 9, July 16, July 23 and July 30; August 6, August 13, August 20 and August 27; September 3, September 10, September 17 and September 24; October 1, October 8, October 15, October 22 and October 29; and November 5, November 12, November 19 and November 26; and December 3, December 10, December 17, December 26; and January 1, January 7, January 14, January 21 and January 28; and February 4. You can also read our full reviews of a heap of recent movies, such as The Craft: Legacy, Radioactive, Brazen Hussies, Freaky, Mank, Monsoon, Ellie and Abbie (and Ellie's Dead Aunt), American Utopia, Possessor, Misbehaviour, Happiest Season, The Prom, Sound of Metal, The Witches, The Midnight Sky, The Furnace, Wonder Woman 1984, Ottolenghi and the Cakes of Versailles, Nomadland, Pieces of a Woman, The Dry, Promising Young Woman, Summerland, Ammonite, The Dig, The White Tiger, Only the Animals, Malcolm & Marie, News of the World, High Ground, Earwig and the Witch and The Nest.
Something delightful has been happening in cinemas in some parts of the country. After numerous periods spent empty during the pandemic, with projectors silent, theatres bare and the smell of popcorn fading, picture palaces in many Australian regions are back in business — including both big chains and smaller independent sites in Brisbane at present. During COVID-19 lockdowns, no one was short on things to watch, of course. In fact, you probably feel like you've streamed every movie ever made, including new releases, Studio Ghibli's animated fare and Nicolas Cage-starring flicks. But, even if you've spent all your time of late glued to your small screen, we're betting you just can't wait to sit in a darkened room and soak up the splendour of the bigger version. Thankfully, plenty of new films are hitting cinemas so that you can do just that — and we've rounded up, watched and reviewed everything on offer this week. NITRAM It's terrifying to contemplate something so gut-wrenchingly abominable as the bodies-in-barrels murders, which director Justin Kurzel and screenwriter Shaun Grant depicted in 2011's Snowtown, and to face the fact that people rather than evil were behind them. Nitram courts and provokes the same response. Exploring the events preceding the Port Arthur massacre, where 35 people were murdered and 23 others wounded in Tasmania in 1996, it focuses on something equally as ghastly, and similarly refuses to see the perpetrator as just a monster or a Hollywood horror movie-style foe. It too is difficult, distressing, disquieting and disturbing, understandably. In their third collaboration — with 2019's bold and blazing True History of the Kelly Gang in the middle — Kurzel and Grant create another tricky masterpiece, in fact. And, the fact that Nitram is about a person is one key reason for its brilliance. The film's core off-screen duo don't excuse their protagonist. They don't to justify the unjustifiable, explain it, exploit it, or provide neat answers to a near-unfathomable crime. Rather, they're exactingly careful in depicting the lone gunman responsible for Australia's worst single-shooter mass killing, right down to refusing to name him. (The movie's title comes from his moniker backwards, and it's all he's ever called on-screen.) Nitram does depict its eponymous figure's mental health issues and medication, and his status as an outcast, but not as reasons for what's to come. It shows his complicated relationships, mentions his struggles as a boy and sees how he's teased as an adult, yet never deems these motives. All such things can be part of someone's life, or not, and that person can commit heinous deeds, or not — and this tremendous feature doesn't ever even dream of seeing that as a straightforward cause-and-effect equation. In his fifth stint behind the lens — 2015's blistering Macbeth and 2016's abysmal Assassin's Creed are also on his resume — Kurzel does adopt a hazy aesthetic, though. The film isn't dreamy, instead resembling anxious memories worn and frayed from too much time looping in someone's mind. Its imagery is boxed in within a constricted frame, heightening that sensation; however, cinematographer Germain McMicking (Acute Misfortune) shoots Nitram (Caleb Landry Jones, The Outpost) as if he's roving around the space to test the boundaries. The character does just that narrative-wise. He earns his wearied mother's (Judy Davis, Mystery Road) constant exasperation, and almost everyone else's dismay. His father (Anthony LaPaglia, Below) expresses more warmth, but is just as affected. After knocking on her door attempting to start a lawn-mowing business, eccentric lottery heiress Helen (Essie Davis, Babyteeth) shows Nitram kindness and showers him with gifts, but even with her he's still pushing limits. When she sees him shooting at an old car with an air rifle in her sprawling backyard, she forbids it. It's her sternest moment. She also asks him not to lunge at the steering wheel as she's driving and, as turbulent as ever, Nitram keeps doing it. Jones' work here is fragile but weighty, volatile but lived-in, boisterous but anguished, and petulant but intimidating. It's all these things at once and, even with other menacing roles in his on-screen past, it's phenomenal. Every second of his performance, and of Nitram, is a challenge to the views of masculinity that've become as baked into Australia as the ochre-hued soil, too. And, every moment is meticulously crafted to unsettle, to challenge, and to confront the reality that something this abhorrent happened at the hands of one person. Read our full review. RIDERS OF JUSTICE Few things will ever be better than seeing Mads Mikkelsen get day drunk and dance around while swigging champagne in an Oscar-winning movie, which is one fantastic film experience that 2021 has already delivered. But the always-watchable actor is equally magnetic and exceptional in Riders of Justice, a revenge-driven comedy that's all about tackling your problems in a different and far less boozy fashion. In both features, he plays the type of man unlikely to express his feelings. Instead of Another Round's mild-mannered teacher who's so comfortably settled into his adult life that his family barely acknowledges he's there, here he's a dedicated solider who's more often away than home. Beneath his close-cropped hair and steely, bristly beard, he's stern, sullen and stoic, not to mention hot-tempered when he does betray what's bubbling inside, and he outwardly expects the same of everyone around him. Mikkelson excels at transformational performances, however. He's also an exquisite anchor in films that dare to take risks. No matter what part he's playing, the Danish star is gifted at conveying subtlety, too, which is ideal for a character, Markus, who slowly realises that he needs to be more open with his emotions. And, while Mikkelson is usually expertly cast in most entries on his resume — the misfire that is Chaos Walking being one rare outlier — he's especially in his element in this genre-defying, trope-unpacking, constantly complex and unpredictable film. With a name that sounds like one of the many by-the-numbers action flicks Liam Neeson has starred in since Taken, Riders of Justice initially appears as if it'll take its no-nonsense central figure to an obvious place, and yet this ambitious, astute and entertaining movie both does and doesn't. After a train explosion taints his life with tragedy and leaves him the sole parent to traumatised teenager Mathilde (Andrea Heick Gadeberg, Pagten), Markus returns home from Afghanistan. Talking is her method of coping, or would be if he'd let her; he refuses counselling for them both, and opts not to discuss the incident in general, because clamming up has always been his PTSD-afflicted modus operandi. Then Riders of Justice's writer/director Anders Thomas Jensen (Men & Chicken) and screenwriter Nikolaj Arcel (A Royal Affair) send statistician Otto (Nikolaj Lie Kaas, The Keeper of Lost Causes), his colleague Lennart (Lars Brygmann, The Professor and the Madman) and the computer-savvy Emmenthaler (Nicolas Bro, The Kingdom) knocking at the grieving family's door. They're a trio of stereotypically studious outsiders to his stony-faced military man, but they come uttering a theory. Mathematically, they don't think that the events surrounding the accident add up, so they're convinced it wasn't just a case of pure misfortune — because it's just so unlikely to have occurred otherwise. The nervy Otto, who was on the train with Mathilde and her mother Emma (Anne Birgitte Lind, The Protector), has even started to narrow down possible culprits with his pals. Markus, with his action-not-words mindset, is swiftly eager for retribution, but again, this isn't like most films of its ilk. Narratives about seeking justice often ride the expected rails on autopilot, getting from start to finish on the standard vengeance template's inherent momentum; this attentive and layered gem questions and subverts every usual cliche, convention and motif along the way, including by putting its characters first. Read our full review. SKIES OF LEBANON When Skies of Lebanon begins with Alice (Alba Rohrwacher, Happy as Lazzaro) departing Beirut by boat, it does so with the sense of wistfulness that always reverberates whenever a chapter comes to an end. This isn't a film that wallows in melancholy, but rather one that proves heartfelt and hauntingly evocative as it looks backwards — and, it's also a feature that understands that ruminating on the past is inevitable, because that's what truly shapes us. In this case, history has moulded the movie, too. It has influenced the filmmaker behind it as well. Hopping through three decades in its titular nation, writer/director Chloé Mazlo draws Skies of Lebanon from her grandmother's recollections, turning those memories into a tale of a life lived and shared, and then interrupted and challenged. In that opening scene, it's 1977 and Alice is sailing away from the city she's called home since the 50s. She pens a letter reflecting upon her life, and it's from those words that the film's main story springs. All those years ago, she makes the move from Switzerland for a job and, having never felt as if she belonged in her homeland, she jumps at the chance to do so. Then she quickly meets, falls for and starts a family with astrophysicist Joseph (Wajdi Mouawad, Still Burning), who adores her and their children in their pastel-hued home. He's dedicated to helping put a Lebanese man on the moon, too, but theirs is a whirlwind romance turned cosy and content. Alas, that part of the tale happens quickly because, as its framing device intimates, this isn't the kind of narrative where a couple simply lives happily ever after. Once the Lebanese Civil War begins, the ebbs and flows of Alice and Joseph's existence are wholly dictated by the combat. Unsurprisingly, that significant development instantly changes the mood — at home, of their love and of the entire city. That's where the bulk of Skies of Lebanon unfurls, as Mazlo plunges into the reality of having everything you hold dear touched by conflict. Making a resoundingly affecting and effective feature debut, she sees the impact and the fallout, and also perceives the way that a fairy tale can be stripped of its magic in the process. In an assured and gorgeous move, Mazlo highlights that initial storybook air and its subsequent fading aesthetically, too. With leaps into animation, plus the striking use of stylised sets and painted backdrops, the movie's merry early sequences are playful and vivid. They pop in the frame, filled with alluring and soothing shades, symmetry and an overall look that'd do Wes Anderson proud. And, when they give way to images far more standard, the change is inescapable. The film has the appearance and feel of a memory as a result, and one that segues from fond and blissful to raw and realistic. It's an exceptional touch, and one that helps an already moving feature to keep landing stirring blows. Also remarkable is the always-outstanding Rohrwacher, who conveys Alice's internal struggle in a quietly expressive performance. In a film that switches from a picture-perfect frolic to a delicate historical drama, she's just as pliable, poignant and powerful — and, in a movie that's quaint with its visuals but never its emotions, just as stunning as well. THE COLONY "Climate change. Pandemics. Wars." Via introductory text on-screen, these are the reasons The Colony gives for its futuristic dystopian setup. Metropolis. Mad Max. Waterworld. Children of Men. Sunshine. Along with every movie about space and daddy issues — see: Ad Astra, Interstellar and The Midnight Sky for just three examples — these are the films that writer/director Tim Fehlbaum (Hell) and his co-scribe Mariko Minoguchi (Relativity) might've blatantly name-checked in the same way, because their influence over this sci-fi thriller is that overt and apparent. If there are only so many different plots to play with and stories to spin, then each variation ebbs and flows based on its details and differences; however, here they're few and far between. There's so much that's recognisable about The Colony that it almost feels like an in-joke. Featuring Game of Thrones' Iain Glen in a plum role, it also resembles a riff on the idea that ex-GoT cast members now pop up in everything, given that so many other science fiction films virtually pop up in this. That derivation, cobbling from elsewhere and generic approach undercuts the movie's successes, too, because that's how heavily its been-there-done-that handling weighs. Accordingly, its foggy, grey-hued aesthetic still catches the eye with its mournful beauty, but gets constantly drowned out by all its box-ticking elements. And, although Nora Arnezeder (Army of the Dead) turns in a formidable performance, she's also stranded in a puddle of a film. Water frequently splashes across the frame, but this is a movie that's saturated by the tides of too many nods and tropes. With a sense of purpose rippling through her rigid posture, the impressive Arnezeder plays Blake, an astronaut leading a mission from a colony on planet Kepler-209. When the environment, disease and conflict wreaked havoc on earth — more than usual, to the point of making it unliveable — the wealthy departed for the new space community, and have been trying to make it back home ever since. Blake guides the second crew to attempt the feat, but she's just one of two shipmates to survive the trip. Then, as she's exploring the sodden land that now stretches as far as the eye can see, she's captured by the locals. Her quest is to ascertain whether Keplar's inhabitants can return, with the very future of humanity at stake, but the under-30s population that's sprung from the people originally left behind aren't quite welcoming. War still rages between two different factions, with Blake soon caught in the middle, but also unwittingly already tied to one side. She's following in her adored father's (Sebastian Roché, The Man in the High Castle) footsteps, because he was part of the first mission, and she's also increasingly attuned to what the proposed homecoming will mean for earth's waterlogged existing survivors. The Colony endeavours to ruminate on its title, pondering colonisation, its purposes for those in power and its cost for the group that isn't, but it only dives as deep as the often ankle-level ocean its characters keep trekking through. Fehlbaum also has a penchant for repeating the feature's details both in dialogue and in events on-screen, trying to pad out a stylish but flimsy movie that treads water for most of its duration. If you're wondering what else is currently screening in cinemas — or has been lately — check out our rundown of new films released in Australia on May 6, May 13, May 20 and May 27; June 3, June 10, June 17 and June 24; July 1, July 8, July 15, July 22 and July 29; August 5, August 12, August 19 and August 26; and September 2, September 9, September 16 and September 23. You can also read our full reviews of a heap of recent movies, such as Locked Down, The Perfect Candidate, Those Who Wish Me Dead, Spiral: From the Book of Saw, Ema, A Quiet Place Part II, Cruella, My Name Is Gulpilil, Lapsis, The Conjuring: The Devil Made Me Do It, Fast and Furious 9, Valerie Taylor: Playing with Sharks, In the Heights, Herself, Little Joe, Black Widow, The Sparks Brothers, Nine Days, Gunpowder Milkshake, Space Jam: A New Legacy, Old, Jungle Cruise, The Suicide Squad, Free Guy, Respect, The Night House, Candyman, Annette, Shang-Chi and the Legend of the Ten Rings, Summer of Soul (...Or, When the Revolution Could Not Be Televised), Streamline, Coming Home in the Dark, Pig, Big Deal and The Killing of Two Lovers.
Sydney WorldPride is now upon us and the Mardi Gras Parade is this weekend. If you've left your preparation to the last minute, we've enlisted the expertise of living legend Carlotta — a trans icon and cabaret performer who knows a thing or two about getting ready for a show. Carlotta is currently featured in a special Sydney WorldPride installation in the QVB which pays tribute to queer Australians who have made significant contributions to the LGBTQIA+ community. The QVB is temporarily rebranding from the Queen Victoria Building to reflect each of these contemporary queens with a set of fabulous portraits by photographer Dream Syndicator (pictured above). Carlotta is one of the queens in focus, along with queer activist Ken Davis (a member of the original Mardi Gras 78ers), Indigenous drag queen Felicia Foxx, Independent MP Alex Greenwich and Janine Middleton who, together, co-chaired Australian Equality and successfully fought for and helped achieve marriage equality in Australia. Fashion and costume has always played a role in self-expression for queer communities, and when it comes to dressing up Mardi Gras is one of the biggest nights of the year. So Carlotta shared a few tips for any Pride newcomers looking for a bit of a steer. Carlotta, what's the best way to mentally prepare for Pride? It's three weeks of (what seems to be) non-stop parties, so how does one survive? "To prepare for Pride you need to be organised, wear something you're comfortable in (for Carlotta this would now be wearing flat shoes) and make sure you're drinking lots of water." If you were going to Mardi Gras what would you be wearing? "If I were to be going to the celebrations I would be wearing a Camilla Kaftan because it's bright and colourful but also loose, flowy and comfortable. I'd also be wearing flat shoes because my feet are suffering now and I can't wear high heels like I used to." Where are some of the best places in Sydney to stock up on looks for Pride? For me it would be Camilla or House of Priscilla on Oxford Street (it has always been the best place). [caption id="attachment_892528" align="alignnone" width="1920"] Inside of House of Priscilla[/caption] How do you differentiate your day-to-day style versus your on-stage style? - Is your on-stage self an extension of your day-to-day or is it a completely new persona? "My day-to-day persona and on-stage persona are two completely different aspects. Day-to-day I wear more loose and flowy clothing, and on stage I'm more extravagant with lots of sequins and feathers." How do you think fashion plays a role within the queer community in general? Fashion plays a role in the queer community but all the fashion choices and styles are completely different. People can wear what they want to wear and that's what it's all about. What have been your favourite Mardi Gras/Pride looks to date? I've always loved everything I've worn. My favourite look I've ever done is when I did Priscilla Queen Of The Desert — I wore a big white coat and feather collar. Why do you think dressing up is such an important aspect of Pride? It's the excitement of the celebrations in the community. Everyone gets to me themselves and uses their outfits as self expression. For more inspiration for how to make the most of this once-in-a-lifetime celebration head to our events guide on the best of Sydney WorldPride.
Italian Riviera-loving restaurant Bar Gusto is the latest addition to Rydges Fortitude Valley. The 190-seater gives pizza and pasta pride of place on the menu, and puts one of the King Street precinct's fig trees at the heart of its outdoor space. Dine outdoors on the terrace here — or drop in for an al fresco drink — and being surrounded by greenery is part of the package. Bar Gusto's deck has been built around the century-old tree, in fact. Indoors, the fitout heroes walnut panelling with antique brass. The vibe that the joint is aiming for: laidback but timeless. In a place that seats 150 in its main areas, plus 40 in its private dining room, executive Chef Francesco Trucco leads the kitchen — whipping up a menu that goes big on tradition, with family recipes steering his dishes. Cooked in a Valoriani Vesuvio Igloo pizza oven, the restaurant's slices come in eight varieties, including sausage and taleggio; pancetta atop carbonara paste; a mushroom and ham number made with truffle paste; and a combination of Mooloolaba tiger prawns, caviar and crab meat. If you prefer pasta, black squid linguine is the signature dish, the ravioli comes filled with carbonara sauce and tucking into nonna's meatballs in napoli sauce is an option. Among the smaller bites, pumpkin and basil arancini, potatoes crocchette with crab and bruschetta sit alongside rosemary olives, fries and those Mooloolaba tiger prawns again, this time in chilli garlic butter. Gusto does grazing boards, too, while panna cotta and tiramisu are the dessert choices. Whether you're just after a sip or you're pairing your beverage with a meal, the wine list favours Italian and local vino. Prefer a cocktail? They're a big feature. Think: the Gusto Aperitivo (made with Campari, Regal Rogue wild rose, lime juice, grapefruit soda and orange slices), Dolce Colada (Sailor Jerry, banana liqueur, coconut, lemon, pineapple and coconut foam), Bond, Rosemary Bond (Tanqueray, Cinzano Bianco, rosemary syrup, lemon and peach bitters) and Razzmatazz (vodka and Chambord with citrus, vanilla syrup, seat salt and egg whites). In total, seven types are available for just one person, two more for sharing (including the summery watermelon punch), plus two mocktails as well. And, if you prefer a classic other than Bar Gusto's specials, just ask.
You don't have to go to Tokyo to enjoy an immersive Japanese experience. You can, of course, and you should at some point — especially now that Japan has reopened to tourists — because there's really nowhere else in the world like it. But if you're eager to eat like you're already there, watch performances and take part in cultural activities, you can save yourself the airfare at the Matsuri Japanese Festival. Your bank account will thank you, and you'll take care of that nagging travel envy for an afternoon. A one-day celebration that's moving to Whites Hill State College in 2023 — and taking place from 11am–5pm on Saturday, September 2 — it's Brisbane's own ode to the country that brought us sushi, katsu, yakitori, sake, matcha lattes and more. Expect to find more than a few things from that list on offer, and plenty of things to see and do as well. Admission is free and, like every great cultural festival, you can expect a little bit of everything that makes Japan so ace.
For a beer with a killer riverside inner-city view, Brisbanites should be well-acquainted with Felons Brewing Co, complete with lager festivals on its lawn and movies in its Barrel Hall. What's more, it has become a regular go-to for Brisbane's creative community, with the Howard Smith Wharves brewery launching a free makers' market in late 2023 — and bringing it back every year since. Next taking over Felons Barrel Hall on Saturday, March 28, The Great Artist Market features over 70 artists and makers. Attendees can spend the day from 8am–3pm browsing, buying and supporting local talent. And with so much to explore, there's every chance you'll head home with a host of mindfully made items that level up your living space — and showcase your love for Brisbane's creative community. Whether you're looking for gifts or just love art and design markets, expect a wide variety of makers and items — with glassworks, ceramics, illustrations, furniture and pickles just some of the choices that'll likely prove too tempting to resist. Think handmade ceramic flowers by Michelle Ehmann, Schuppenhauer's skateboards turned functional furniture, and Raison D'etre's joyful still-life portraits. Also on offer in 2026: a vinyl DJ set from West End's Jet Black Cat Music, outdoor pet portraits and fascinating artist workshops. Of course, there's also some top-notch bites and sips to fuel your day out at the market, with an Allpress coffee cart rolling into Felons. Plus, a selection of pastries and treats will add even more spring to your step. And if you're keen on a beer after shopping, you're in the right place. Like what you see? Subscribe to the Concrete Playground newsletter to get stories just like these straight to your inbox.
For Trishia Mariano, hosting has never been about perfection. It's about intention — how a space feels, how people connect, and the quiet power of gathering around a thoughtfully set table. The founder of Mesa Collections didn't come to tableware through design school or a formal interiors background. In fact, by day she works as a growth analyst, immersed in data and numbers. But during the long, isolating months of COVID lockdowns — as she approached her 30s and found herself craving connection — Trishia returned to something far more instinctive: cooking for others, inviting people in, and creating a sense of belonging through food. "I was bored, honestly," she says, laughing. "But more than that, I really missed community." @trishiamariano join my dinner party or our group chat? https://mesacollections.com.au/pages/eatwithus #sydney #dinnerwithstrangers #sydneydinnerwithstrangers #hosting ♬ original sound - Ally Rendall That longing led her to an experiment she called Dinner With Strangers: intimate supper clubs hosted in her Sydney apartment, where guests — often complete strangers — gathered around a shared table. What began with eight people quickly grew to dinners of 20, with Trishia collaborating with chefs and culinary creatives to bring each night to life. Some evenings were curated and structured; others were deliberately casual. One dinner ended with guests presenting their own work or interests to the group — terrifying, she admits, but transformative. "It wasn't really about the aesthetics," she says. "It was about creating an atmosphere where people felt comfortable enough to open up." Those dinners — now well documented on TikTok — didn't just shape Mesa Collection as a brand. They helped Trishia articulate what hosting meant to her, and why it felt so deeply personal. @trishiamarianoPart 4 | Launching a new product Photoshoot and all the preps behind it. Honestly, this was the tiring part but SO worth it. Doing this all with my FT job was brutal. I slept at 2am and woke up at 6am to start the day. I ended up hiring a super lovely shoot assistant very last minute and honestly that's one of the best decisions I've made in building this business. Networking is a big learning for me in this journey. The opportunities it opens for you are sometimes so surprising. See you in part 5!♬ sweet nothing sped up - kacey ✧.* Raised in a Filipino household where someone was always cooking and the door was always open, hosting was never framed as an event — it was simply how life happened. That cultural instinct runs through Mesa Collections today, from the ruffled edges of its linens to the emphasis on pieces that feel lived-in rather than precious. "Food and hosting are so intrinsic to my heritage," she explains. "When I design for Mesa, I always go back to that — my grandma sewing, the textures she used, the colours she put on the table." Designing a Table That Feels Like an Invitation When Trishia designs a tablescape — whether for a Mesa shoot or one of her own dinners — she starts long before guests arrive. Ideally, the table is set the day before. Not for Instagram, but for intention. "It makes people feel expected," she says. "Like you've been waiting for them." Her process is methodical but intuitive. She often follows a loose 60–30–10 rule: 60 percent of the table anchored in a primary colour or texture (often a linen tablecloth), 30 percent in a complementary tone, and 10 percent reserved for contrast — silver cutlery, ceramic plates or an unexpected pop of colour. Layering matters. A tablecloth first, then placemats if the surface needs grounding. Plates and cutlery come next, with centrepieces added last, once the mood is already set. She prefers to see the table "breathe" before placing anything in the middle. And despite the rise of elaborate, overflowing tables online, Trishia is firm on one thing: restraint. "A centrepiece should be a conversation starter, not an obstacle," she says. "You still need space for food and for people to move." Some of her favourite centrepieces have been deeply personal — framed childhood photos at her own birthday dinner, or bowls of seasonal produce instead of florals. Fruit and vegetables, she notes, have become a defining tablescape trend, adding texture, colour and a sense of abundance without feeling wasteful. View this post on Instagram A post shared by mesa collections (@mesa.collections) What's Worth Investing In — And What to Thrift Mesa Collections was built with longevity in mind, and Trishia is clear about where to invest versus where to experiment. If there's one category she believes is worth spending on, it's cutlery. Good silverware, she says, lasts forever — and often becomes the kind of object that's passed down. "Cutlery is used every day. It's tactile. It's something you'll have for decades." Linens, too, are worth choosing carefully. Mesa's ruffled tablecloths and placemats are designed to age well — crinkling gracefully rather than demanding constant upkeep. Trend-led elements, on the other hand, are better thrifted: mismatched ceramics, vintage plates, heirloom serving spoons, candleholders collected slowly over time. "It's about mix and match," she says. "That's where personality comes in." That philosophy extends to how Mesa operates as a business. Many of its pieces are available to rent as well as buy — allowing customers to try before committing, and reinforcing the idea that tablescaping should be accessible, not intimidating. The Art of The Perfect Host For Trishia, a good host isn't defined by what's on the table — but by how people feel when they leave. "The goal is that they want to come back," she says simply. That means removing pressure wherever possible. Not cooking everything yourself. Letting people contribute. Choosing comfort over formality. The most memorable dinner she's ever hosted? The very first Dinner With Strangers — a potluck. "Everyone shared why they made what they made," she recalls. "It took the focus off me and made it about everyone else." It's a lesson she's carried into Mesa Collections: hosting as an act of care rather than performance. Beautiful objects can elevate a moment, but they're never the point. "Sometimes what people remember most is a conversation that happened out of nowhere," she says. View this post on Instagram A post shared by mesa collections (@mesa.collections) Building a Brand Around Gathering Today, Mesa Collections exists not just as a product line but as a growing community — with Trishia hosting founder dinners, summer lunches and collaborative events that blur the line between brand and lived experience. A recent lunch at Northcote wine bar Samuel Pepys saw Mesa linens transform the courtyard into something relaxed, layered and distinctly hers. "I didn't create Mesa just to sell things," she says. "I really love the community that's forming around it." In many ways, Mesa is a continuation of those early dinners — a way to give others the tools to host with confidence, warmth and a sense of self. Not perfect tables, but meaningful ones. Because, as Trishia has learned, the table is rarely just a table. It's where people arrive as strangers — and often leave as something more. Explore Mesa Collections products via the website, and find out more about the next Founders Dinners via Trishia's TikTok. Images: Supplied
