If anyone is heading over to Europe in June — or is looking for an excuse to — check out this new arrival on the festival circuit: FOR, presented by Australian music label Modular. FOR 2013 will take up residence on the Croatian party island of Hvar, from which it takes its name, on June 21 for a three-day, three-venue intimate showcase of some of the world's premier acts to a mere 2000 attendees. Things just got boutique. Perth psychedelic-rock darlings Tame Impala will continue their career far from Aussie shores as they take on headlining, and trunk shaking, duties. Baby-Beyoncé Solange, LCD Soundsystem's James Murphy and the near-veteran electro duo Bag Raiders, along with a host of others, will also be making their way to the Adriatic for a swim and a sing. Not necessarily in that order. FOR has done well to lock down some of Hvar's more notorious party spots for the event, including (Prince Harry’s favourite swimming spot) Veneranda, and the best-named beach in the world, Carpe Diem. Apparently, its pretty pretty to boot. Tickets will go on sale next Tuesday, but the super-keen can pre-register on the website and reduced accommodation rates for festival-goers will be available.
So by now it's pretty well-predicted that La La Land is going to dominate this year's Oscars, which, depending on who you ask, is either The Greatest Thing and totally deserved or The Worst Thing and proof of the Academy's irredeemable age/taste/whiteness. But there is one award it shouldn't win, and that's Best Original Score — if you ask us, it shouldn't even be nominated for it. That's because La La Land is a musical, and doesn't have a score in the usual cinematic definition of the word. Generally, a score is the music underpinning the action, not occurring within the scene as it does in La La Land. Ryan Gosling might look adorable while he's noodling on a piano for 'City of Stars', but the fact that he's most certainly in the scene means that the song is not part of the score in the usual sense. This distinction has been emphasised by the Academy itself in the past — from 1949 to 1969, Best Original Score was split into two separate categories: one for Original Score, and one for Musical Score. The score of a film is as important as any other aspect of it; it occupies more of a film's screentime than any actor, conveys more emotion than any speech, sets the mood more evocatively than any costume or lighting or scenery. The great film critic Roger Ebert liked to say that "movies are like a machine that generates empathy". If he's correct, the score is the engine driving that machine. Film is an inherently visual medium, yet a great score is as memorable as any image. Two drags of a cello's bow and you're going to need a bigger boat; I only have to hint at the famous 'dum dum dum dum DAdum dum DAdum' and you're reaching for your inhaler. Show me one big-budget action film since Inception that hasn't used Hans Zimmer's patented PWAAAAAAAARP at some moment of high drama. Think of The Pink Panther, 2001: A Space Odyssey, Psycho, Chariots of Fire or basically any Spielberg film, and it's the score that leaps into your mind instantly. You only have to look at the list of winners of Best Score to see how seriously film scores are taken. Significant classical composers like Erich Korngold (The Adventures of Robin Hood), Aaron Copland (Of Mice and Men, The Heiress), Leonard Bernstein (On the Waterfront), André Previn (Gigi), Miklós Rózsa (Ben-Hur), Ennio Morricone (The Mission, The Hateful Eight) and Tan Dun (Crouching Tiger, Hidden Dragon), and even Shostakovich and Prokofiev have all written scores. Other composers like Elmer Bernstein, Malcolm Arnold, Bernard Herrmann and Nino Rota — whose careers were mostly spent writing for films — are now spoken of in the same breath as other more traditionally classical composers, while today the music of James Horner, John Williams, Howard Shore and Hans Zimmer is often performed by symphony orchestras in the world's most prestigious concert halls. Even Trent Reznor has an Oscar for The Social Network. With all this blurring of boundaries and genres, the sound palette of films is broader and more experimental than it has ever been. Philip Glass, a modern classical composer long derided as difficult and unlistenable, has achieved popular recognition thanks to his score for The Hours; similarly, Icelandic composer Jóhann Jóhannsson's work has spanned film, theatre and contemporary classical throughout his career (and would have been nominated for an Oscar for his score for Arrival but for a technicality). This year's nominees for Best Original Score cover a number of styles, from musical (La La Land) to minimalist (Lion), from shimmery strings and piano chords (Passengers) to tense, darting violins (Moonlight) and unsettling, lush-yet-uneasy chamber pieces (Jackie) – proving that the emotion you make an audience feel is far more important than the method by which you make them feel. Film scores, in all their diverse sounds and styles, are inseparable from the cinema experience. They can complement characterisation, drive plot, confirm suspicions for an audience or confound their expectations. One thing they absolutely should not do is break into song on a highway off-ramp.
Getting married just after meeting, grappling for power, bloody coups, assassination plots: welcome to supposed wedded bliss The Great-style. For two seasons now, the nuptials between Catherine the Great (Elle Fanning, The Girl From Plainville) as Catherine and Peter III (Nicholas Hoult, The Menu) have been anything but ordinary in this historical satire, and rarely worth exclaiming "huzzah!" about (although viewers know how much the series loves saying that very word). So, it should come as no surprise that the royal couple have enlisted professional help in the just-dropped trailer for the show's upcoming third season. The Great was renewed for season three after its second batch of episodes streamed late in 2021, and will arrive Down Under on Saturday, May 13. This time around, after season two threw everything from attempted murders to mass imprisonments at the pair — and kept disrupting their dynamic as Catherine continued to work towards the name that's a part of history, and also inspires the show's title — its main duo is trying to make things work. Hence the couples therapy, but obviously resolving all of their issues won't be quite that simple. So, expect more of Peter figuring out what it means to play First Husband, and Catherine expanding her influence and reputation beyond just Russia. That, and visions of Peter's late father (Jason Isaacs, Mrs Harris Goes to Paris), life lessons, attempts to build a new country and the usual scheming. The show's all killer, no filler concept since season one: following Catherine's rise and reign, with a heavy focus on what that means for her marriage to Peter. It does so with only the slightest regard for the actual facts and with a big reliance upon hilarious wit, which is one of the reasons that it's such a delicious watch. While The Great has always been supremely confident in its blend of handsome period staging, the loosest of historical realities and that savage sense of humour (it does spring from Oscar-nominated The Favourite screenwriter Tony McNamara, after all), it felt even more comfortable in its skin during its second season. And smoother, too, yet just as biting. So, hopefully that will remain the case in season three as well, all while it keeps seesawing tonally and proving as sharp as a shot of vodka — or several. Fanning and Hoult will be joined by returning co-stars Phoebe Fox (The Aeronauts), Adam Godley (Lodge 49), Gwilym Lee (Top End Wedding), Charity Wakefield (Bounty Hunters), Douglas Hodge (I Hate Suzie Too), Sacha Dhawan (The Prince), Bayo Gbadamosi (War of the Worlds) and Belinda Bromilow (Doctor Doctor), too, because this is a show with a phenomenally great cast. Check out the trailer for The Great season three below: The Great season three will be available to stream in Australia via Stan and in New Zealand via Neon from Saturday, May 13.
At festivals all over the UK this summer, Vodafone has been trialling the new 'Power Pocket'. Built into either a 'Recharge' sleeping bag or a pair of 'Power' denim shorts, the device draws on body heat to charge mobile phones. Vodafone developed the Power Pocket in conjunction with the University of Southampton's Department of Electronics and Computer Science. 'We've been working on printed smart material since the late 1980s,' Professor Stephen Beeby explains on the company's blog. 'But that was high-temperature stuff designed to be used on ceramics. We got into the topic of energy harvesting in the late 1990s, and we brought the two together to make smart materials for harvesting energy. We started on thermoelectric materials in 2003, but our printed thermoelectric material work has only been the last few years.' The smart material is made up of 'thermocouples', a whole bunch of which form a 'thermoelectric module'. One side of this is cold and the other is hot. The introduction of heat creates both a voltage and a current, which, in unison, give rise to electric power. In other words, the warmth generated by sleeping or dancing contrasts with the external cold air. Technically, this reaction is known as the 'Seebeck Effect'. At the moment, eight hours' time in the sleeping bag produces enough energy for 24 minutes of talking and 11 hours on stand-by, while a day's worth of activity in the shorts provides four hours of smartphone charge. [via Inhabitat]
Permission to come aboard, captains: RuPaul's Drag Race Down Under is back for 2023. Those first five words spring from RuPaul's very owb lips, not only announcing the show's return in July, but also unveiling this year's queens. Ten new fierce, fabulous, bright, bold and sassy competitors will sashay before the show's cameras for glory this winter, and showcase drag in Australia and New Zealand in the process. "Australasian drag is filled with heart and humour, and I'm thrilled to share my season three queens with the world, for all to see their charisma, uniqueness, nerve and talent," said RuPaul. From Friday, July 28 via Stan and TVNZ, seven Aussies and three New Zealanders will do their utmost to become the next Down Under Drag Race Superstar: Amyl, Hollywould Star and Ivory Glaze from Sydney; Melbourne's Ashley Madison, Bumpa Love and Isis Avis Loren; Gabriella Labucci from Ballarat; Auckland's Flor and Ivanna Drink; and Rita Menu from Hamilton. Each will endeavour to follow in Kita Mean and Spankie Jackzon's footsteps — after Mean took RuPaul's Drag Race Down Under's first season and Jackzon did the honours in season two. Obviously, the show's first go-around worked a charm. The second did as well. And, there's no doubt that the third will be, after the series was renewed for its latest run on Stan in Australia and TVNZ+ Aotearoa in 2022. RuPaul is back on on hosting duties, of course. Fans already know the format, which features fashion challenges, workroom dramas and lip sync battles aplenty. If you're a newcomer to all things Drag Race, however, you'll watch the next batch of Australian and NZ competitors work through a series of contests to emerge victorious, and join the likes of Mean, Jackzon, and US contenders Jinkx Monsoon, Sasha Velour and Sharon Needles in being crowned the series' winner. Before it made the leap Down Under in 2021, the US version of RuPaul's Drag Race had already been on the air for more than a decade, first premiering in 2009 — and wholeheartedly embracing its mission to unearth the next drag superstars ever since. The original US series aired its 15th season earlier in 2023, so this is a program with proven longevity. It has also spun off international iterations before, including in the UK — where it's also hosted by RuPaul — plus in Thailand, Holland, Chile and Canada. Meet Drag Race Down Under's season three queens below: RuPaul's Drag Race Down Under season three will stream via Stan and TVNZ from Friday, July 28.
Catharsis is crucial in filmmaking, as Jon Favreau (Iron Man) clearly knows. The writer, director and star emerges from big-budget cinema to return to the smaller side of Hollywood, seemingly purging his demons and addressing his disappointments in the process. In Chef, Carl Casper (Favreau) has toiled from humble beginnings to become Los Angeles' premier culinary artist, but a decade working for a profit-focused restaurateur (Dustin Hoffman) sees his menus branded safe, not daring. A scathing review by a prominent food blogger (Oliver Platt) calls out his creative malaise, swirling into a storm of negative press and social media that ushers him out of a job. At first, Carl resists the encouragement of his ex-wife (Sofia Vergara) to start his own food van. Soon, he's rediscovering his passion for cooking and reconnecting with his ten-year-old son, Percy (Emjay Anthony), in a road trip across the continent. https://youtube.com/watch?v=PZ6e51-ie7w Favreau's offering proves appetising in the undemanding manner of the food trucks it covets — and repeatedly invites the comparison. Fine ingredients abound, including finessed visuals of enticing meals on par with the best food-centric efforts; however, poise and polish are swapped for a handmade feel and celebratory outcome. Chef (Film © Sous Chef, LLC. All Rights Reserved) is out on Blu-ray, DVD and Digital with Ultraviolet on September 4, and thanks to Universal Sony Pictures Home Entertainment and the release of Chef, you could win one of two Bodum EILEEN coffee press pack to deck out your kitchen. Included are: 1x Bodum 8 Cup Coffee Press 2x Bodum Pavina Glasses 1x Bodum Travel Press 1x Bodum Battery Operated Milk Frother 1x Bodum Vacum Travel Press 1x copy of Chef on DVD In addition, ten runners up will get copies of the Chef DVD. To be in the running, subscribe to the Concrete Playground newsletter (if you haven't already), then email us with your name and address. Read our full review of the movie here. Sydney: win.sydney@concreteplayground.com.au Melbourne: win.melbourne@concreteplayground.com.au Brisbane: win.brisbane@concreteplayground.com.au
If you're a Stranger Things fan, you probably already have plans for October 27 onwards. If you're a Sydney-based Stranger Things fan, you might've even scored tickets to get a sneak peek of the '80s-set sci-fi/horror series' second season before it drops on Netflix. Either way, it's safe to say that excitement for the show's next chapter is as strong as Eleven's (Millie Bobby Brown) love for Eggos — and the just-released final trailer isn't going to change that. With the first season proving everyone's new favourite TV program — and leaving viewers with plenty of questions — that's completely understandable. Indeed, when the last trailer offered a 'Thriller'-scored glimpse of things to come, we all started wondering what awaits Will Byers (Noah Schnapp) and his pals, how tall Steve's (Joe Keery) hair will be and how many time Barb (Shannon Purser) will get a mention. The latest trailer still keeps audiences guessing, but it does reveal more than we've seen to date — particularly when it comes to the monster terrorising the town of Hawkins. Watch it and keep counting down the days until the full series hits. https://www.youtube.com/watch?time_continue=1&v=R1ZXOOLMJ8s
We've all been living through the sweats and the naps, the lying in front of the fan and the UberEats-ing ice cream. Summer isn't kind sometimes, and even the most motivated among us find it easy to come up with excuses to not exercise during the hottest months (e.g., it's a million degrees outside and you'll die = valid). What we've decided is that finding fairly active pursuits to spend your time on counts just as much; as long as your blood is pumping and you're schvitzing a bit, you've ticked the box and can sit down to a nice cold beer(s). Have a go at some of these this summer — your morning jogs are a thing of the past. ROWBOATING Rowboating is A+ for a number of reasons, including, but not limited to, upper arm strength, teamwork, enjoying the water and re-enacting scenes from The Notebook or Bridget Jones Diary. It's also very accessible, with boats available to hire all over Melbourne and Sydney, and a nice alternative to land-based activities this summer. Take a picnic in with you and when your arms tire, hang up your oars and drift around eating cheese and sinking a few cold ones. Up north in Brisbane, the waters are more friendly for kayaking, which is also a perfect shenanigan for two — and everyone looks great in a yellow life jacket. Where? Lane Cove Boatshed in North Ryde, Sydney; Fairfield Park Boathouse in Melbourne; and Kayak Hire Brisbane, in Scarborough. DANCE CLASS The broadness of this one means you'll be able to tickle your fancy no matter what floats your dancing boat. Dancing is one of the most effective forms of fitness out there, mostly because you're often having so much fun you don't even realise that you're exercising your coordination, strength and flexibility, as well as hiking up your energy levels and mood. Take a salsa class with your significant other, a contemporary class to flail around to Sia like you've always wanted or get yourself into a street dance situation if it's Step Up feels you're after. There are studios around Sydney, Melbourne and Brisbane which offer all these choices and more. They say "dance like nobody's watching" and even if there are people watching, it's chill — you're doing a noble thing by being active in the first place. Where? Sydney Dance Company in Walsh Bay, Sydney; The Space in Prahran, Melbourne; and Mad Dance House in Brisbane. CIRCUS FIT Circus Fit has been marketed as the new gym class for people who hate gym classes, and as such it's something a little bit different: it's a combo of both strength and flexibility training, with a healthy dose of aerial work thrown in there, too. Just head along and jump on your trapeze (low-hanging, luckily) and after a warm-up, you'll work through a variety of exercises that target core strength and stability — and, you'll have a whole bunch of fun doing it too. Try it at Fitness Playground in Sydney, but in Melbourne and Brisbane, you can head along to a short course in aerials at NICA or Flipside Circus, respectively. If you've ever had that urge in you to run away and join the circus, well, you probably can't because of life responsibilities and the fact that it's hard to touch your toes and all that, but you can feel like it isn't such a distant possibility for 60 minutes during class. Where? Fitness Playground in Marrickville, Newtown and Surry Hills, Sydney; NICA in Prahran, Melbourne; and Flipside Circus in Alderley, Brisbane. ROCK CLIMBING Rock climbing may not seem like the ideal hot weather sport at first — but you can easily avoid the elements by just heading to an (air-conditioned) indoor climbing centre where you can climb to your heart's content and not get overheated or intense sunburn. It's a win/win. Go on a date because rock climbing is the perfect duo activity: one person climbs while the other belays (holds the rope beneath them) so it's all romantic because your date's life is in your hands — nothing says 'second date' more than not letting someone fall off a really high rock wall, right? If you're flying solo or don't quite trust your entire life with that special someone, bouldering is an excellent alternative — no ropes necessary and no extreme heights either. Notoriously good for upper-body and arm strength, a climb up one of the numerous rock climbing centres around the country is definitely a valid option for those wanting to remain active this summer but who turn their noses up at high energy circuit training. Where? 9 Degrees in Alexandria, Sydney; Cliffhanger Climbing Gym in Altona North, Melbourne; and Urban Climb in West End, Milton and Newstead in Brisbane. ULTIMATE FRISBEE The thing about throwing a Frisbee around is that it's actually very difficult to catch (and often, throw smoothly). A game of Ultimate Frisbee could easily lull you into a false sense of security before you realise your calves are burning and you're sweating up a storm; miles have been run trotting around after that thing as it catches the wrong wind and ends up in someone else's picnic. Before you even notice, you've had a medium to hectic workout and it's time for a bit of a sit-down and a cold brew. Game-wise, the rules of Ultimate Frisbee are simply that you have to pass the Frisbee to a teammate at the opposite end zone of play and that — similarly to netball — you can't step while holding the disc. Pick a nice quiet beach and you can cool off in the water once you're done too (plus running on sand makes for an extra workout). Where? Collins Flat Beach in Manly, Sydney; Elwood Beach in Elwood, Melbourne; and Flinders Beach on North Stradbroke Island. Forgo the trip to the gym and get your exercise in a new way, then reward your workout success with a ice cold Hahn, because you deserve it.
There are a lot of stereotypes about a full moon that we could call on here — moody mates, transformations into other-worldly beings and Thai beach festivals among them. But when a full moon falls on a Saturday evening, the best way to look at it is as an excuse for a big ol' party — and that's certainly how Jade Buddha is approaching things. On Saturday, March 3, the Eagle Street Pier venue will be hosting one of its popular Full Moon Parties upstairs in the Shadow Lounge. The lunar soiree includes a food and beverage package for $40 per person, so from 6–8pm you can feast on canapés alongside tap beer, wine and, of course, Thai bucket cocktails. After 8pm, the lounge is open to other full moon revellers to join in on the festivities with great DJs scheduled throughout the night. If the moon or sweeping views of the Brisbane River and Story Bridge aren't enough to keep your gaze fixed outwards and upwards, illuminated water jetpack and fireworks displays at 6.30pm and 8.15pm definitely will. To secure your spot on the guest list, book tickets here.
It's becoming a trend these days for music festivals to make a big song and dance (pun, hoy!) about their food lineup — and, frankly, we couldn’t we couldn't be happier about it. Melbourne's Sugar Mountain Festival is stepping it up with an immersive 'sensory' restaurant, and St Jerome's Laneway Festival has announced a tight little food sched for their upcoming spots along the east coast. And it looks like it's going to be as good and as varied as the music. Here's what's going to be in your gob while you get down to Grimes in Sydney, Melbourne and Brisbane. SYDNEY It's a real meaty affair in Sydney with LP’s Quality Meats on the smoker, Mary's doing their signature burgers, Porteno firing up the Argentinian barbecue, and Mexican snacks from Playa Takeria. Stuff from the sea will be provided by Oysters Unplugged and Zetland's Salmon and Bear. It's not all animals through; vegos and vegans can chow down on Yulli's cuisine. Of course, Gelato Messina will be there, alongside Knafeh, who'll be serving up their sweet and cheesy (and totally delish) Jerusalem street desserts. Plus, there'll be ice-cold Young Henrys and Stone & Wood on-hand to wash it all down with. MELBOURNE Melbourne Laneway is going to be a bonanza of classic Melbourne eats. Japanese food wizards Mr Miyagi (who are the feature restaurant partner of 2016) will be doing their nori tacos, Beatbox Kitchen will be pumping out those burgers, and beef short ribs will come by way of Burn City Smokers. You may have trouble choosing though, as they'll be joined by an army of food options, including Taco Truck, Slice Girls West, Gelato Messina, Gyoza Records, Juanita Peaches, Nuoc Mama's, Rice and Dice (for vegan dumplings!) and more. Beer-wise, it's going to be a choice between Byron's Stone & Wood, Sydney's Young Henrys, and local breweries, Footcray's West City and Brunswick East's Temple. Wear loose clothing. BRISBANE Punters at Brisbane Laneway will enjoy incredibly diverse food options from some classic Brissie establishments. Good luck trying to choose between homemade Greek food by Greek Street Grill, pizza by Pizzantica, and German sausages by Brat Haus. Or weigh up between vego fare by the legendary Govinda's, nachos by Sweethearts and Venezuelan by Fiery Deli. Throw Phatboys Food Truck, Puerto Taco and Mangia! Mangia! into the mix and it's going to be a tough choice. One decision is easy though: don't go past a local brew from Newstead Brewing Co. To check out the full Laneway food lineup (or the real lineup), go to their website.
Every major exhibition gives art lovers two gifts: the joy of discovering what'll display on its walls and halls when that first announcement hits, and the thrill of actually seeing the end results IRL while wandering, peering and contemplating. With Boston Dynamics robot dogs, work by Yoko Ono, a collaboration with Paris haute couture house Schiaparelli, and Tokyo-based artist Azuma Makoto's room-sized tribute to plants all on the just-revealed NGV Triennial 2023 bill, that initial round of delights starts now. Since 2017, the Melbourne-based National Gallery of Victoria has hosted the art showcase every three years, with this upcoming summer's iteration from Sunday, December 3, 2023–Sunday, April 7, 2024 the third. Designed to provide a portrait of the world each time it is staged — if art trends and breakthroughs; the artists making them; and the themes, ideas and events they're responding to — each NGV Triennial delivers a hefty program. This time, there'll be 75 works from 100-plus artists, complete with more than 25 world-premiere projects, all tying into the themes of magic, matter and memory. [caption id="attachment_896126" align="alignnone" width="1920"] Azuma Makoto, Block Flowers 2020 ©️ Azuma Makoto Courtesy the artist.[/caption] A big highlight: those mechanical pooches, who will also show off their very good painting skills. This clearly isn't Black Mirror, with Polish-born Agnieszka Pilat training the robot dogs to make art, which NGV Triennial attendees can then watch happen. They'll create a monolithic durational work, with Pilat exploring technology's power in modern life in the process. While attending NGV Triennial is free, you won't have to go inside the NGV International on St Kilda Road to see Yoko Ono's contribution. Drawing upon six decades making art, including her famed Instruction Pieces and major public art commissions, she's providing a large-scale text-based piece that'll display on the building's façade. [caption id="attachment_896130" align="alignnone" width="1920"] Installation view of Sheila Hicks's Nowhere to go 2022 at Off Grid, The Hepworth Wakefield, United Kingdom. Proposed acquisition, NGVWA.Courtesy the artist and Alison Jacques.[/caption] One of the joys of an exhibition like this is the sheer variety of works — although Schiaparelli's involvement would be a standout anyway. Artistic Director Daniel Roseberry is picking items from recent collections to display, plus a range of gilded surrealist accessories and body adornment. And, as well as showing his penchant for pushing boundaries and pairing art and fashion, there's set to be a celestial theme. Also immersive: Makoto's homage to nature, specifically plants and their magic, beauty and life force. The artist is freezing Australian flowers and botanicals into acrylic blocks, then combining them with a multi-screen film about the life and death of blooms. Yes, you'll be thinking about nature while you take it in. [caption id="attachment_896127" align="alignnone" width="1920"] David Shrigley, Really Good, 2016, bronze, 680 x 380 x 160 cm. Courtesy of the artist and Stephen Friedman Gallery, London © David Shrigley. All Rights Reserved, DACS 2023.[/caption] Tracey Emin is also contributing a series of works, including five-metre-high text-based neon light installation based on the British artist's own handwriting. From Paris-based and American-born sculptor Sheila Hicks, Nowhere to Go will stack her blue-hued bulbous sculptures against a wall. Or, there's David Shrigley's Really Good — a seven-metre-high thumbs-up. Elsewhere, the massive one-hundred-metre-long woven fish fence, Mun-dirra, was made over two years by ten artists and their apprentices from the Burarra language group Maningrida, Arnhem Land — while large-scale commission Megacities is tasking ten street photographers to snap Cairo, Dhaka, Jakarta, Delhi, Sao Paulo, Shanghai, Seoul, Lagos, Tokyo and Mexico City in all their urban glory. Don't miss Hugh Hayden's The end installation, which recreates a primary-school classroom but gets apocalyptic with branches and dodo skeletons. The full list of featured artists also spans Petrit Halilaj, Betty Muffler, Hoda Afshar and Fernando Laposse, plus Flora Yukhnovich, Yee I-Lann, Joyce Ho, Shakuntala Kulkarni and SMACK — and more, obviously. [caption id="attachment_896128" align="alignnone" width="1920"] Courtesy of the NGV.[/caption] "In the three years since the last NGV Triennial, the world has experienced a great many structural shifts, including a global pandemic. Through the work of more than 100 artists, designers, architects and collectives from Australia and around the world, the NGV Triennial offers a powerful insight into the ideas and concerns empowering creative practice in 2023," said NGV Director Tony Ellwood, announcing the program. "The artists, designers and architects of our time play an important role in helping us to understand, navigate and relate to the world around us. The 2023 NGV Triennial offers audiences a valuable opportunity to experience new and surprising forms of creative expression from around the globe, which, together, present a compelling snapshot of the world as it is, while also asking how we would like it to be." [caption id="attachment_896129" align="alignnone" width="1920"] Installation view of Hugh Hayden's The End 2022. Courtesy of the artist.[/caption] NGV Triennial 2023 will display from Sunday, December 3, 2023–Sunday, April 7, 2024 at NGV International, St Kilda Road, Melbourne. Head to the gallery's website for further details. Top image: Aaron Richter.
When you're sitting at a bar, sipping a cocktail and enjoying its delicious flavours, you're usually just thinking about how great it tastes. Something you're probably not pondering is what happens to the fruit that makes your beverage so zesty. Once you're done drinking, what's next for those slices of lemon, wedges of orange and other edible cocktail ingredients and garnishes? Wonder no more, cocktail lovers — New Zealand-based vodka company 42BELOW can not only answer that question, but they're helping make your favourite concoctions more sustainable. Rounding up many a lemon, piece of fruit and even a few olives, they're turning yesterday's cocktail waste into today's hand washing liquid. Prepare to lather up with 42BELOW Recycled Cocktail Lemons Eco Soap, aka the world's first hand soap made from recycled cocktail fruit. The initiative first launched in December last year, with 13 venues in Sydney, two places in Melbourne and a further two on the Gold Coast jumping on board. Fast forward two months and drinkers at the likes of Darlinghurst's This Must be The Place, Melbourne CBD's The Carlton, Surfer's Paradise's elsewhere and Auckland's Mea Culpa, your cocktail habit is now environmentally friendly. To date, they've already collected 400 kilograms of fruit waste, then transformed those discarded morsels then into soap. In just a few weeks, 20,000 sachets and 400 bottles of liquid soap have been created — or 3200 cocktails, because that's everyone's preferred method of measurement. 42BELOW is in the process of signing up more bars around Australia and New Zealand, with those that join the fold then receiving their soapy goodness for free. Yes, pubs, watering holes and boozy hangouts can recycle their fruit wastage and keep patrons' hands lemony-fresh for zilch, while everyone downing cocktails can feel extra great about ordering their next fruity beverage.
Canned sundaes. Could be a trap. Sounds a little too dreamy. Seems the man who gave the world Cronuts has another trick up his sleeve, tailormade for the hardworking holidayers of the Hamptons. The latest experiment from award-winning pastry chef Dominique Ansel, canned sundaes are making their way to New York's Hamptons this weekend to be sold in a fancy ol' truck outside Lisa Perry's East Hampton boutique. One-off Ansel desserts, Lisa Perry boutique. HAMPTONS REPRESENT. "Dominique was a perfect match for this collaboration, as both of our brands celebrate art, pop culture and fun," said Perry. "He infuses each of his confections with creativity and imagination and the end result is always a treat in more ways than one." Somewhat fancier than Burger King's bacon sundae and channelling the same respect for showstopping dessert flavours as Messina, Ansel has created quite the gourmet canned good in this want-now dessert. Inspired by Warhol's cans, the mash-up sundaes are based on the classic root beer float (apparently Perry's favourite) — with root beer-flavoured ice cream, stracciatella ice cream (vanilla and chocolate chips) macerated cherries and mascarpone semifreddo and toasted marshmallow hanging out in the can. On top, Ansel's tiny signature 'Mini Me' meringues. You could say it's the most decadent thing someone's put in a can since the Candwich (canned sandwich, obviously). Meant for sharing, the sundaes will set Hamptonites back $15 and have enough canned goodness for two dessert fiends. Ansel will only be serving up 500 of these babies, so watch the 'grams for bragging rights. But before you get all Gossip Girl hater over this decadent dessert stunt, it's for a good cause. Ansel is giving 20 percent of sales from his fancy, fancy treat to City Harvest. Whattaguy. Via Grub Street. Image: Courtesy of Dominique Ansel Bakery
The Queensland Music Awards are half party, half award ceremony. Sure, there are awards given out to deserving musicians, but when you are celebrating music as good as this, you can't help but get a little bit carried away. This year, the QMA's are taking place at the iconic venue, The Tivoli - a place that has held countless amazing live performances of every musical genre. It is fitting that it is also the place where Queensland musicians are honoured in grand fashion. The nominations read like a who's who of Queensland Music, with every genre being hotly contested by quality talent. Rock, Pop, Folk, Country, each genre contains some of the greatest musical talent Queensland has to offer. There will be live performances sprinkled throughout the night by great talent such as The Jungle Giants (pictured), The Trouble With Templeton, Violent Soho, Thelma Plum and Pigeon. Make sure you get a ticket to witness Queensland musical history in the making.
The year 2015 has come and gone, and the kind of microwave-rehydrating instant pizzas featured in Back to the Future Part II haven't yet come to fruition. Neither has a holographic 19th Jaws film. However, something just as great is on its way to becoming a reality thanks to a Danish brewery — and it'd go mighty well with Marty McFly Jr's favourite food. Copenhagen-based outfit To Øl has invented something many a yeasty beverage fan has dreamed of: instant craft beer. It comes in powdered form, ready to be mixed with some of the original alcohol and sparkling water. Add the three together, and voila, you've got some fresh booze ready for drinking. Basically, the gypsy brewers — aka two beer-loving pals who don't have their own facilities, but work out of others with spare capacity — figured out how to freeze-dry their tipples, and also how to then transform it back into the drinkable form (thanks, science!). According to Tobias Emil Jensen & Tore Gynther's post on online food culture platform Aorta, they were motivated by "wanting to provide quality beers in situations which normally doesn't encourages it due to the natural physics of beer," such as climbing a mountain or transporting beverages by plane. Four of their brews have undergone the freeze-drying treatment so far: "a heavy deep beer brewed with coffee, a fruity IPA brewed with different tropical fruits, a Wild Yeast hop forward IPAs and a fairly dry pilsner". No word yet as if or when To Øl will ever release their new concoctions to the public, so we'll all just dream of these futuristic bevs until more news come to hand.
How many spider-men is the optimal amount of spider-men? Asking for the best Spider-franchise there is: the Spider-Verse series. Sure, 2021's Spider-Man: No Way Home messed with multiverse madness, complete with Tobey Maguire, Andrew Garfield and Tom Holland's versions of the titular character — but the stunning 2018 Oscar-winning Spider-Man: Into the Spider-Verse not only got there first, but topped that first. Now, the animated flick's upcoming sequel Spider-Man: Across the Spider-Verse is going one better yet again. Initially set to release in 2022 — and even dropping a first trailer in 2021 — but now arriving in June 2023, Across the Spider-Verse is the first of two follow-ups to the Miles Morales (Shameik Moore, Wu-Tang: An American Saga)-focused franchise. And, it isn't holding pack on its spider-people. Where the initial film gave us a spider-woman, spider-robot and spider-pig, as well as Nicolas Cage as a 30s-era spider-vigilante, this one has another whole onslaught of Spideys heading Miles' way. This time around, the movie's Brooklyn-based friendly neighbourhood Spider-Man is slightly older, and also faced with a spider-team, who are keen to protect the multiverse's existence. When there's that many Spideys, agreeing on how to handle things — including a new threat — isn't easy. That's how the clash between Miles and his fellow spider-folk comes about, as animated in the series' usual dazzling onslaught of colour and movement in the just-released sneak peek. Also included amid all the spider-alternatives in the trailer: Miles reuniting with Gwen Stacy (Hailee Steinfeld, Hawkeye). And, there's Spider-Woman (Issa Rae, Insecure), the Spider-Verse version of The Vulture (Jorma Taccone, Weird: The Al Yankovic Story) and the return of Spider-Man 2099 (Oscar Isaac, Moon Knight). (If you're wondering about Isaac's character, he first turned up in the post-credits section of Into the Spider-Verse, and he's an alternate version of Spidey from a specific Marvel Comics imprint.) The voice cast spans Daniel Kaluuya (Nope) as Spider-Punk and Jason Schwartzman (I Love That for You) as The Spot as well, and Jake Johnson (Minx) is also back as Peter B Parker — alongside Brian Tyree Henry (Bullet Train) as Miles' dad and Luna Lauren Velez (Power Book II: Ghost). Expect to see Miles head into other Spidey realms, too, in a franchise that made every single live-action Spidey film pale in comparison to its initial instalment. Once again produced by The Afterparty's Phil Lord and Christopher Miller — and this time co-written — Across the Spider-Verse will be followed by third film Spider-Man: Beyond the Spider-Verse in 2024. There's also a female-focused spinoff in the works as well. Check out the new Spider-Man: Across the Spider-Verse trailer below: Spider-Man: Across the Spider-Verse will release in cinemas Down Under on June 1, 2023.
When it made the leap to the big screen in the movie that's currently in cinemas, Downton Abbey brought in a couple of very special guests. But the King and Queen aren't the only new folks staying at TV's favourite stately manor. Come November, you could be walking through the site's lavish halls, wandering through its 300-plus rooms and even bunking down for the night. In a move that's clearly timed to promote the film, Airbnb is giving two people the chance to spend the evening of Tuesday, November 26 at Highclere Castle — the 19th-century country house in Hampshire, England, where Downton Abbey filmed each of its six seasons, as well as the movie. It's a place with a considerable past, and not just because of the famous show. The act that led to the founding of Canada was drafted there; however, before the current abode was build there in the 19th century, remodelling an existing structure, it was also the site of a medieval palace. Of course, it's Downton Abbey's history that the two chosen guests will be most interested in. They'll explore the spaces made famous by the show, such as the drawing room and the library, via a private tour. Then, they'll sip cocktails in the saloon, and eat dinner in the state dining room with the Earl and Countess of Carnarvon — with the site sitting in their family since the 17th century. The visitors will also sleep in a gallery bedroom with views over 1000 acres of parkland, and be waited on by the castle's butler. [caption id="attachment_742688" align="aligncenter" width="1920"] Airbnb[/caption] If you're eager to stay and pretend you're a member of Downton's Crawley family, you'll need to have a verified Airbnb profile filled with positive reviews, and be passionate about the series. You'll also need to hop online to make your request to stay at 9pm on Tuesday, October 1, Australian Eastern Standard Time (12pm British Summer Time the same day). Just how the lucky guests will be selected hasn't been revealed, but you will still need to pay just like any other Airbnb booking. The one-night stay will set the winner back £150, or around AU$270. For further information, visit Highclere Castle's Airbnb listing. The service will start accepting requests to stay at the venue from 9pm on Tuesday, October 1, Australian Eastern Standard Time (12pm British Summer Time the same day). Top image: Downton Abbey, Focus Features LLC.
What has happened to that once glorious Hollywood staple, the romantic comedy? Even at its most saccharine, it was a dependable genre, the type that left you in a kind of terrible movie heaven of enjoyably unlikely plot premises, clueslessly fated lovers, and fairytale endings. Trashy, sure, but reliably trashy — carefree and frothy and silly. Beautiful people, overcoming mindlessly familiar cinematic hurdles and falling in love — it's comforting stuff for hopeless romantics. But a genre that focuses more on seduction and courtship and the happily-ever-after, bridal magazine moments eventually leaves viewers craving something a little more substantial. After all, anyone who lives in the real world knows that the real work in relationships begins at the point where rom coms usually end: the kiss, the wedding, the honeymoon period, the beginning. I Give It a Year goes some way towards reclaiming the rom com genre in favour of the reality and ridiculousness and complexity of relationships and sex and romance. British director Dan Mazer has styled it as a renovated, thinking-person's rom com, one that starts at the wedding and explores the difficulty of staying in love. Rose Byrnes' highly strung Nat and Rafe Spall's man-boy Josh are not meant to be — they marry too quickly and are obviously more suited to the two supporting characters, played by Simon Baker and Anna Faris. Concrete Playground has 10 double passes to give away to see I Give It a Year. To be in the running, subscribe to Concrete Playground (if you haven't already) then email us with your name and postal address at hello@concreteplayground.com.au. Read our full review here. https://youtube.com/watch?v=3UgPWKPDlvA
Each year we anticipate the arrival of December 25. Because of the day off, the promise of an afternoon spent dozing in a hammock — and the arrival of Messina's annual Christmas cake. And while the gelato chain last year went for a festive response to Sydney's lockout laws in the form of Santa trying to fit down a chimney, it's decided to take on a quintessential Australian dessert for 2017: the trifle. Enter The Christmas Coma. This epic ice cream creation will feature layer upon layer of everything that is good about Christmas — but instead of being soggy and slightly regrettable, this one will have you licking the glass bowl. So what's in it? The trifle will be layered with — here we go — vanilla custard gelato, whipped cream, peach jellies, raspberry marsala jelly, raspberry meringue, sherry-soaked jam rolls and bloody peach sorbet. Plus, it'll be garnished with white chocolate and cherry truffles and come with Messina brandy custard and chocolate-coated nuts to douse all over the mess. The trifle, which serves 18–20 (or less if you really commit), costs $120 and can be ordered for pickup between December 22 and Christmas Eve. In Sydney you can pick one up from Rosebery, Darlinghurst, Bondi, Miranda, Penrith, Tramsheds and Parramatta. If you're in Melbourne, you can get one from the Fitzroy or Windsor outposts — and the South Brisbane store will be making them too. Hopefully nan won't take it personally. The Christmas Coma is available to order at gelatomessina.com from 9am on Tuesday, December 5.
Move over Matt Damon, French acting icon Alain Delon, the great Dennis Hopper, Lawmen: Bass Reeves star Barry Pepper and John Malkovich: there's a new Tom Ripley in town. Actually, Malkovich hasn't gone far. Netflix's upcoming limited series Ripley stars All of Us Strangers and Fleabag favourite Andrew Scott as its namesake, but he's joined by an actor who has also played the Patricia Highsmith-penned part, as the just-dropped first teaser trailer for one of 2024's most-anticipated new TV titles shows. An eight-part effort arriving on Thursday, April 4, Ripley isn't short on drawcards, then — Scott chief among them. He's stepped into iconic characters' shoes before, and suave yet scheming folks that can't be trusted, thanks to his stint as Moriarty in Sherlock. Now, one of the internet's boyfriends is taking on the fictional con artist that debuted on the page in Highsmith's 1955 book The Talented Mr Ripley. That novel has reached the screen twice before, as 1960 crime-thriller Purple Noon starring Delon, then as the Damon (Oppenheimer)-led The Talented Mr Ripley in 1999. Where the latter also featured Gwyneth Paltrow (The Politician) as Marge Sherwood and Jude Law (Peter Pan & Wendy) as Dickie Greenleaf, Dakota Fanning (The Equalizer 3) and Johnny Flynn (One Life) are doing the honours this time. As seen in the initial sneak peek at Ripley, Malkovich (Billions) also pops up in the series, which follows its eponymous figure to Italy. Tom's gig: being paid by a rich man to persuade his son to come home. Steven Zaillian, who has excellent fellow miniseries The Night Of on his resume alongside screenplays for Martin Scorsese's Gangs of New York and The Irishman, plus an Oscar for Schindler's List, scripted and directed all eight episodes. He takes his cues from the novelist who also gave the world Strangers on a Train and The Price of Salt — with the first brought to cinemas by Alfred Hitchcock and the second adapted as Carol. And if you're wondering about Malkovich's time as Tom Ripley, he played the character in 2002's Ripley's Game, the second adaptation of Highsmith's third Ripley novel of the same name after 1977's The American Friend with Hopper. The author also wrote Ripley Under Ground, which was turned into a 2005 Pepper-led film, plus The Boy Who Followed Ripley and Ripley Under Water. Check out the first teaser trailer for Ripley below: Ripley streams via Netflix from Thursday, April 4, 2024. Images: Lorenzo Sisti / Netflix.
Keanu Reeves is one of cinema's treasures, and should never be far away from our screens. Since the mid-1980s, across a career that's spanned everything from the Bill & Ted movies and stone-cold masterpiece Point Break through to The Neon Demon and Always Be My Maybe, he thankfully rarely has been. And, seeing him in lean, slick, no-nonsense action-star mode, dispensing with whatever troubles and struggles come his way via impressively choreographed displays, is one of the biggest movie-watching pleasures there is. But only two film franchises have served up just that again and again: The Matrix and John Wick. In the film saga where Keanu knows kung fu, viewers have already been treated to four instalments. In the movies where he plays the hitman that other hitmen fear, the fourth flick is on its way. During San Diego Comic-Con, John Wick: Chapter 4 just dropped its first trailer, in fact. Yes, we're thinking that the assassin is back — again. As all John Wick movies have so far — the first in 2014, John Wick: Chapter 2 in 2017 and John Wick: Chapter 3 — Parabellum all included — this one will follow the formidable killer as he takes on his ever-growing list of adversaries. There's still a huge bounty on his head, and plenty of foes want to collect. That hasn't stopped Wick yet, though, after he got dragged back into the assassin life when a past batch of enemies messed with his dog. If you're thinking that Wick's luck might run out at some point, the new film — which is set to hit cinemas Down Under in March 2023 — understands. "No one, not even you, can kill everyone," Wick is told. But proving that wrong has always been at the heart of this stunt-filled saga. Well, that and increasingly upping the ante on all those action scenes, with Reeves' former stunt double-turned-filmmaker Chad Stahelski at the helm. In the first sneak peek at John Wick: Chapter 4, both Reeves and Stahelski keep doing what they do best, and spectacularly so. That includes hopping around the globe, with Wick seen walking through Paris in winter with the Eiffel Tower looming large, and also getting into sword fights in Japan — and the film also heading to New York and Berlin. On-screen, Reeves is joined by a roster of returning and new John Wick faces. Fellow franchise mainstays Ian McShane (American Gods) and Lance Reddick (Godzilla vs Kong) are back, and so is Reeves' The Matrix co-star Laurence Fishburne after appearing in the past two movies. And, Donnie Yen (Mulan), Bill Skarsgård (Eternals), Hiroyuki Sanada (Mortal Kombat), Shamier Anderson (Son of the South), Rina Sawayama (Turn Up Charlie) and Scott Adkins (Triple Threat) are all set to feature as well. In also excellent news, a fifth John Wick movie is already in the works, because more ass-kicking Keanu is always a great thing. Check out the first trailer for John Wick: Chapter 4 below: John Wick: Chapter 4 will release Down Under on March 23, 2023.
If you think that climbing Mount Everest is a massive endeavour, then wait until you hear about the latest venture from ex-Noma chef James Sharman. As part of his One Star House Party project, he's taking 15 adventurous diners on a 14-day trek of the mammoth Himalayan mountain, complete with a pop-up fine-dining restaurant. Participants will hike to base camp for the meal of a lifetime, setting off on December 10 and returning on December 23. Just what Sharman will whip up when they get there is yet to be revealed; however, given that his roving culinary party aims to showcase the cuisines of each country that he visits and make meals out of ingredients he discovers along the way, inventive takes on Nepalese fare is more than likely. Now that's how you celebrate scaling the world's highest peak above sea level — but, of course, the catch is that attendees have to do the hard work to get there first. And it doesn't come cheap, unsurprisingly. The eager climbers each pay US$1050 per person, which includes accommodation in guest houses along the way and other necessities for the trip. Nepal marks Sharman's fourth stop in his 20-month plan to host 20 restaurants in 20 countries, after starting in Beijing in September, then visiting Ho Chi Minh in October and Bangkok in November. Mumbai is next on the agenda, with the delicious escapade also touching everywhere from Nairobi, Berlin and Reykjavik to Santiago, Vancouver and Kyoto. Yes, Australia is included, with a Tasmanian stopover slated for June 2018. For more information about One Star House Party, visit www.onestarhouseparty.com. Image: Nick Taz.
Filmed like a play but choreographed like a dance, Birdman is cinematic ballet where the way the story is presented is just as critical to its telling as the story itself. That's because the film features one remarkable, continuous shot that goes for 119 minutes and is called Birdman. Riggan Thomson (Michael Keaton) is a washed-up movie star whose career faded into obscurity after turning down the lead in ‘Birdman 3’ (allusions to Keaton’s career post Batmans 1 and 2 are clearly — and gleefully — embraced by all). Thomson has gambled everything on one final shot at restoring his credibility: a Broadway adaptation of a Raymond Carver story that he has singlehandedly adapted, directed and is starring in. There's a matryoshka doll feeling to it all: the movie, filmed like a play, about the movie star putting on a play. The effect is at once mesmerising and unbalanced, neatly reflecting Thomson’s own tortured subconscious. With a supporting cast including Zach Galifianakis, Emma Stone, Naomi Watts and Edward Norton, Birdman is a tantalisingly original black comedy that belongs on everyone’s must-see list for 2015. Birdman is in cinemas nationally on January 15. Thanks to Twentieth Century Fox, we're giving away one collectable, money-can’t-buy talking Birdman figurine (only 50 in Australia), along with a Birdman double in-season pass. Ten runners up will also get double in-season passes. To be in the running, subscribe to the Concrete Playground newsletter (if you haven't already), then email us with your name and address. Read our full review here. Sydney: win.sydney@concreteplayground.com.au Melbourne: win.melbourne@concreteplayground.com.au Brisbane: win.brisbane@concreteplayground.com.au
Boaz Yakin's 'Safe' follows the two-headed mission of former special forces operative Luke Wright (Jason Stratham) as he sets out to outwit Chinese Triads and the Russian Mafia. 12-year old Mei (Catherine Chan) is Wright's unlikely sidekick: a girl who holds potentially deadly knowledge. Mei has been gifted with mathematical genius, a skill which enables her to memorise the code to a coveted safe containing $30 million. Her secret cannot remain under wraps for long, however. Once word gets out that Mei is the only person who knows the safe's code, the underbelly of the crime world comes clamouring. Wright must protect Mei as together they attempt to outwit the Triads, corrupt NYC officials, and Russian Mafia. From the producer of 'Kill Bill' and 'Inglourious Bastards', this breakneck-speed crime thriller will keep you on-edge, hoping that Wright can successfully complete his trickiest and most important mission yet: to keep Mei safe. To win one of ten double passes to see Safe, just make sure you are subscribed to Concrete Playground then email your name and postal address through to hello@concreteplayground.com.au https://youtube.com/watch?v=Mv2VZi5RD6c
Fresh from scoring plenty of attention in Australia's sporting circles after hosting the AFL's first-ever Gather Round, Adelaide is giving locals and visitors alike another reason to enjoy the City of Churches. Art, music and culture lovers, get ready for the South Australian dream that is Illuminate Adelaide, which debuted in 2021, then backed up its dazzling first year in 2022 — and has just dropped an impressive 2023 lineup, too. Illuminate's third month-long event will run from Wednesday, June 28–Sunday, July 30, putting it in prime winter festival season following Vivid Sydney, RISING Melbourne and Dark Mofo in Tasmania. Spending the country's colder months travelling between all four fests sounds positively heavenly; however, if you can only hit up one, SA's addition to the fold makes a strong case. Topping the music bill are Yothu Yindi, Oneohtrix Point Never and Tourist, giving Illuminate both Australian icons and electronic must-sees from overseas. With the former, the iconic Indigenous rock band play for one night only to celebrate NAIDOC Week. As for the latter, the Brooklyn-based Oneohtrix Point Never (who is responsible for the intoxicating scores to films Good Time and Uncut Gems) and English electronic musician and producer Tourist (aka William Phillip) will also bring their respective tunes to the Hindley Street Music Hall during the fest. After making its Aussie debut at last year's Illuminate, concert series KLASSIK underground will return, once again pairing classical music with live visuals. So too will experimental and electronic music celebration Unsound Adelaide. And, the roster of tunes also spans Murrawarri and Ngemba talent DOBBY, Space Afrika's dub-techno sounds, Sofie Birch and Antonina Nowacka teaming up, rapper bbymutha and Guatemalan experimental cellist Mabe Fratti. [caption id="attachment_897498" align="alignnone" width="1920"] Jack Fenby[/caption] That's what festival attendees will be listening to. The arts and light part of the program is just as impressive — and literally vibrant. UK creatives Architects of Air will hit Illuminate with Arborialis luminarium, which will take over East End in Rymill Park / Murlawirrapurka with 1000 square metres of inflatable mazes. Even better: running for three weeks, it's basically a labyrinth of colour and light, and you can head along by both day and by night. Mirror Mirror is another standout, harking from multimedia studio Moment Factory and coming to Adelaide fresh from premiering in Montreal. An interactive and immersive experience that'll take over its own purpose-built structure on Victoria Square/Tarntanyangga, it gets attendees wandering their way through unique art installations — and yes, a hall of mirrors is included. The same outfit is also behind Resonate, which takes over from 2021 and 2022's Light Cycle in lighting up a 1.7-kilometre trail nightly through the Adelaide Botanic Gardens. [caption id="attachment_897495" align="alignnone" width="1920"] John Owens[/caption] Keeping with the 2023 festival's radiant side, Illuminate will welcome back some of its past big luminous drawcards for a third time, because they're just that impressive and popular. That includes Light Creatures at the Adelaide Zoo, which means even more glowing animal installations. This year, it'll feature returning panda, skink, underwater and tiger favourites, plus a golden falcon, crabs and a projection that travels through time. Also worth looking out for (not at you can miss it) is the City Lights program, which makes a comeback to again feature more 40 free site-specific works over 17 days. A sculptural floral field, CoolShit getting into stare mode with large-scale art installation The Eyes, a touch-sensitive light and sound piece, an exhibition of works by the multi-talented Poh Ling Yeow, Amanda Parer's towering and inflatable Man: they're all included. So too is Augmented Revolution, which dives into augmented reality featuring works by First Nations artists. Elsewhere, you can make a date with pop-up bar and eatery hub Base Camp in its third year; the also-returning New Light, which commissions new screen works from Aboriginal talents; Make|Shift @ The Mill, aka projection art by six SA multidisciplinary artists; and the world premiere of Restless Dance Theatre's new Shifting Perspectives. Looking for more things to do around South Australia at the time? Concrete Playground Trips has a four-day wellness escape in the Adelaide Hills available to book in July as well. [caption id="attachment_897500" align="alignnone" width="1920"] Moment Factory[/caption] Illuminate Adelaide 2023 runs from Wednesday, June 28–Sunday, July 30. Check out the festival's website for the full program and to grab tickets. Top images: Sam Wong, Amigo and Amigo, Frankie the Creative, Moment Factory and Rami Saarikorpi. Feeling inspired to book a getaway? You can now book your next dream holiday through Concrete Playground Trips with deals on flights, stays and experiences at destinations all around the world.
"What is this kind of film?" This question is not, as one might expect, asked by a journalist following a screening of Trance, or by a member of the public curious about the billboards currently filling London. Rather, it is asked by Vincent Cassel, one of the film's leads, to a room of six reviewers, including myself. None of us are able to answer him. Trance is the latest Danny Boyle film and, as such, one must approach it with very few specific expectations. Boyle has treated his career like a pick-n-mix, filling his directorial bag with genres as diverse as black comedy (Shallow Grave, 1994), Bollywood-inspired coming of age (Slumdog Millionaire, 2008) and zombie flick (28 Days Later, 2002). So what has he attempted this time? When asked, Boyle is vague. "You tend to talk in genres when you're doing publicity but it's not really something we think about." This seems unlikely and yet the three core cast — James McAvoy, Rosario Dawson and Cassel — agree. Trance defies easy categorisation. The film's opening minutes feel like a classic heist movie, as a high-priced work of art is stolen from the London auction house where McAvoy's character, Simon, works. It very quickly descends into violent gangster flick as Cassel's Franck, a French crime boss, enters the story. And just as quickly, it makes the switch to psychological thriller with the introduction of Elizabeth, played by Dawson — a hypnotherapist with the apparent ability to not only see into Simon's mind but to completely control it. These rapid direction changes are disorienting but one suspects that is entirely intentional. In a film in which motivations are revealed in increments, it helps to have the audience as misdirected as the characters. Boyle says that even the artwork at the centre of the criminals' plot is a part of this tactic. Witches in the Air by Goya "introduces a slightly surreal element into the film to prepare you". Depending on your viewpoint, the use of hypnotherapy as the plot's driving force might add to this sense of the surreal. In a film more bound up in realism, it would be laughable to posit the possibility of mind control through hypnotherapy, but it's easier to swallow in the hypercolour confusion of Trance. The film's actors are split on this issue. Dawson says she had a very intense experience in a hypnosis centre in California which convinced her that "it's not a parlour trick or a gimmick." It didn't work on McAvoy, but he still believes "it has a place and a power, even if that power is placebo. Placebo is a powerful drug for some people." Cassel's response is the most revealing. While he was resistant to being hypnotised, he thinks he knows why the subject fascinates his director. "Danny Boyle is a control freak. Maybe he wanted to talk about that. It's a personal problem for him and that's what makes it so interesting." Control freak he may be, but he's a prolific one. Boyle managed to pull off two completely different projects concurrent with the production of Trance: directing the 2011 theatrical production of Frankenstein and acting as artistic director for the Opening Ceremony of the 2012 Olympic Games. The pressure on an Olympic opening ceremony is huge, with each country attempting to top the last. But when Boyle is asked if he felt that pressure he hesitates slightly before responding. "Well ... no, to be honest. People say were you nervous on the night, and I wasn't nervous at all." The relaxed attitude extends to his advice for the next opening ceremony, to be held in Rio De Janeiro in 2016. "I think Brazil has such personality. Provided they just reflect that personality, they'll be fine." With all this so recently behind him, one might expect Boyle to take a break. But this doesn't seem to be in his nature. He's currently working on two period films — another new genre for him — and is keen to develop an original musical. Excitingly for fans, there are also preliminary plans for a sequel to his 1996 hit, Trainspotting, about drug culture in Edinburgh. He confirms that "We're trying to make a Trainspotting 2 — T2," adding that he doesn't know what James Cameron will think of that title. The variety of work Boyle produces makes it tempting to try to tie down Trance, to figure out where it fits in his ever expanding portfolio. But Cassel feels this would be a mistake. "Any genre movie made by a good director becomes that director's movie and nothing else. It's a Danny Boyle movie." And as his other leading man, McAvoy, reminds us: "He's not making obscure art. He's making proper entertainment." On that front, the deliriously paced, lushly shot and brilliantly acted Trance certainly delivers. Trance is in cinemas across Australia from April 4. Read our review here.
She's been compared to Bjork, Fever Ray and Bat for Lashes, but Elizabeth Rose has a sound that's all her own. Layering whimsical pop riffs with shadowy samples and her own sublime vocals, the 21-year-old Sydney producer has moved from community radio stations to bigger and brighter things in the space of only six months. Ahead of her first headlining tour, we had a chat to Elizabeth about making songs on GarageBand, the craziness of the Internet and hanging out with Gotye. How did you get into producing? I've been playing keyboard and writing music from about the age of seven onwards and have always been interested in learning how to construct a song from scratch. My older brother Anthony is a DJ/producer under the name of Hook N Sling and growing up whilst he was living at home had quite an impact on me — it looked like so much fun to produce music that I wanted to do it too. I really started getting into proper producing when I was nearing the end of high school back in 2008, on GarageBand, then progressed onto Ableton the following year and have been using that ever since. I'm the kind of person who likes to learn things by myself and do my own thing, so I guess it was kind of a natural progression on from just songwriting — it made sense to produce and mix my work too so I could have a finished song in front of me without having to wait on anyone else. What is it about a particular track that makes you want to remix it? It always comes down to the vocal melody and the song meaning for me; they're the two main things I listen out for when listening to a potential remix. From there I get ideas on chord progressions and how I can manipulate the vocals and create my own sound around them. You've been invited to play at pretty much all the major festivals over the last few months — Peats Ridge, Parklife, Field Day, Harvest and Playground Weekender — which was your favourite to play? Ooh, this is a toughie — each festival has been incredible in its own way. Well definitely not Playground Weekender because it was cancelled and I was meant to play the main stage — boo! — But in terms of lineup I'd say Harvest was the best. It was the "dream" festival where everyone was there purely to bathe in the awesomeness of each act that graced the stage — I didn't see one fight break out or any boys in tiny shorts/no shirt/muscles out... A rarity these days! I saw Portishead live for the first time at Harvest and it really blew me away, I'll always have that memory with me. In close second place was Field Day, but only because I got to hang with Gotye and since then he's been giving me great feedback on my demos, which has been invaluable. You were the only female artist featured on Radar Music's 'Top 20 Aussie Electronic Artists You Need to Know'. How do you think being one of a small number of women producers has affected the reception of your music? Yeah! There certainly aren't a lot of Aussie female producers out there (yet) but being in the minority has really pushed me into the spotlight as being somewhat "special". I don't know why but it seems to be hard for some people to believe that a girl can sing and write her own music and produce her own stuff. I guess it's quite a masculine job to be a music producer, which people see as being something nerdy. I've always had a tomboy streak in me since primary school so maybe that's where it came from. I'm wanting to push through that stereotype though. Do you think music blogs are a big part of the reason your music has gained a following so quickly? I definitely think it's one of the reasons why I've gained such a quick following. It's so bewildering to think that some dude over in the Ukraine could be listening to a bedroom recorded demo of mine right now when I've made the track all the way over here in Australia in my teeny tiny bedroom. Music blogs are a blessing — information can spread like wildfire over the internet, and I also love to discover new music by searching through them too. How did you come to collaborate with (UK producer) Sinden? The guys over at EMI music thought it would be a great opportunity for me to work with him as he was looking for a vocalist to work with when he was out here in Sydney late last year. We had two intense studio sessions together and out came this funky little track that I can't wait to share with everyone. I've been very lucky — the folks at EMI have been in contact with me since they found my music on my MySpace page back in 2007. Again, the internet is such a crazy place! What can we expect from your debut EP? The Sinden collab is going to be on the EP, which I am really excited about. I'm not going to give too much away, but you can expect a mix of dark, slightly poppy but still experimental and atmospheric sounds from the EP. It's been a long time coming but I finally feel that I am ready to get it out there. Elizabeth Rose will play Brisbane's Lambda @ Alhambra Lounge on Thursday, 31 May and Sydney's The Standard on Friday, 8 June. To win two tickets to see Elizabeth Rose play in Sydney, make sure you're subscribed to Concrete Playground then email hello@concreteplayground.com.au https://youtube.com/watch?v=YVNcEsuzxAA
Are you planning a fancy weekend away in 2016? Forget glamping (seriously forget it, let’s pretend it never happened), we suspect 2016 is going to the year of the gallery getaway. This is a wonderfully alliterative way of saying that 2016 is shaping up to be an amazing year for Australian galleries and you owe it to yourself to spend a few glamorous and very grown-up weekends out of town taking in the exhibitions. To help you get started, the Art Gallery of New South Wales and the Museum of Contemporary Art have a slam dunk of a prize pack to giveaway to a lucky couple (platonic or otherwise) which is designed to bequeath unto you a weekend spent enjoying the cornucopia of art and culture available in Sydney right now. The full prize will include return flights for two (economy from Brisbane, Canberra, Hobart or Melbourne), a night’s accommodation in the Sofitel Sydney Wentworth and two art passes which grant you entry into The Greats: Masterpieces from the National Galleries of Scotland exhibition at the Art Gallery of New South Wales and Grayson Perry: My Pretty Little Art Career at the Museum of Contemporary Art. If you need to bone up on the ins n outs of the current exhibitions, let us help you out: a review of Grayson Perry can be found here and a review of The Greats here. As if that wasn’t enough, they’ll also throw in a feasting voucher (glory of the gods!) for dinner at Matt Moran's Chiswick at the Gallery and drink vouchers for MCA's pretty, pretty Gin Garden. So if you win you can bank on two days of art, boozing, and artful boozing which pretty much sounds like the perfect weekend. Now go forth and enter the contest! Thanks to the Art Gallery of New South Wales, Museum of Contemporary Art Australia and the Sydney International Art Series, we have one trip for two to Sydney from Melbourne or Brisbane up for grabs. The prize includes two return economy flights to Sydney, one night accommodation at Sofitel Sydney Wentworth, two Art Passes (provides entry into The Greats at AGNSW and Grayson Perry at MCA), one dining voucher for CHISWICK at the Gallery, drink vouchers for the Gin Garden at MCA. To be in the running, subscribe to the Concrete Playground newsletter by January 18 and then email win.sydney@concreteplayground.com.au with your name and address. The winner will be notified by January 19. See competition Terms and Conditions.
A cracking view is usually pretty high on the priorities list when booking a sweet holiday pad, but you probably don't go into it expecting one quite like what Oman's newest accommodation has to offer. Luxury hospo and hotel group Anantara has just opened the doors to an epic new five-star resort, Al Jabal Al Akhdar — and, boy, does it have views. Sitting at a lofty 2000 metres above sea level on the edge of a canyon in Oman's mountainous north (about four hours from Dubai), it's the Middle East's highest retreat. It towers over the Saiq Plateau in a way that's sure to cause a few goosebumps on the drive up. Just look at it. Basically the height of luxury, Al Jabal Al Akhdar Resort is definitely worthy of a spot on the old if money was no object bucket list — the designer interiors reflect that eye-poppingly rugged terrain and each of the 115 luxury rooms lay claim to panoramic views. Of course, there's a price to pay for such luxury — rooms start at around 720 AUD a night and go up to 4000 AUD. Along with the rooms, there's six different restaurants and lounges, and the culinary situation sounds as interesting as the location. You can even get the best of both at Dining by Design, which sits on a cliff-edge platform named Diana's Point, after its most famous royal visitor. And if a peek from your room's window, or your dinner table, doesn't provide enough of an adrenaline rush, the resort also offers a 'via ferrata' climbing route, where you can boss up and actually scale the side of the cliff. If that's too much, you can always just take a dip in the canyon infinity pool, go mountain biking or get one of the hotel's 'mountain gurus' to take you on a hike of the area. Anantara Al Jabal Al Akhdar Resort is located in the Al Hajar mountains, about 30 minutes from the ancient city of Nizwa in Oman. For more information on the hotel, visit jabal-akhdar.anantara.com.
If you believe that bigger is better, then it has been more than a decade since Melbourne boasted one of the most important claims to fame in the country. From 1991 to 2005, the city was the home of Australia's tallest building — but soon, after temporarily losing the crown to the Gold Coast, everyone will be looking up again in the Victorian capital. Thank a just-approved 323-metre, 90-storey tower for thrusting Melbourne back to great heights, with the giant structure destined to change the skyline at Southbank. Called One Queensbridge, it'll form part of the Crown precinct, and will feature a six-star hotel with 388 rooms, 708 residential apartments and the kind of other reasons to drop by (most likely shops and restaurants) that have been dubbed "visitor attractions". The development will also see Queensbridge Square get an upgrade that includes landscaping and new cafes, a new bike strip installed on Southbank Boulevard, and street furniture and additional trees placed along Queensbridge Street. And as for the building itself, it has been designed by WilkinsonEyre, who got the gig by winning an international design competition. Don't expect to see the massive complex towering over the city just yet, though, with construction not expected to start until 2018 — or finish for five or six years after that. Until then, Queensland's Q1 will keep winning in the big building stakes, with Melbourne's Eureka Tower in second spot.
Tegan and Sara have obviously done their family proud. The identical siblings have sold over a million albums in their career and have shared the stage with some of the world’s biggest musical stars. They have made their mark on the musical landscape thanks to the evolution of their pop sound scapes since their inception in the late '90s. The twins were last here in 2010 for Groovin' The Moo and they enjoyed it so much they came back to do it again. This time, Tegan and Sara are giving their Australian fans a real treat by playing a few dates around the country in their own headline tour. Their seventh album, Heartthrob (follow-up to 2009’s Sainthood) unveils a new set of hits for the duo to perform on the tour alongside lead single, 'Closer', which has garnered over half a million streams and earned the siblings performance spots on American television. Undoubtedly, this album is going to make long time fans very happy, and may even add some newcomers to the growing legion of the devoted. Tegan and Sara play the Tivoli with support from Clubfeet.
Can't stop, addicted to the shindig? Then you'll be excited about the latest huge music tour heading Down Under. Get ready to give it away, give it away, give it away now, too — your money, obviously, to see Red Hot Chili Peppers when they hit up Australia and New Zealand in early 2023. The Los Angeles-based rockers have announced that they're bringing their new global stadium tour our way, making six stops across both countries. First up, Anthony Kiedis, Flea, Chad Smith and John Frusciante will hit up Auckland's Mt Smart Stadium and Dunedin's Forsyth Barr Stadium in January, plus Brisbane's Suncorp Stadium. Then, in February, they'll be singing songs to you beneath the marquee at Sydney's Accor Stadium, Melbourne's Marvel Stadium and Perth's Optus Stadium. The band's dreams of Californication are zipping around the planet as part of a hefty tour that kicked off in June in Spain, and will also make its way to London, Paris, Dublin, LA, Chicago, New York and more alongside its Down Under stops. And yes, the Chili Peppers have a record to plug in the process, aka Unlimited Love — their 12th studio album, which dropped back in April. [caption id="attachment_859838" align="alignnone" width="1920"] Clara Balzary[/caption] Both Unlimited Love and the tour mark the return of guitarist Frusciante, who left the Chilis back in 2009, then rejoined the band in 2019. And, the tour will see the group head to this part of the world for the first time since 2019, too — and playing plenty of hits from their almost four-decade run so far, obviously. There's a hefty number of songs to choose from. Since their self-titled first EP in 1984, the band has sold more than 80 million albums, won six Grammys and entered the Rock 'n' Roll Hall of Fame. They've also released tracks spanning 'Under the Bridge', 'Scar Tissue', 'Breaking the Girl', 'By the Way' and 'The Zephyr Song', as well as 'Otherside', 'Soul to Squeeze', 'Around the World', 'My Friends' and 'Suck My Kiss'. Red Hot Chili Peppers will be joined Down Under by someone else who's sold just as many records: Post Malone. Yes, it's a two-for-the-price-of-one kind of tour — two massive music names, that is. Post Malone heads our way fresh from releasing his fourth studio album Twelve Carat Toothache in June. RED HOT CHILI PEPPERS 2023 DOWN UNDER TOUR DATES — WITH POST MALONE: Saturday, January 21 — Mt Smart Stadium, Auckland Thursday, January 26 — Forsyth Barr Stadium, Dunedin Sunday, January 29 — Suncorp Stadium, Brisbane Thursday, February 2 — Accor Stadium, Sydney Tuesday, February 7 — Marvel Stadium, Melbourne Sunday, February 12 — Optus Stadium, Perth Red Hot Chili Peppers and Post Malone are touring Australia and New Zealand in January and February 2023. Tickets for Australian shows go on sale online on Monday, July 11 — at 12pm in Brisbane, 1pm in Melbourne and Perth, and 2pm in Sydney, with pre-sales via Telstra from Wednesday, July 6 and from Live Nation on Friday, July 8. For more information, head to the tour website. Tickets for New Zealand shows go on sale online at 12pm on Monday, July 11, with pre-sales via Vodaphone from Wednesday, July 6 and from Live Nation on Friday, July 8. For more information, head to the tour website. Images: Pavel Suslov / Clara Balzary.
Paris and Abu Dhabi might seem worlds apart in many ways, but come November they'll share a pretty significant cultural bond, as the Louvre Abu Dhabi opens its doors to the public. Set to launch on November 11, the museum will be unlike any other in the United Arab Emirates, pitched as "a universal museum that focuses on shared human stories across civilisations and cultures." It's a stunner, too, designed by acclaimed French architect Lean Nouvel and boasting a 7500-tonne, 180-metre high dome ceiling, set with close to 8000 metal stars. The intergovernmental project is globally significant, pulling together a diverse, 600-strong collection of artworks and artefacts from 13 of France's top cultural institutions, spanning prehistoric times to the present day. In a forward-thinking move, they'll be displayed chronologically, rather than with a focus on place, shining a spotlight on cross-cultural interconnectedness. According to the museum's director, Manuel Rabaté, the goal was to create "a place where visitors can come to understand their own and others' cultures. Its ground-breaking architecture complements a presentation of exceptional treasures that represent a snapshot of humanity's creativity, and paves the way for new discussions." Images: Mohamed Somji.
That The Boys-shaped hole in your viewing is about to be filled, and not just by college-set spinoff Gen V. Viewers had the latter to get their sinister superhero fix in 2023, but 2024 will deliver more of the show behind it — and, unsurprisingly to viewers of 201-9's first season, 2020's second effort and 2022's third go-around, utter mayhem is on the way. When The Boys returns, it'll see the world dealing with Homelander (Antony Starr, Guy Ritchie's The Covenant)-versus-Starlight (Erin Moriarty, Captain Fantastic) factionalism, and just being ready to tear itself apart in general. Victoria Neuman (Claudia Doumit, Where'd You Go, Bernadette) is getting closer to the Oval Office, too, with Homelander pulling the strings. It's no wonder that the just-dropped first trailer for season four is filled with utter chaos. Also on the way: no-nonsense Brit Billy Butcher (Karl Urban, Thor: Ragnarok) dealing with the fact that he's only got months left, and that he's no longer leading The Boys — aka the eponymous ragtag team intent on bringing down Vought International, Homelander, and the company's caped-crusader industry and dominance. And, there's a new face, with Jeffrey Dean Morgan (The Walking Dead) joining the cast, adding another Supernatural link after Jensen Ackles did the same in season three. Back in 2019 when The Boys first hit streaming, sufferers of superhero fatigue understandably rejoiced. Yes, it focuses on a group of caped crusaders just like seemingly every second blockbuster movie (and, these days, every third TV show or so as well); however, in a world where viewers have been conditioned to lap up narratives about powerful folks who are supposedly better than most, this series both satirises and questions that very idea. Here, superheroes work for Vought. They're still the main form of entertainment, but they're real, the most famous celebrities there are and inescapable in daily life, too. The absolute top talent is known as The Seven, but most are hardly role models when the public isn't looking. That has made quite the change from the usual cinematic universes as the Prime Video show has kept notching up the seasons, all coming to the small screen after being adapted from Garth Ennis and Darick Robertson's comic book series of the same name. Exactly when The Boys will bring back its gleefully darker-than-dark tone, a pervasive bleakness that refuses to be shaken, plus oh-so-much blood, gore and guts hasn't been revealed other than sometime in 2024. As well as Starr, Moriarty, Doumit and Urban, Jack Quaid (Oppenheimer), Jessie T Usher (Smile), Laz Alonso (Wrath of Man), Chace Crawford (Gossip Girl), Tomer Capone (One on One), Karen Fukuhara (Bullet Train), Colby Minifie (I'm Thinking of Ending Things) and Cameron Crovetti (Goodnight Mommy) will all return — with Susan Heyward (Hello Tomorrow!) and Valorie Curry (The Lost Symbol) also set to be season four newcomers. Check out the first trailer for The Boys season four below: The fourth season of The Boys will start streaming via Prime Video sometime in 2024 — we'll update you with an exact date when one is announced. Read our reviews of The Boys season three and Gen V.
The 2023 FIFA Women's World Cup is over. Sadly, the Matildas didn't win. But the Sam Kerr-led squad just kept making history, including scoring Australia's best-ever placing by coming in fourth and notching up the country's most-watched TV event since 2001 — and likely ever. Those are all phenomenal feats. They're statue-worthy achievements. Also, they're the kind of accomplishments that've deservedly had the whole nation talking. And, in great news for fans of the world game, captain Kerr isn't done inspiring everyone yet. No one will ever forget the champion striker's stunning goal against England. No one will ever forget the entire Australian national women's soccer team's efforts throughout the whole competition. And, plenty of Aussies now want to be just like Kerr, Mackenzie Arnold, Caitlin Foord, Katrina Gorry, Steph Catley, Hayley Raso and their fellow footballers. Enter Kerr's own football school for kids. First, the key point for all Kerr-adoring adults: this football academy is only for children, both girls and boys, aged 3–14. Of course, seeing an Australian sporting champion helping to bring about the next generation of football heroes is truly excellent. Every kid is probably trying to recreate that spectacular goal now anyway — and now they can learn how to at Kerr's own academy. If Kerr did decide to lend her name to a version for women, it'd be huge. Who wouldn't sign up? Unsurprisingly, the replies to the Matildas and Chelsea star's Instagram post announcing the venture are filled with adults wanting their own Kerr academy. View this post on Instagram A post shared by Sam Kerr (@samanthakerr20) "Sam Kerr Football will provide players with a world-class program to be delivered by high-quality coaches, all with a focus on ensuring that young players fall in love with football the same way I have," said Kerr in a video announcing the school. Participants will not only level up their soccer skills, using training plans and sessions that've been whipped up by top Aussie soccer experts, but will take part in a holistic initiative that also covers health and wellbeing. Developing self-awareness, learning to overcome adversity, regulating emotions and understanding the importance of mindset will all be covered, as well as nutrition, rest and recovery, and injury management. There'll also be digital and media training — age-appropriate, of course — including preparing players for the kind of off-field press attention that Kerr has become used to. [caption id="attachment_913581" align="alignnone" width="1920"] LittleBlinky via Wikimedia Commons.[/caption] The program will launch for enrolments in 2023, with a 2024 start date. Exactly where it will operate is yet to be announced, but there'll be multiple sites. Right now, the academy is open for expressions of interest for players — and for coaches, partners and franchises, with the latter meaning that you can own your own Sam Kerr Football School. If you have or know a child that'd love to be involved, the academy will do free trial sessions — one lesson only — and charge a fee after that. Kids will also need to don a Sam Kerr uniform, which might be the easiest uniform to get them to wear. Training days are yet to be finalised, and will vary per school, but some centres will offer holiday programs. [caption id="attachment_913019" align="alignnone" width="1920"] LittleBlinky via Wikimedia Commons.[/caption] And if your child wants to meet Kerr — don't we all? — the school advises that "Sam's expertise and oversight is an integral part of Sam Kerr Football; however, as a star athlete, opportunities for her to meet young players are limited". "There may be some events and opportunities through your child's journey with Sam Kerr Football where Sam will be available to participate. Details of these occasions will be shared as they are known." Sam Kerr Football will open for enrolments later in 2023, and launch in 2024. To register your interest or for more information, head to the Sam Kerr Football website.
Zipping around the city running errands can be difficult without a bicycle accessory to hold all your belongings — backpacks get heavy and bags hanging off handlebars get caught in wheels. So counter this, Yeong Keun Jeong and Aareum Jong have created Reel, an invention that attaches to your bike frame using woven elastic and adhesive silicone buttons. This simple yet effective design comes in two parts: one long piece of elastic and a sheet of clear plastic buttons. By attaching the buttons evenly along the bike frame, Reel stops the elastic from sliding to the bottom of the frame by looping the elastic in a diamond shape. Acting as a woven basket, the elastic holds your items in place along the triangle frame so you can ride off into the sunset or down the street with whatever tickles your fancy in tow.
Hong Kong is almost close enough (an eight-hour plane trip) to justify a long weekend away. Doing it cheap isn't easy, and what would particularly be the point? As one of the world's most expensive cities, especially for hotels, it's all about bling. Eating out can be more affordable than the top end of Australian restaurants, with obviously superior Cantonese dining options, but drinking in the hipper bars will set you back $10 a beer. If you want cheap, go to Thailand. If you want style, go to Hong Kong. The main socialising districts are Hong Kong Island, traditionally where it's all happening, and Kowloon across the harbour, its less glamorous cousin, although that's changing. Italian and French dining is in vogue at the moment, with Caprice and Pierre the top-dollar and high-rise favourites. Further down the cheap food chain are the Canto picks. The Chairman and Fook Lam Moon offer traditional Chinese cooking with a modern flair, rejecting the MSG of the local diners. The owner of The Chairman, Danny Yip, owns three Chairman restaurants in Canberra and prides himself on an organic approach to crab and dumpling feasts. Spring Moon is an upmarket 1920s-style teahouse bang in the middle of a five-star hotel, with ornate surroundings. If you want more exclusive surroundings, Yard Bird does take bookings and is the hot new place to be seen by local celebrities. Drinking is synonymous with views of the harbour, with most bars perched on top of swish hotels. Among the most popular are Hutong, which is a faux traditional restaurant with an indoor mezzanine bar above the private dining rooms and red lanterns overlooking the skyscapers of Hong Kong Island. For outdoor boozing, head to Eyebar (level 30, 63 Nathan Rd, Tsim Sha Tsui, Kowloon) for a vertigo-inducing vista, Ozone, apparently the highest bar in the world, or Sugar in the East hotel. More down-to-earth reveling can be found at the Kee Club, a members-only den with private rooms decorated like libraries and it hosts open club nights on the weekend. It's near Lan Kwai Fong, the main drinking area for visiting drunkards, which is open to the early hours and home to all-night clubs. It's not particularly cheap, but Hong Kong does offer expensive memories.
“My father passed away when I was three. It was only this year that I realised that he was just thirty when he died. So, if I make it through this year alive, I’ll outlive my own father, which is crazy. And that’s why my album is called Thirty One. Apparently he was a really amazing musician, so I think that’s where I got my music from.” Brisbane singer-songwriter Jarryd James has had one heck of a year. The 31-year-old former teaching student's debut LP Thirty One drops September 11, but he's already blitzed the Australian charts and festival circuit. Since his single, ‘Do You Remember?’ hit number two on the ARIA charts in February, James has been living in a dream-like state, selling out huge national venues like Sydney's Metro Theatre and playing to one of Splendour's biggest crowds. “There was no way I was expecting that,” he said. “It’s been incredible. I don’t think I’ve really had a chance to process it properly.” ‘Do You Remember?’ has now racked up more than 2 million Youtube views, and he's just released a single co-written with Julia Stone. And that's all in one year. We caught the Brisbane singer on the day of his debut album launch, to head back to the beginning, to chat about singing up a storm in his bedroom, the tapes his mum used to play and how the heck he worked with Frank Ocean and Lorde's producers. ON TRAINING HIS VOICE USING HIS MUM’S TAPES Despite a furiously busy year of fast fame, James's deceptively simple track has years of work – and listening – behind it. James started singing when he was just a kid. “I never had any training or anything like that. I’d put tapes on and just sing along. I listened to a lot of Stevie Wonder, Harry Nilsson, The Beatles and Bob Dylan — all the staples, I guess. And the stuff my mum had in her tape and record collection. Singing is all about listening, really, more than it is about making noise. You need to listen to what’s happening and adjust your voice accordingly. I spent a lot of time listening to other singers and figuring out how they did it.” ON BEING A SHY BEDROOM SINGER Even though singing came naturally to James, performing was a different matter. “As a teenager, I never sang in front of anyone else. I was ridiculously shy and the thought of it made me feel sick.” It wasn’t until James was 19 that he worked up the courage to sing in public, which launched a decade of music-making — from touring independently to playing bass with good mate Matt Corby. And now the tables have turned — performing is now James's "favourite part". "It’s one thing to record a song and go back and change things. But when you’re performing in a room, it’s in real time. It’s happening there and then, and it has its own energy, which I find a bit addictive. There’s no other thing in the world that makes you feel like that. It’s amazing. The bigger the crowd, the easier it is … The only time I get nervous is when it’s some awkward thing, like a label showcase, where there are twenty people staring at you in a silent room.” ON WORKING WITH LORDE AND FRANK OCEAN'S PRODUCERS Jarryd recorded Thirty One in Auckland, Los Angeles, Melbourne and Sydney, with the input of three seriously Big Time producers — Joel Little (Lorde, Broods), Malay (Frank Ocean) and Pip Norman (Urthboy, Dan Sultan). As a result, listeners can expect twelve melodic, laidback tracks, including ‘Do You Remember?’, as well as the also already-released ‘Give Me Something’ and ‘Regardless’ (featuring Julia Stone). So what kind of sound does a Brisbane boy and Frank Ocean's producer come up with? “Nothing was forced. We were all on the same page musically and we decided that we should see what happens. We weren’t trying to force out any hits or any of that shit. We enjoyed each other’s company first and foremost, and we made music according to that. I don’t care at all about what anyone’s done previously or what their status is or what their name is. I care about what their agenda is with music and what they value when they’re writing and producing.” ON SIMPLICITY AND HONESTY Jarryd describes his most important musical values as “simplicity and honesty. A lot of [the music on Thirty One] is quite emotional. It is stuff that’s flowed out of me … I try to let my subconscious lead the writing process and switch my brain off as much as I can. I’ve learnt to trust that. When I over-think and second-guess, that’s when I get myself in a bit of a rut, creatively. I think the main thing I focus on is not focusing. It sounds weird but it does work for me. "I don’t even let myself think about fears that I have because I’m the kind of person, if I get down that path, it’ll kind of maybe mess me up a bit. But my hopes are that I can keep on doing this for a long as I can – that being decades and decades. I want to be able to make enough money to live off and support other musicians and help as many people as I can. I have a very blessed life now so I want to be able to pass that on." Jarryd James' debut album Thirty One is out September 11 via Universal Music. Images: Universal, Ian Laidlaw (Splendour)
Here's your chance to thank a major enabler of your binge TV habit. The man responsible for bringing you 3720 hours of glee, revulsion, frustration and satisfaction, Breaking Bad creator Vince Gilligan, is coming to Australia. He'll be making one exclusive appearance at the Sydney Town Hall as part of the Sydney Writers' Festival (an early part; he's here May 1 while the rest of the festival kicks off May 19). The discussion will zero in on Gilligan's creative process and presumably provide a platform for all your Better Call Saul-related questions. Even though Gilligan might be the most 'read' writer at the festival, there's plenty else in the program announcement to warrant attention and ticket-getting. Big international names include that other confounding New Zealand prodigy, 2013 Booker Prize winner for The Luminaries Eleanor Catton (who is, we're constantly being reminded, 28). There's also right-of-passage author Irvine Welsh, journalist/press freedoms fighter Jeremy Scahill, Super Sad True Love Story writer/famous blurbist Gary Shteyngart, and Eimear McBride, who in 2013 threw out the laws of grammar and emerged with the bizarrely comprehensible A Girl Is a Half-Formed Thing. Artistic director Jemma Birrell doesn't appear to be trying to reinvent the wheel or tweet the wheel or performance art the wheel; the 2014 Sydney Writers' Festival is geared towards solid programming that mixes interesting minds. "Over 400 writers will bring their insight and knowledge, their creativity and contemplation, to help us see life from a different perspective," she says of the festival. Bondi Beach and Bowral are new venues, and there's a fun-looking series putting the spotlight on Literary Friendships (it generously counts siblings as friends, so writers Benjamin and Michelle Law are included). Now a fixture of the festival, the Chaser-run Festival Club is where things will get relaxed and sweary at the end of the day. The Sydney Writers' Festival is on May 19-25 (apart from lone wolf Vince). Tickets are on sale from 9am on Friday, April 4, via the festival website.
It's time to get festive beneath one of Newstead's most striking features: the Gasometer. Across four nights in December, The Market Folk is taking over the eye-catching Gasworks space, bring a heap of stalls with it and helping you finish your Christmas shopping — because, let's face it, no one ever gets 100-percent of their gift buying done too far in advance. From 5–8pm on Thursday, December 12–Friday, December 13, and from 10am–2pm on Saturday, December 14–Sunday, December 15, the Gasworks Plaza precinct will be home to market stalls, artisanal workshops, rack sales selling pre-loved clothing and live music — and activities for kids, too. If you're wondering just what kinds of presents you can expect to pick up, think fashion, art, homewares and ceramics — and plants as well. There'll be a particular focus on Brisbane creatives, so you'll also be gifting them some Christmas cheer by supporting their hard work. Image: Andrew S via Flickr.
Julian Assange, founder of WikiLeaks, took to the small screen on Tuesday with his new talk show, The World Tomorrow. Assange and his first interviewee, the Hezbollah leader Hassan Nasrallah, chatted companionably (with the aid of of translators) via video chat. Nasrallah spoke from an undisclosed location in Lebabnon, and Assange from the UK, where he is under house arrest. The interview marked Nasrallah's first Western interview since 2006. The World Tomorrow is carried by Russia Today (RT), a Kremlin-backed English-language news network and website with an anti-American undertone. Created by Vladimir Putin in 2005, RT aims to promote the Kremlin line abroad; it is also broadcast in Spanish and Arabic. Assange is noted for his involvement in a 2010 mass release of secret government documents. Though he was supported by the cooperation of several news organisations (including the New York Times), Assange was the only one involved to fully disclose the documents' details, names and all. He published the documents on his website, and has since become a target of controversy. Though no TV host natural, Assange covered a wide range of interesting topics, including issues in Syria, Lebanon, and Israel, with Nasrallah on Tuesday night. The interview was thought-provoking and fresh, leaving audiences guessing what could be coming up in future episodes. https://youtube.com/watch?v=GDLXPpooA18 [via Pedestrian]
Back in 2019, the thought of spending August in Melbourne doing anything other than sitting in a darkened room watching movie after movie would've sounded like flat-out cinephile blasphemy. Thankfully, after two pandemic-affected years that put Melbourne International Film Festival's in-person plans on hold not once but twice, that idea won't be a reality in 2022. Yes, the city's major cinema celebration is back in its best guise this year — and it'll have you making grooves in your favourite ACMI, The Capitol, Forum, Hoyts Melbourne Central, IMAX, Kino Cinema and Cinema Nova seats for most of the month. You'd better stock up on healthy mid-film snacks now, given you'll soon have a massive 371 features, shorts and extended-reality titles to watch. You'd best start training for all that time spent sitting down, too. Hitting cinemas for the first time in three years after pivoting online in 2020 and 2021 out of lockdown-fuelled necessity, MIFF is returning to Melbourne's picture palaces with a bang between Thursday, August 4–Sunday, August 21. That's already been obvious since back in June, when the fest unveiled its first 33 flicks for this year, its 70th event — and now that the full 2022 lineup has dropped, it keeps proving accurate. Among the just-announced new highlights, MIFF will boast the Australian premiere of The Stranger, a true-crime thriller starring Joel Edgerton (Obi-Wan Kenobi) and Sean Harris (Spencer), as directed by Acute Misfortune's Thomas M Wright; the local debut of Aftersun, another straight-from-Cannes pick led by Normal People's Paul Mescal; a big session of Three Thousand Years of Longing, the Tilda Swinton (Memoria)- and Idris Elba (The Harder They Fall)-starring latest from Mad Max: Fury Road's George Miller; and also David Cronenberg's Crimes of the Future, the iconic filmmaker's first feature since 2014's Maps to the Stars. Also massive: the Aussie premiere of documentary Moonage Daydream. As the title instantly makes plain to fans of David Bowie, it's all about the music icon, with Cobain: Montage of Heck and Jane filmmaker Brett Morgen creating a collage that steps through the singer's life using restored and never-before-seen footage. Or, there's also Decision to Leave, a noir romance that saw Korean filmmaker Park Chan-wook (Stoker, Oldboy) win Cannes' Best Director gong — and documentaries by Ethan Coen (The Ballad of Buster Scruggs), making his solo directing debut by surveying Jerry Lee Lewis; and Luca Guadagnino (Call Me by Your Name), about shoe designer Salvatore Ferragamo. In 2022, MIFF is debuting a new competition, too, which'll boast a $140,000 Best Film Award. Called Bright Horizons, it'll feature 11 movies vying for the prize — including the aforementioned The Stranger and Aftersun, Mexican drug trade drama Robe of Gems, cyber-musical Neptune Frost, Sundance Special Jury Award-winner Leonor Will Never Die, and Aussie filmmaker Alena Lodkina's (Strange Colours) second feature Petrol. The list of MIFF highlights also covers Palme d'Or winner Triangle of Sadness, which satirises the mega rich, is directed by Force Majeure's Ruben Östlund, and marks his second Palme win after The Square; and Broker, the latest from acclaimed Japanese filmmaker Hirokazu Kore-eda, who won the Palme d'Or back in 2018 with the sublime Shoplifters. This time, the latter has made a movie in Korea — his first Korean-language film, in fact, starring Parasite's Song Kang-ho, who won Cannes' Best Actor Award — with Broker again exploring the ties that bind and the connections of family. Other Cannes award-recipients in MIFF's program include joint Cannes Grand Prix-winner Stars at Noon, which sees Claire Denis (High Life) direct Margaret Qualley (Maid) and Joe Alwyn (Conversations with Friends) in an erotic espionage tale; Tori and Lokita, which nabbed the Cannes 75th Anniversary Prize for Jean-Pierre and Luc Dardenne (Two Days, One Night); Holy Spider, an Iran-set true-crime serial killer thriller by Ali Abbasi (Border), and the recipient of Cannes' Best Actress Award for star Zar Amir Ebrahimi (Tehran Taboo). And, the lineup of must-sees also spans Blaze, a mix of live-action, puppetry and animation directed by acclaimed Aussie artist Del Kathryn Barton; Mass, which follows the aftermath of a school shooting; Australia's own Seriously Red, a SXSW hit about a Dolly Parton impersonator; and One Fine Morning, from acclaimed French filmmaker Mia Hansen-Løve (Bergman Island). Or, there's Shadow by theatre company Back to Back; War Pony, which scored Zola actor-turned-filmmaker Riley Keough and co-director Gina Gammell Cannes' Camera d'Or; and Marcel the Shell with Shoes On, the stop-motion comedy based on the shorts and books of the same name, which screens just before Jenny Slate hits town for Melbourne Writers Festival. MIFF's genre selection is always a treat, and 2022 is no different. That's where you'll find standouts such as Bodies Bodies Bodies, the A24 horror-comedy starring Rachel Sennott, Amandla Stenberg and Pete Davidson; Canberra-shot social media-skewering delight Sissy; and Something in the Dirt, the latest mind-bender directed by and starring Justin Benson and Aaron Moorhead (The Endless). The fest is also dedicating its filmmaker retrospectives to Hungarian auteur Márta Mészáros and French-Bosnian writer/director Lucile Hadžihalilović — and, obviously, all of the above and more joins the heap of already-announced flicks, such as opening night's coming-of-age feature Of an Age, a Hear My Eyes session of Chopper, the Aubrey Plaza (Best Sellers)-starring thriller Emily the Criminal, and horror-comedy Mona Lisa and the Blood Moon from A Girl Walks Home Alone at Night's Ana Lily Amirpour. Also, in fabulous news both for Melburnians and for movie buffs interstate, MIFF will still keep its online program in 2022 — an unsurprising move given that in 2020, when it first made the leap to streaming the fest in a big way, it enjoyed its biggest audience ever. This year, MIFF Play will be available from Thursday, August 11–Sunday, August 28, making the festival run for almost a month in-person and digitally, and will show 105 features and shorts. And, during its in-cinema stint, MIFF is going suburban, too, with sessions at Melbourne cinemas The Astor, Lido, Pentridge and Sun Theatre from Friday, August 12–Sunday, August 21 as well. It'll also hit up regional Victorian venues in Bairnsdale, Bendigo, Bright, Castlemaine, Echuca, Geelong, Mildura,Sorrento and Warrnambool during the same dates. The 2022 Melbourne International Film Festival runs from Thursday, August 4–Sunday, August 28 at a variety of venues around Melbourne and Victoria, and online. For further details, including tickets from Friday, July 15 — and MIFF member pre-sales on Wednesday, July 13–Thursday, July 14 — visit the MIFF website.
He's back! It's been eight long years since we first heard Thom Yorke's glitchy solo grooves in The Eraser now, out of nowhere, he's dropped a sneaky surprise album overnight. Tomorrow's Modern Boxes sees Yorke return to his trademark sound with a full LP of sneaky sneakster electronica. But you won't find this album in stores just yet. As always, Yorke has something else in mind. Similar to the release of Radiohead's In Rainbows where fans could pay whatever they wanted for an online download, Tomorrow's Modern Boxes has been released via BitTorrent. It's a bold move. Seeking alternative methods of distribution, Yorke has chosen to embrace the technology the music industry struggles with the most. The album, in fact, is the world's first paygated BitTorrent bundle. "It's an experiment to see if the mechanics of the system are something that the general public can get its head around," reads a statement on the Radiohead website. "If it works well it could be an effective way of handing some control of internet commerce back to people who are creating the work." By releasing the music direct to the public, artists are able to keep a much larger share of the profits. For each album sold, BitTorrent reportedly takes a 10 per cent cut and Yorke gets the remaining 90. This combined with the savings on production and publicity means they are able to set the price at a mere US$6. Score. "It it works, anyone can do this exactly as we have done," the statement reads. "[This would enable] those people who make either music, video or any other kind of digital content to sell it themselves. Bypassing the self elected gate-keepers." BitTorrent's CCO Matt Mason told Mashable that this is a system many artists will soon be employing. And, why not? Unless you work at a record company, it seems like a win-win situation. Tomorrow's Modern Boxes is available for download via BitTorrent now. You can listen to the first single 'A Brian in a Bottle' prior to downloading. But don't be stingy, give this legend his $6 for the full thing.
Every year, once gifts have been given, turkey and prawns devoured, drinks sipped and backyard games of cricket played, the festive season delivers another treat. Whatever you spend your Christmas Day doing, Boxing Day is just as exciting if you're a movie buff — or even simply eager to escape the weather, and your house, to relax in air-conditioning and watch the latest big-screen releases. 2020 might've seen cinemas Down Under spend months empty, with projectors silent, theatres bare and the smell of popcorn fading; however, the country's picture palaces are well and truly back in business. And, they're screening a wide array of Boxing Day fare as always — so at least one thing about this chaotic year is proceeding as normal. If you're wondering not only what's screening, but what's worth your time, we've watched and reviewed the day's slate of new titles. It spans superheroes, sublime dramas, documentaries about spectacular desserts, animated sequels, spy films and more, so don't say you don't have anything to see. https://www.youtube.com/watch?v=DSFpK34lfv0 NOMADLAND Frances McDormand is a gift of an actor. Point a camera her way, and a performance so rich that it feels not just believable but tangible floats across the screen. That's true whether she's playing overt or understated characters, or balancing those two extremes. In Fargo, the first film that earned her an Oscar, McDormand is distinctive but grounded, spouting midwestern phrases like "you betcha" but inhabiting her part with texture and sincerity. In Three Billboards Outside Ebbing, Missouri, her next Academy Award-winning role, she's an impassioned mother crusading for justice and vengeance, and she ripples with deep-seated sorrow mixed with anger so fiery that it may as well be burning away her insides. Now, in Nomadland, McDormand feels stripped bare and still a commanding force to be reckoned with. She's tasked with a plucky but struggling part — defiant and determined, too; knocked around by life's ups and downs, noticeably; and, crucially, cognisant that valuing the small pleasures is the hardest but most rewarding feat. It'll earn her another Oscar nomination. It could see her nab a third shiny statuette just three years after her last. Both are highly deserved outcomes because hers is an exceptional performance, and this is 2020's best film. Here, leading a cast that also includes real people experiencing the existence that's fictionalised within the narrative, she plays the widowed, van-dwelling Fern — a woman who takes to the road, and to the nomad life, after the small middle-America spot where she spent her married years turns into a ghost town when the local mine is shuttered due to the global financial crisis. A slab of on-screen text explains her predicament, with the film then jumping into the aftermath. Following her travels over the course of more than a year, this humanist drama serves up an observational portrait of those that society happily overlooks. It's both deeply intimate and almost disarmingly empathetic in the process, as every movie made by Chloe Zhao is. This is only the writer/director's third, slotting in after 2015's Songs My Brothers Taught Me and 2017's The Rider but before 2021's Marvel flick Eternals, but it's a feature of contemplative and authentic insights into the concepts of home, identity and community. Meticulously crafted, shot and performed, it truly sees everyone in its frames, be they fictional or real. Nomandland understands their plights, and ensures its audience understands them as well. It's exquisitely layered, because its protagonist, those around her and their lives earn the same term — and Zhao never forgets that, or lets her viewers either. Read our full review. https://www.youtube.com/watch?v=dINWTUPkLqs WONDER WOMAN 1984 When it hit cinemas three years ago, the first movie about Princess Diana of Themyscira — also known as Diana Prince — stood out. Even though the DC Extended Universe started five years after the Marvel Cinematic Universe, DC bested its rival by focusing on a female character in its fourth film (for Marvel, it took 21 movies, only achieving the feat with 2019's Captain Marvel). DC didn't waste its opportunity, either. Wonder Woman isn't a mere cookie-cutter superhero flick, just focusing on a character of a different gender. It champions understanding and emotional intelligence, handles its engaging origin story with sincerity and warmth, and unfurls an adventure where both strength and vulnerability exist in tandem. It also relays a fulfilling tale; a sequel was inevitable, but the initial movie didn't just whet the audience's appetite for the next, plus all the other caped crusader films certain to follow. That second effort is now here but, sadly, it doesn't continue its predecessor's best achievements. No matter how much returning director Patty Jenkins and the powers-that-be behind the DCEU hope that Wonder Woman 1984's viewers sport an expression of wonder — and how much they believe that simply making a sequel to their 2017 blockbuster is enough to cause it — the movie doesn't earn much more than a resigned sigh. In Wonder Woman 1984, Diana (Gal Gadot, Justice League) tells everyone again and again that being truthful is far more important than anything else. That, and taking a more-is-more approach, are the feature's main driving forces. Jumping forward almost seven decades within the Wonder Woman films' timeline, Diana has taken up an anthropologist job at the Smithsonian, and turned swinging through malls on her Lasso of Truth to fight crime into her side hustle. But then insecure archaeologist Barbara Minerva (Kristen Wiig, Where'd You Go, Bernadette) starts working beside her, gets tasked with assessing a mysterious gem, and lets Donald Trump-esque infomercial salesman Maxwell Lord (Pedro Pascal, The Mandalorian) take the strange object home with him. It's no ordinary rock, however. It grants wishes, so Maxwell wants to take advantage of that power — and, unknowingly, both Diana and Barbara have already uttered their dreams aloud while holding the stone. These fantasies come at a cost, of course, even before Maxwell uses his to try to take over the world. Wonder Woman 1984 doesn't spin the most complicated story, but it's so repetitive and meandering across its 151-minute running time that it's needlessly bulky, muddled and weighed down. It also pushes Gadot to the side far too often; this sequel certainly knows how to trot out well-worn beats packaged as part-upbeat heroism, part-social satire, but it just doesn't realise where its true strengths reside often enough. Read our full review. https://www.youtube.com/watch?v=uan6MDxf3wU OTTOLENGHI AND THE CAKES OF VERSAILLES Marie Antoinette didn't actually say "let them eat cake", no matter how often the statement is misattributed to the 18th-century royal before her date with the guillotine. But New York's Metropolitan Museum of Art was surely hoping she would've approved of its hedonistic June 2018 food gala, which tied into the venue's Visitors to Versailles exhibition in the same year — and, in line with the place and period under the grill, put decadence on the menu. Overseeing the spread of desserts fit for a queen: renowned Israeli English chef and restaurateur Yotam Ottolenghi. He didn't make the Feast of Versailles' lavish cakes himself; instead, he trawled Instagram to source and select five pâtissiers known for delicious, innovative and aesthetically appealing wares. He found them, too, enlisting Dominique Ansel, the NYC-based French pastry chef who invented the cronut; Sam Bompas and Harry Parr, the London food artists known for their striking jellies and unique food events; architecturally trained Ukrainian Dinara Kasko, who approaches her desserts with the same design principles; Ghaya Oliveira, an award-winner and veteran at the Michelin-starred Restaurant Daniel; and Singapore's Janice Wong, who aims to turn chocolate into edible art. The exacting theme that views art and history through an untraditional lens, the melding of varying creative arenas, the roll call of significant names in their field, the theatricality on display, the iconic setting — if it all sounds a bit like a culinary version of The Met Gala, that was undoubtedly the intention, too. This was no ordinary serving of sugar. So it shouldn't come as a surprise that, as the venue's fashion-focused event did before it, Feast of Versailles has also earned the documentary treatment. Where The First Monday in May chronicled the preparations for 2015's Met Gala, Ottolenghi and the Cakes of Versailles does the same with the quest to recreate the Palace of Versailles' gardens with chocolate and multi-coloured fondant, whip up a tiered mousse cake that resembles the French castle's sculptured detail, and pair them all with swan-topped pastries, wobbling palace-shaped jellies and a cocktail-filled whirlpool fountain. Viewers of cooking-focused reality television will know what's in store. That may not be the comparison one expects with a doco about a Met event, but it fits, with documentarian Laura Gabbert (City of Gold) taking a superficial and straightforward approach. That seems to be what happens in docos about Met events, and it's always noticeable. Accordingly, Ottolenghi and the Cakes of Versailles is glossy, gleaming eye candy for those with a sweet tooth. It never feels like a full meal, though. Read our full review. https://www.youtube.com/watch?v=nEUWGWMsMQk HOW TO BE A GOOD WIFE After starring in High Life, Who You Think I Am and The Truth, all in just the past two years, Juliette Binoche adds another eclectic role to a resume that has deserved that term for decades. How to Be a Good Wife takes its radiant star back to 1967, to Alsace in Eastern France, and to a school designed to mould bright-eyed teenage girls into dutiful and subservient future housewives. Binoche's casting is a sign, thankfully. The film starts out following her character, the prim and proper Paulette Van der Beck, as she runs Van der Beck's School of Housekeeping and Good Manners for her husband Robert (François Berléand, Someone, Somewhere). She preaches the seven pillars required to ensure all her pupils fit her ideal vision of womanhood, with her single sister-in-law Gilberte (Yolande Moreau, The Summer House) assisting as the facility's cook, and superstitious nun Marie-Thérèse (Noémie Lvovsky, The End of Love) helping keep the girls in check. Of course, with the school part of Robert's family for decades, it isn't actually Paulette's own picture of feminine perfection that she's espousing. She might not have realised that fact, however, if her current cohort of students — the site's smallest for years, arriving with the 60s in full swing and as protests are beginning to sweep the nation — weren't instantly bristling against the notion that their lives should be spent in service to men. An unexpected tragedy also complicates matters, with an uprising soon threatening not just France in general, but one of the places that has upheld and instilled the patriarchal status quo and the conservative stereotypes that go with it. As directed by Martin Provost (The Midwife), and co-written by the filmmaker with Séverine Werba (Spiral), How to Be a Good Wife flits between playfully satirical and earnestly rousing as it charts Paulette, Gilberte and their students' journey — and yes, the fact that two of the main characters have feminised versions of male names as their own is emblematic of the movie's knowing approach. Binoche is the lynchpin, stepping into Paulette's shoes with sincerity as well as winking, nudging spirit; she's well aware of exactly the kind of woman she's playing, and the attitudes she's parodying as well. But, while the talented actor is posed and poised in a purposeful and often amusing way, the film itself doesn't always strike the same balance. It's easy to smile and internally cheer along with How to Be a Good Wife (and to revel in its period costuming and decor, too), but it's also just as easy to see when and where it overplays its comedic hand. One such example: the film's out-of-left-field climax, which is both glorious and clunky all at once. https://www.youtube.com/watch?v=A49o54i3OGI END OF THE CENTURY Memories and dreams are our brain's version of time travel; escape into either, and you can relive the past and ponder a possible future without the need for a Delorean or a telephone booth. New York-based Argentinian poet Ocho (Juan Barberini, Penelope) experiences that sensation in End of the Century, a queer romance that takes Weekend's lusty meet-up, combines it with Call Me By Your Name and Monsoon's passion abroad, and turns it into an evocative contemplation of love, sex, connection, choices, and roads both taken and forsaken. After more than ten minutes of dialogue-free, naturalistically lensed footage, watching Ocho rove around Barcelona, check into his holiday rental, sun himself at the beach and notice Javi (Ramon Pujol, Gran Nord), the film jumps into a vacation romance. Ocho and Javi strike a chord quickly, both physically and emotionally, and get deep just as swiftly in their post-coital conversation. To Ocho, there's a familiarity about the situation, as there should be. First-time feature writer/director Lucio Castro then leaps back 20 years earlier — before Ocho was fresh into a break from his partner of two decades, and before Javi had a daughter with his husband of four years — with the two men also crossing paths at the prior time. From the outset, one certainty is apparent: End of the Century favours understatement. That's true in how it unfurls the different parts of its narrative, and how they connect together; in the movie's performances, including from the beguiling Barberini when he's alone and surveying Barcelona; and in the feature's choice to peer on at Ocho and Javi's multi-layered story, and find both intimacy and distance depending on whatever the mood and scene calls for. As a result, it's a film that can seem slight, but also heaves with feeling at every moment. Castro knows the difference between unnecessarily complicating a narrative, and mining a situation's inherent complexities. He puts that awareness to excellent use, and draws viewers further into the movie's tale as a result. And, he benefits from his excellent casting choices — because making a feature that's both stripped bare and has its own authentic twists requires much of the folks within its frames. There's a slipperiness to End of the Century, too, as Ocho's experiences play out in various time periods. As this tender movie moves seamlessly back and forward, the audience is so enraptured with Ocho that they take the emotional journey with him. https://www.youtube.com/watch?v=TbZgLKjrdnA A CALL TO SPY "I want you in charge of recruiting some ladies," Vera Atkins (Stana Katic, Castle) is told in one of A Call to Spy's early scenes. The film's title makes it plain exactly what her colleague is referring to, and this specific piece of dialogue — and many more like it — demonstrates just how overtly the movie intends to proceed. This isn't a nuanced drama. It's inspired by true stories, but it rarely even flirts with the type of depth and detail that reality serves up. Still, by telling the tales of three women who became British spies in France during World War Two, all as part of Winston Churchill's ongoing effort to use unexpected means within the government's newly created Special Operations Executive to defeat the Nazi regime as it strengthened across Europe, it plunges into an important part of history. This chapter from the not-too-distant past springs from a familiar pile, after all. If you haven't heard of Atkins, Virginia Hall (played by Sarah Megan Thomas, who also penned the screenplay) and Noor Inayat Khan (The Wedding Guest), that's understandable; their lives, like those of many other women who've achieved commendable and crucial feats, haven't received the attention they should. That feeling ripples through A Call to Spy and, while it can't lift this Lydia Dean Pilcher (Radium Girls)-directed movie alone, it definitely leaves an imprint. Initially, Atkins is A Call to Spy's focal point. Charged with enlisting women who are "passionate about stopping Hitler" (another of the movie's needlessly clumsy lines), she finds several. Because she has a Jewish Romanian background, Atkins also receives more scrutiny within her own organisation than she should — an experience shared with Hall, who has a prosthetic leg; and Khan, who is of Indian Muslim heritage; and also heightened because of stereotypical opinions on gender anyway. Pilcher follows her three determined protagonists as they are initiated into their new roles, and into the field, while always viewing the many obstacles in their way. In the process, her film doesn't overcome the usual war-movie tropes that countless others have relied upon over the past 75 years, but it always endeavours to see them through Atkins, Hall and Khan's shared and individual ordeals. Even though it lacks in subtlety, A Call to Spy is nonetheless workmanlike that way, recognising that the stories it's relaying are important and moving enough, and that it can convey plenty by honing in on its characters' professional activities. It helps that Katic, Thomas and Khan all turn in involving performances, although Thomas wrote herself the best role. https://www.youtube.com/watch?v=2V6EXulQHjA THE CROODS: A NEW AGE Cavemen (and women) were people, too, and there was more to their lives than simply dwelling inside rocky crevices. That's an overly simplistic summary of 2013's animated hit The Croods, of course. Intricacy wasn't a big part of this big-screen successor to The Flintstones, though, or its messages of togetherness, seeing past immediate perceptions and rising to face all challenges. The film took a family of neanderthals — including teenage daughter Eep (Emma Stone, Zombieland: Double Tap), her overprotective father Grug (Nicolas Cage, Color Out of Space), far more carefree mother Ugga (Catherine Keener, Kidding), siblings Sandy (debutant Kailey Crawford) and Thunk (Clark Duke, Veronica Mars), and grandmother (Cloris Leachman, Mad About You) — then disrupted their literally sheltered existence. Not only were the titular characters pushed out of their comfort zone, but they were thrust into the orbit of homosapien Guy (Ryan Reynolds, 6 Underground), who Eep quickly fell for with a teen's intensity. Everyone had to adjust, naturally, and an average all-ages friendly comedy ensued. So did big box office numbers, sparking sequel The Croods: A New Age, the return of its predecessor's high-profile voice cast, and a new storyline that stresses the same sentiments. This time around, in a film directed by feature first-timer Joel Crawford, (a storyboard artist on The SpongeBob Movie: Sponge Out of Water, Trolls and The Lego Movie 2: The Second Part), The Croods are well-acquainted with roaming the big, wide, wild and dangerous prehistoric world. But Eep and Guy start thinking about a different kind of life — one that doesn't involve sleeping on the family pile, for starters — so the still controlling Grug tries to find everyone a new permanent home. And he thinks he has done just that in the vast walled-in gardens inhabited by Phil (Peter Dinklage, Game of Thrones) and Hope Betterman (Leslie Mann, Blockers) and their daughter Dawn (Kelly Marie Tran, Star Wars: Episode IX — The Rise of Skywalker). Alas, this seeming paradise isn't everything that it appears. Once again, this franchise opts for narrative and thematic simplicity and even crudeness, and for a zippy pace and onslaught of colour and movement designed to excite younger viewers. Once more, it's a standard affair all-round, and delivers little other than Cage and Stone's to-type voice work for the adult members of the audience. It's entertaining to hear Cage's voice bellow from Grug, in the same way that it's entertaining to see and/or hear him to anything (like swear in Netflix's upcoming series), but it doesn't help an over-energetic, giddily lively rehash of a past hit exceed its basic template, or do more than merely hit its marks. If you're wondering what else is currently screening in cinemas — or has been throughout the year — 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, and December 17. You can also read our full reviews of a heap of recent movies, such as The Personal History of David Copperfield, Waves, The King of Staten Island, Babyteeth, Deerskin, Peninsula, Tenet, Les Misérables, The New Mutants, Bill & Ted Face the Music, The Translators, An American Pickle, The High Note, On the Rocks, The Trial of the Chicago 7, Antebellum, Miss Juneteenth, Savage, I Am Greta, Rebecca, Kajillionaire, Baby Done, Corpus Christi, Never Rarely Sometimes Always, 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 and The Furnace.
Since first making a big-screen splash in 2016's Lady Macbeth, in just her second film role, Florence Pugh has just kept proving an on-screen force to be reckoned with. In everything from Fighting with My Family and Little Women through to Black Widow — and including excellent TV series The Little Drummer Girl as well — she's gone from strength to strength. In Midsommar, too, she put in an all-timer while coping with the creepiest of creepiest scenarios. As that horror gem showed, Pugh also gives great reaction shots, especially when she's playing someone who is facing a terrifying nightmare. That's the situation the British actor finds herself in again in Don't Worry Darling — and, based on the initial and just-dropped second trailers, Pugh is in phenomenal form once more. When the two sneak peeks start, life is dreamy for Alice, her character; however, that unravels quickly. In the second feature from actor-turned-filmmaker Olivia Wilde (Booksmart), Alice gets stranded in the worst kind of 1950s ordeal despite all initial appearances to the contrary. Victory, the community where she's just moved to with her husband Jack (Harry Styles, Eternals) appears picture-perfect, but we all know how that can be deceiving. The town is home the men who work for the top-secret Victory Project — such as Jack — and their families, and it's where Don't Worry Darling's central duo are meant to enjoy nothing but bliss. They're given two rules to abide to, though: exercising the utmost discretion and committing 100-percent to Victory's vision, even if the town's wives don't actually know what their husbands get up to all day. That's all well and good — and terrific, in fact for most of Victory's residents — but it stops being the case for Alice. Despite the pervasive optimism of the era, as well as overt reassurances by company CEO Frank (Chris Pine, All the Old Knives) and his wife Shelley (Gemma Chan, Eternals), Alice is certain that all isn't quite what it seems — or that she can or should trust what the company is so determined to impress upon the town's inhabitants. Yes, as immaculate as Don't Worry Darling appears, it's 100-percent a psychological thriller. It gives off huge The Truman Show vibes, too, as Alice refuses to acquiesce. Hitting cinemas Down Under in early October, Don't Worry Darling also co-stars Wilde herself, playing another Victory employee's spouse, as well as Nick Kroll (Our Flag Means Death), KiKi Layne (The Old Guard), Sydney Chandler (The Golden Rut), Kate Berlant (Once Upon a Time in Hollywood), Asif Ali (WandaVision), Douglas Smith (Big Little Lies), Timothy Simons (Station Eleven) and Ari'el Stachel (Zola). Check out the latest trailer for Don't Worry Darling below: Don't Worry Darling releases in cinemas Down Under on October 6. Top image: © 2022 Warner Bros. Enterainment Inc. All rights reserved.
Already home to an entire museum dedicated to dachshunds, Germany is attempting another feat that'll make dog lovers wish they were in the European country — an attempt to break the world record for the most amount of sausage dogs in one place. On Saturday, July 21, dachshunds and their human companions will descend upon Berlin's Dackelranch Lichtenrade — or Dachshund Ranch, fittingly — with amassing 666 elongated pooches their ultimate target. And if you're wondering why the organisers have chosen that number, it's because it eclipses the current world record and then some. At present, the record stands at 601, the number of short-limbed doggos that strolled along a Cornwall beach in England in March this year. That huge canine meet-up beat the previous total, from Wales, by 101 dachshunds (not dalmatians). Those in attendance will see the cute critters wander around a 500-square-metre dog play area — and there'll also be veterinarians on site in case any puppers feel overwhelmed. With the world record attempt organised by dachshund-themed Berlin bar POSH Teckel, there'll also be an after party, although we're guessing the 666 or so sausage dogs won't be trotting along to the evening shenanigans.
In 2023, Australia's east coast joined New York, Hawaii, Mexico and Croatia as a host of Palm Tree Music Festival, the fest filled with folks hitting the decks that was co-founded by Kygo. With one of the event's guiding forces himself leading the lineup — and Tiësto also on the bill — the Down Under debut went down well, so much so that a second spin is on its way. Mark your calendars for December 2024, then, because the festival is returning for round two. 'Stole the Show', 'Here for You', 'Stay' and 'It Ain't Me' talent Kygo isn't on the lineup this time, but The Chainsmokers happily lead the charge instead, ready to bust out 'Closer', 'Something Just Like This' and more. The Grammy-winners' spot on the bill marks Drew Taggart and Alex Pall's first trip to Australia in five years — and get excited about the festival's rendition of 'Don't Let Me Down' because Daya is also on the Palm Tree Music Festival roster. For company so far, Swedish DJ and producer Alesso, the San Francisco-born Gryffin and Harlem's Austin Millz round out the first announcement of acts. Accordingly, everything from 'Words', 'Remedy' and 'If I Lose Myself' to 'Woke Up in Love', 'You Were Loved' and 'Cry' — and also 'Lovely Day', 'Inside Out' and 'Bad Behaviour' — could echo through Palm Tree Music Festival's three 2024 Aussie stops. Just as with its premiere run in Australia, the festival will roll into Sydney, Brisbane and Melbourne, heading to Sydney Showgrounds, Brisbane's Sandstone Point Hotel and Melbourne's Sidney Myer Music Bowl. With its holiday-friendly name, it should come as no surprise that Palm Tree Music Festival takes inspiration from Kygo's stints touring the world. Expect a cruisy vibe set to EDM's greatest and latest, too — this time with the bonus of a summer berth. More names will be announced for the fest's 2024 return Down Under at a later date. Palm Tree Music Festival 2024 Australian Lineup: The Chainsmokers Alesso Gryffin Austin Millz Daya Palm Tree Music Festival 2024 Australian Dates: Friday, December 6 — Sydney Showgrounds, Sydney Saturday, December 7 — Sandstone Point Hotel, Brisbane Sunday, December 8 — Sidney Myer Music Bowl, Melbourne Palm Tree Music Festival returns to Australia in December 2024. Tickets presales start at 12pm local time on Monday, July 8, with general sales from 3pm local time on Friday, July 12. For more information, head to the festival promoter's website. Images: Jared Leibowitz.
Gird your loins for a week of gripping and provocative cinema on the World Movies channel this March. The only station in Australia permitted to show R18+ rated films, their latest marathon features five button-pushing flicks presented in their original, uncut form. From a groundbreaking Korean revenge thriller to a primo slice of bona fide Ozploitation, these are the sorts of movies that need to be seen to be believed. Here are five compelling reasons to tune in. GET A BIT OF THE OLD ULTRA VIOLENCE Director Stanley Kubrick made a career out of dividing audiences, but never to the same extent as he did with 1971's A Clockwork Orange. Adapted from Anthony Burgess’ controversial novella of the same name, this darkly comic dystopian crime film proved so shocking upon its release that the director himself had it pulled from UK distribution for close to 30 years. The violence looks positively tame by today’s standard, but the movie remains a classic all the same. One thing’s for certain: you’ll never think about 'Singin’ in the Rain' the same way again. EXPERIENCE THE NEW FRENCH EXTREMITY...IF YOU DARE As unsettling as the other four films in this marathon may be, none of them hold a candle to Pascal Laugier’s Martyrs. The poster child for a recent trend in French cinema characterised by unflinching violence that makes Hostel look like The Teletubbies, this traumatising thriller has been called “the new yard stick against which all forms of extreme genre films should be measured.” Whether that’s a good thing is up to you. Regardless, it's hard to imagine anyone watching this movie more than once. SEE A VERY DIFFERENT SIDE OF THE AUSTRALIAN FILM INDUSTRY Australian cinema during the early 1970s was a wild wild west of sleaze and cheap titillation. One of the most notorious examples of so-called Ozploitation is Alvin Purple, a ridiculous comic sex romp about a naive young man (Graeme Blundell) who for some inexplicable reason is simply irresistible to women. Full of gratuitous nudity and bawdy humour, the film was panned by critics but proved a hit with local audiences. We’ll leave you to figure out exactly why that was. WITNESS BLOODY VENGEANCE, KOREAN-STYLE A personal favourite of Quentin Tarantino, Park Chan-wook’s Oldboy is one of the most gripping tales of vengeance ever put to film. The movie tells the story of Oh Dae-Su (Choi Min-sik), a man held prisoner for 15 years and then released and given a week to uncover the identity of his captor. In addition to its horrifying twist ending, the film is famous for its incredible one-take fight sequence and a scene in which the lead actor eats a live octopus on camera. Spike Lee recently directed an English-language remake, but the less said about that version the better. GET A GLIMPSE OF MICHAEL FASSBENDER'S FASSBENDER Come for the full-frontal male nudity, stay for the searing portrait of loneliness and addiction in the modern world. Directed by Steve McQueen, who would later go on to make the Oscar-winning 12 Years a Slave, this haunting story about a sex addict (Michael Fassbender) and his volatile relationship with his sister (Carey Mulligan) might well be one of the least sexy films in the history of cinema. Sounds like perfect Friday night viewing to us. World Movies Uncut is on from March 23 - 28, nightly at 9.30pm. Channel 430, only on Foxtel.
A year after making history for being just the third woman ever to win the Best Director Oscar, as well as the first woman in to receive two nominations in that very category, Jane Campion is coming to the 2023 Sydney Film Festival to discuss that stunning achievement and her impressive four-decade career. The New Zealand filmmaker will have much to talk about, including the body of work that's also being showcased in the fest's retrospective called Jane Campion — Her Way. This year's SFF runs from Wednesday, June 7–Sunday, June 18, and it's devoting its spotlight retro programming to the director behind The Piano, The Portrait of a Lady, In the Cut, Bright Star and more — including, of course, the 12-time Academy Award-nominated revisionist western The Power of the Dog. All five films will screen, as will Campion's five-episode debut behind the lens Two Friends, which as made in 1986 for the ABC; the Cannes-premiering 1989 feature Sweetie; 1990's An Angel at My Table, which won the Grand Special Jury Prize at the Venice International Film Festival; and 1999's Holy Smoke, complete with an Aussie-accented Kate Winslet (Avatar: The Way of Water). [caption id="attachment_897271" align="alignnone" width="1920"] Kirsty Griffin/Netflix[/caption] For the in-conversation part of Jane Campion — Her Way, Campion will chat with David Stratton on Saturday, June 10 following a showing of the new documentary Jane Campion, The Cinema Woman. The screening part of the lineup will play throughout the fest, and also include Campion-helmed shorts Peel, A Girl's Own Story, Passionless Moments, After Hours and The Water Diary. The lineup is a collaboration with Melbourne's Australian Centre for the Moving Image and Canberra's National Film and Sound Archive, and will also show in both venues. It'll hit ACMI from Thursday, June 15–Sunday, July 2 — coinciding with its current Goddess: Power, Glamour, Rebellion exhibition that celebrates women in film history — and then the NFSA from Thursday, July 20–Sunday, July 30. "For our 70th edition, we wanted to present a retrospective commensurate with the milestone, reflecting the audacious and boundary pushing filmmaking synonymous with our Festival and region — and there was no one more appropriate than Jane Campion. She is a groundbreaking filmmaker who has made a profound impact on cinema with her daring and unforgettable films," said Sydney Film Festival Director Nashen Moodley, announcing the program. "Campion has broken barriers for women in the industry, winning two Academy Awards and becoming the first woman to receive the Palme d'Or at Cannes. She has changed the landscape of cinema around the world, crafting films now etched in film history. It will be remarkable to see the full suite of her talents in one program, which take us to unexpected and exciting places with every frame and film," said Moodley. Campion and Jane Campion — Her Way join 2023's SFF lineup alongside 12 other previously announced films, with the full program announced on Wednesday, May 10. Sydney Film Festival 2023 runs from Wednesday, June 7–Sunday, June 18, including Jane Campion — Her Way, with the filmmaker's in-conversation session with David Stratton taking place on Saturday, June 10. The film screening series will then hit Melbourne's ACMI from Thursday, June 15–Sunday, July 2, followed by the NFSA in Canberra from Thursday, July 20–Sunday, July 30. Top image: Kirsty Griffin/Netflix.
Anastasia Booth has wasted no time in making a name for herself in the Brisbane art world. Since graduating with a Bachelor of Fine Art (Visual Art) with Honours from the Queensland University of Technology in 2011, Anastasia has exhibited nationally and has turned heads with her expressive forms of art. In her latest exhibition, Crude Tools, Feeble Actions, Anastasia explores elements of sexual fetishism to further expand upon the discourses that aim to re-imagine female desire. Touching upon subjects like materiality, marginality and rituality, Anastasia aims to bring all elements together by linking them to sexual fetish and art practice. Her work encompasses installation, sculpture, video, performance and sound art – bringing sexuality and sensuality new meaning. The opening night takes place on Wednesday, April 24, with an artist talk occurring on Wednesday, May 1.
