Brisbane's riverside Howard Smith Wharves precinct is leaning into Queensland's summer vibes in a big way, all thanks to its Weekends on the Lawn series. Every Saturday and Sunday afternoon from 4pm, the space is home to outdoor activities aplenty, including live music, lawn games and food. Bring along your mates to enjoy a refreshing beverage — Felons Brewing Co. is right there, after all. There'll also be plenty of food to dig into, too, because lining your stomach is important. Running until 10pm, the lineup changes each day, and so do the live tunes by local acts — Greg Alston, Zoe Everest, Amy Kate and Oscar Richardson are among the names slated to perform before 2019 is out. All that's left is to bring your friends, your kids and your pets, and enjoy that Brissie's sultry weather.
Sixty years after his death in a car accident at the age of 24, James Dean remains both an icon and an enigma. Much about him, including his hair and stare, have become instantly recognisable and commonly copied. Just as much about him, such as the contrast between his rebellious attitude and his evident shyness, still defies proper description. In Life, writer Luke Davies and director Anton Corbijn attempt to replicate what was seen on the outside and unpack what lurked on the inside of James Dean. That Davies wrote the novel and co-wrote the script of Australian drug drama Candy gives an indication of the intimacy of the storytelling. That Corbijn made his leap from photographs to music videos to movies with Control, a portrait of Joy Division's Ian Curtis, shows the style, patience and perceptiveness so keenly needed in such a biopic. Their approach to the smouldering Dean (as played by Dane DeHaan) is to show rather than tell the essence of the moody star, as seen in a snapshot spanning the lead up to the world premiere of his first film, East of Eden, plus his attempt to secure a role in his second, Rebel Without a Cause. Their entryway into his tragic narrative comes via 26-year-old Dennis Stock (Robert Pattinson), then an aspiring but struggling photographer looking to turn paparazzi gigs into acclaim, art and ongoing work. History already dictates that one of Stock's big breaks came courtesy of the series of candid images he snapped of Dean; however, they only eventuated after much convincing. From first meeting at a Hollywood party to exploits across Los Angeles, New York and Indiana, Life tracks Stock's efforts, Dean's reactions, their problems and personalities, and their blossoming friendship. The film bears the name of the magazine that would ultimately publish the photos, though that it doubles as an expression of a pivotal chapter in both its subjects' existences is always clear. Forget on-set antics and other markers of glitz and glamour, though, with the movie determined to stress that Dean didn't ever want to subscribe to the usual star behaviour. "I don't want to play their stupid games," he complains — and that he's often earning the ire of studio head Jack Warner (Ben Kingsley) by avoiding his publicity tasks also makes that evident. Indeed, Dean is painted as a picture of complexity above all else, and afforded a portrayal to match. DeHaan may be following in James Franco's footsteps again — after playing Spider-Man's Harry Osborn, too — but his efforts here do more than impersonate either figure. His mannerisms conjure the famous actor's mix of awkwardness and panache, so much so that taking your eyes off of him is impossible. That's not to discount Pattinson's latest impressive post-Twilight performance, nor the rapport that springs from the two circling around each other — it's just to highlight DeHaan's intensity. A similar level of concentration and attention to detail emanates in the graceful helming of Corbijn — and the visual precision of cinematographer Charlotte Bruus Christensen. The end result doesn't just step beyond the facade of a cinema treasure or tell the tale behind iconic images, it helps to create the same itself. Indeed, there's ample life in this film, which succeeds in capturing something and someone elusive.
Swords, sandals, speeches and spectacle: in a Ridley Scott-directed epic, all are to be expected. It comes as no surprise that Exodus: Gods and Kings has each in abundance. Men fight, moral dialogue dominates, and 3D computer-generated imagery delivers everything from palaces and now-fallen monuments to parted seas and giant waves. What might come as a surprise is that Scott’s latest round of swinging steel fares better than it perhaps should. The veteran helmer’s vision of the tale from the Old Testament Book of Exodus falls between his lauded Gladiator and less applauded Kingdom of Heaven. Repetition reigns in an over-extended, blood-soaked effort, but so does a strong sense of character and contemplation. For those unfamiliar with biblical narratives, the story of Moses swaps between sides in one of the greatest tussles in Judaism. In Egypt circa 1300 BC, a punishing regime saw the empire’s 400,000 Hebrew inhabitants worked to death as slaves — a system that had been in place for over 400 years. Moses (Christian Bale) grew up alongside Pharaoh-in-waiting Rhamses (Joel Edgerton), unaware of his true heritage. Upon discovering he belongs to the people his friend so willingly exploits, he is exiled, but remains unwavering in his quest for change. So far, so standard — at least where film depictions of the oft-covered pseudo-sibling-rivalry circumstances are involved. Indeed, standard is an apt description for a feature that goes through the motions in relaying its well-documented plot points. Moses and Rhamses argue. God sets Moses on a mission. Plagues — a river of blood, frogs, locusts and more — try to convince Rhamses of the right decision. Bale’s involvement, as culturally questionable as his and other casting may be, provides a stirring central performance and a strong protagonist. In channelling the conflict at the heart of the story, he broodingly expresses the impact of Moses’s many battles — with himself, his origins, his identity, and the notion of faith. In an effort that muses at length about these issues, he offers an eloquent manifestation of the inherent struggle. The film suffers whenever he isn’t on screen, though such instances are rare. Elsewhere, the rest of the cast doesn’t fare as well, more as a result of a script tinkered with by four writers than anything else. With eyeliner aplenty, Edgerton simmers with corruption and confusion, and Ben Mendelsohn hams it up (in an unlikely Animal Kingdom reunion). Ben Kingsley is quiet but convincing as a symbol of the oppressed, but many other big names — Aaron Paul and Sigourney Weaver, most notably — are given little to do. The less said about the squandering of talented actresses such as Golshifteh Farahani and Hiam Abbass, the better. Thankfully, among the clumsiness and the bulging roster of familiar faces, Exodus: Gods and Kings finds the midway point between the overblown and unnecessary, and the interesting and epic. Come for the biblical action, stay for the powerful lead performance, and witness an average but still engaging take on a famous tale.
With drought blighting the country, Australia just sweltering through its hottest summer on record, and severe storms popping up with frequency in Sydney, Melbourne and Brisbane, there's little doubt that the earth's climate is changing. And while the subject has fuelled many a documentary in recent years, a new Australian film is taking a different approach. Rather than chronicling the bleak status quo, it ponders how we could improve things for the future. The second film from actor-turned-director Damon Gameau, 2040 sees the Aussie exploring areas such as climate, economics, technology, civil society, agriculture and sustainability — chatting with experts, assessing the best technology currently available and prognosticating on what life might be like if we were to embrace solutions that are being worked on today. Specifically, he muses on the state of the planet in 21 years time, using his young daughter as inspiration, with the doco framed as a letter to the now four-year-old. In his previous feature back in 2014, Gameau took on unhealthy diets by consuming a whole heap of sugary food — and given That Sugar Film's local success, it's hardly surprising that he's taking a personal approach to an important topic once again. 2040 premiered last month at the Berlin Film Festival, where it struck a chord with audiences, and will have its Aussie debut at the Gold Coast Film Festival in April before releasing around the country in May. Check out the trailer below: https://www.youtube.com/watch?v=p-rTQ443akE&feature=youtu.be 2040 opens in Australian cinemas on May 23.
It's a scenario that every Australian can relate to: it's summer, the temperature has reached scorching levels and you can hear the sounds of someone splashing around in a cool, refreshing pool. Alas, those noises aren't emanating from your own pool, because you don't have one — and you don't know your neighbours well enough to just pop by for a dip. And, maybe your local swimming spot is too far away, you don't live near the beach or the nearest public pool is closed for the day. Add all of the above together, and you're stuck trying to cool down in the bath or under the fan. Enter Swimply, a service that's operational in nearly 20 American states, just launched in Toronto in Canada, and is set to head to Australia by summer, according to Lonely Planet. Like every other service that's popped up in today's sharing economy, it's all about renting out something that one person has and doesn't use all of the time, to another person that has a short-term need. In this case, it lets folks with pools lease out their backyard swimming spots when they're not in use, and lets folks without pools find a place for a splash. If you fall into the latter category, you can look for a spot by the day or for a weekend. If you're after a pool with specific facilities and inclusions — such as a changing area, lounge chairs, wifi, a shady spot to sit under and heated waters — you can do that too. Prices aren't particularly cheap, hovering around the US$40 mark for a day, but if you're planning a dip with your pals and can split the cost, it's much more affordable. Add Swimply to the list of Airbnb-like ventures popping up — services that let you stay in architecturally significant houses, the homes of friends of friends, camping grounds, and caravans and campervans; rent out your spare room to refugees; find a music studio; and take care of your luggage needs overseas. This one sounds particularly enticing, however, especially as the warmer weather starts to hit. For further details, visit Swimply's website and Facebook page.
Are beverages are on your long weekend agenda? Of course they are — and let The Scratch and Your Mates Brewing Co. help you kick off four days without work in quite the boozy style. The latter has a new dark ale. The former has a bar. Combine the two, and it's a pre-Easter miracle. As well as getting to taste the new tipple, everyone who heads along to Milton's finest dive bar from 5pm on April 13 can also help come up with a title for the new brew. There'll be free beer on offer, and more if you win the naming competition.
There's no swapping faces in John Woo's latest English-language action-thriller. Instead, the iconic Hong Kong filmmaker brings guns, chases and a quest for revenge to the festive genre. As anyone who rightly considers Die Hard among the pinnacle of Christmas movies already knows, seasonal cinema offerings don't need to drip in schmaltz, holiday humour, or Santas and reindeers to be an end-of-year present. Still, in making his first Hollywood effort since 2003's Paycheck, the director behind Hard Target, Broken Arrow and Face/Off in the 90s — plus Mission: Impossible II in 2000 — keeps the ties of family gleaming in Silent Night. That said, from the moment that the picture opens with a man in a Rudolph-adorned jumper, fuzzy red pom-pom and all, in a battle on Texan back streets with gang members who've just torn his brood apart on Christmas Eve, Woo also goes the brutal route. Silent Night's name echoes in several ways. Recalling a tune that's all about the jolliest time of the year is just one. Setting scenes in a period when halls are decked with boughs of holly is merely another. If protagonist Brian Godlock (Joel Kinnaman, The Suicide Squad) gets his wish, there'll be no more noise — let alone violence and bloodshed — from the criminals responsible for killing his young son (Alex Briseño, A Million Miles Away) with a stray bullet from drive-by crossfire as the boy rode his new bike in the front yard. Woo's main stylistic conceit comes to fruition instantly, however, because Silent Night largely avoids dialogue. Aided by meticulous sound design, that choice isn't a gimmick purely for the sake of it. Rather, Robert Archer Lynn's (Already Dead) script has Brian lose the ability to speak in the introductory sequence's fallout. The film's propulsive arrival is all frenzy, mayhem and intensity as Brian runs, cars packed with armed men blasting with abandon can't fell him, but being shot in the throat by villainous head thug Playa (Harold Torres, Memory) heralds blackness. If there's any doubt that Woo is enjoying staging the chaos, his use of slow motion says plenty. So does spotting a red balloon drifting away. Elsewhere, while the filmmaker mightn't work in his trademark doves, a bird does flutter. With cinematographer Sharone Meir (Echo 3) doing the lensing, Silent Night realises that stripping out chatter means heightening the visual experience, whether the picture is in frenetic or plotting mode. But there's also an earnestness to the movie and its aesthetics; this is a grim and bloody Christmas flick, and it's well-aware in every inch. As Brian prepares for his vengeance mission in training montages, then endeavours to execute his plan, an emotional underpinning anchors Silent Night's almost total lack of words (text on-screen features via SMS messages, and the radio still blares), too. He's a man robbed of the ability to verbally process his trauma. He can't shout, swear, scream or cry out. There'll never be any catharsis from just uttering his feelings aloud to a kindly listener. So, he's driven to act. As played with expressive physicality by Kinnaman, he's obsessively haunted into doing the only thing that he thinks he can — even if it means that his marriage to the also-mourning Saya (Catalina Sandino Moreno, From) suffers, and regardless of police detective Dennis Vassell's (Scott Mescudi, Crater) request for his assistance to lawfully bring the culprits to justice. There's a full-circle touch to Silent Night's disdain for talking as well, given how stellar the clearly Woo-influenced John Wick films have proven by also letting actions say far more than words, albeit never to this degree. Before that, it was the similarly Keanu Reeves-led The Matrix movies that help cement Woo's brand of stylised imagery as a Tinseltown standard, as far too many imitators have continued to ape ever since. Although Woo has kept adding to his resume over the past two decades, thanks to two-part war epic Red Cliff, wuxia effort Reign of Assassins, the also-split The Crossing and action-thriller Manhunt, he makes his Hollywood comeback with passion. In its look and feel, Silent Night is a work of relish — and, in its staircase sequence alone, a reminder of what American cinema has missed while it has been content taking Woo's cues over boasting him behind the camera. The filmmaker, his flair and his knack for eschewing words have it, then — plus the committed Kinnaman and Moreno — more than the plot, no matter how well-grounded in Brian's situation it proves. Death Wish, Taken and their own mimics have mined dads dishing out retaliation before, after all. Indeed, as fellow 2023 release Retribution demonstrates, Liam Neeson has resided comfortably in the "father in a fray for his family" niche ever since busting out his particular set of skills 15 years back. Silent Night isn't here to hold up Brian as a hero gleaming as brightly as a star on a Christmas tree, though. In other hands, that might've been the vibe, but there's no doubting that he's unravelling in desperate pain as he fixates upon his vigilante rampage. Marco Beltrami's (Renfield) score has it, too: this is an action-melodrama as much as an action-thriller. Woo hasn't just switched conversation for an onslaught of operatic sights and grunting, crunching sound effects — amid the kinetic altercations, of which there's many, he also lingers on his cast to see what's getting his characters ticking, pondering, yearning, hurting and swirling. This film spies in silence what wouldn't be done justice in dialogue, with feelings simmering and steaming in looks and gestures. Silent Night's action choreography impresses, unsurprisingly, but so does its emotional dance. Pass the Parcel might be a birthday-party game rather than a Christmas one, but it sums up this movie: each layer offers a gift, some expected, some exquisite.
Most music festivals have been lucky to host even one event over the past couple of years, thanks to the pandemic. Many are gearing up for their big returns — and first fests since 2019 — this winter, spring and summer, in fact. But when This That hits Newcastle and Brisbane in October and November, it'll mark its second festivals in both locations this year. That's huge as it is, and so is the just-dropped lineup. Already spent a day dancing at This That in 2022? Get ready to do so once more. This That will make its return to the Sandstone Point Hotel in Queensland on Saturday, October 29, then head to Newcastle in New South Wales on Saturday, November 5 — and it'll do so with Earl Sweatshirt and Flight Facilities leading the bill. The fest will also play host to What So Not in Brissie only, and to The Presets in NSW. And yes, the list goes on. Also set to grace the fest's three stages: Vera Blue, Winston Surfshirt, DMA's, Chillinit, Skeggs, Hockey Dad, Jesswar and more. Some of the acts on This That's 2022 2.0 bill already hit its stages earlier this year — The Presets played Sandstone Point then, but will do Newcastle now, for instance — not that anyone is complaining. If you did already attend this year, you'll get a discount for backing it up, too, thanks to a 48-hour period for autumn This That attendees to buy tickets at the fest's first-release price. THIS THAT OCTOBER–NOVEMBER 2022 LINEUP: Alice Ivy Chillinit Dear Seattle DMA's (NSW only) Earl Sweatshirt Flight Facilities Godlands Hockey Dad Hooligan Hefs Jesswar Kinder Lola Scott Ruby Fields Set Mo Skegss Slumberjack The Presets (NSW only) Trophy Eyes Upsahl Vera Blue What So Not (QLD only) Winston Surfshirt THIS THAT OCTOBER–NOVEMBER 2022 DATES: Saturday, October 29: Sandstone Point Hotel, Sandstone Point, Queensland Saturday, November 5: Newcastle, New South Wales This That returns to Sandstone Point and Newcastle in October and November. For more information, or to buy tickets — with pre-sales from 9am on Wednesday, June 29 and general sales from 9am on Friday, July 1 — head to the festival's website. Images: Mitch Lowe / Jordan Munns.
FBi Radio's boots are getting bigger, better and shinier by the day —for the first time ever, Sydney's independent radio legends are launching an Australia-wide competition. Extending their Northern Lights competition nationwide — in which FBi flies two above-and-beyond newbies to Iceland Airwaves Festival in Reykjavik — FBi are looking for talent across Australia this time. A hotly-anticipated date on the music festival calendar, Iceland Airwaves has seen everyone from Bjork to Omar Souleyman, Savages to Harpa Silfurberg playing to packed halls of Icelandic and international fans. FBi competition's now in its third year, offer two winning spots to join the Airwaves lineup — one solo producer/artist, one band. With the help of philanthropist Mitchel Martin-Weber, this marks one of FBi's biggest-scale competitions to date, kicking another goal after yesterday's FBi Click launch. Winners of the first Northern Lights, Oliver Tank and Rainbow Chan, have seen super success following their Icelandic escapade (with Tank supporting Lorde on her recent national tour and Chan joining the lineup for Vivid LIVE's recent Avalanches tribute Since I Left You, no biggie). "It really changed my life that whole trip. It was so incredible," says Tank. "I got to play music overseas before I’d even done that many gigs in Australia. And there were people over there that were interested in my music and that just blew my mind. It was like a dream come true. It was such an experience." A national callout means a national road trip for FBi, taking their Music Open Day (a monthly staple event for FBi where new bands/artists can meet FBi music director Stephen Goodhew and learn how to get their music on radio) to community stations around the country. "Over 300 artists have been to Music Open Day in the last 12 months," says Goodhew. "Oliver Tank, Cloud Control, Gang of Youths, Movement are all examples of the kind of talent that have responded to and engaged with our Music Open Day in the past and gone on to establish themselves as prominent figures in the Australian music scene. It’s a great way to discover new talent and give emerging musicians some valuable advice about the industry." To apply for a spot at Iceland Airwaves and enter FBi Radio's Northern Lights competition, you simply have to be an emerging solo artist/producer or band (and an Australian resident). Head to FBi's website to throw your name in the ring from June 26 - July 21. Music Open Day is on the road from July 11-18. 11 July - Brisbane's 4ZZZ 15 July - Adelaide's Fresh FM 16 July - Perth's RTR FM
A masquerade-ball rock show celebrating the stellar soundtrack to Baz Luhrmann's Romeo + Juliet. Blind cinema screenings, where a child describes what you can't see on screen. A 40-foot-tall outdoor light installation inspired by a Czech/French animated science fiction flick. On-stage dating, with a volunteer plucked from the audience each night. A participatory trance-noise music/dance ritual. Next, throw in the world premiere of pop-up technicolour world FUN HOUSE, that is, the house party-like, jumping castle-filled latest effort from Blanc de Blanc and LIMBO's Strut & Fret. Oh, and LIMBO UNHINGED, a sequel to their 2014 hit, too. While you're at it, add a month-long season of unnerving and alluring Italian giallo cinema. Mix it all together, and get excited, arts, culture, performance, music and cinema lovers of Brisbane — they're all coming to this year's Brisbane Festival. In his third year as artistic director, David Berthold has put together a lineup of more than 60 events — five world premiere commissions, 11 Australian premieres and 25 Queensland premieres among them — for the 22-day fest, which takes over the city from September 9 to 30. As its just-announced 2017 program reveals, the annual onslaught of all things creative is committed to that age-old fest adage: yep, there's something for everyone here. That includes the return of Brisbane Festival's hub, Arcadia, on the South Bank Cultural Centre Forecourt. When you're rushing between shows, you need a wine bar, craft beer bar and six food stalls to sustain you, after all. So that's what you'll be doing when you're not in the thick of the action. As for what else you'll be doing when you're not eating and drinking, just choose your favourite art form and dive deep. Treading the boards offers everything from circus and physical theatre piece Per Te to culinary chaos in Chef: Come Dine With Us! — and The Tivoli turned into a Parisian music hall for a reimagining of Orpheus, plus famous Chinese dance and choreographer Yang Liping joining forces with Crouching Tiger Hidden Dragon Oscar-winner Tim Yip for the battle-focused dance piece Under Siege. Over at the indie showcase Theatre Republic, audiences will also find music, comic performances and all things weird and wonderful, such as the world premiere Laser Beak Man puppet show. Music-wise, this year's Brisbane Festival boasts a London Grammar-headlined mini-fest within the fest, taking the party over to Riverstage for a day. They'll be joined by international and local support acts, while the rest of the festival's music lineup spans Megan Washington teaming up with the Queensland Symphony Orchestra, Regurgitator performing The Velvet Underground and Nico, The Aints playing The Saints, a Bowie cabaret tribute and more. Of course, it all comes to an end with the explosive finale that is Riverfire. Of course it does. How else would we know that we've just had a mighty fun month if we didn't bring it to a close by packing out South Bank en masse, staring at the sky and watching pretty fiery lights? It's a Brisbane tradition. Brisbane Festival runs from September 9–30 across Brisbane. For the full 2017 program, or to book tickets, visit the festival website.
When it comes to consuming culture for a cause, you can't go past Youngcare's benefit concert. Since 2006, the organisation has put together a regular musical showcase to help raise money for young Aussies with high care needs. They get some much-needed funding to assist with providing purpose-built accommodation, grants, research and a phone line. You get a great night out. This year marks ten years since the first event, so expect something extra special. One of the stars of that initial show, Bernard Fanning, returns to not only belt out a tune, but also takes on a curating role. The former lead singer of Powderfinger has assembled a stellar lineup that includes Mosman Adler and #1 Dads, plus surprise guests still to be revealed. With The Chaser's Julian Morrow on hosting duties, an evening of excellent entertainment is guaranteed, as is Youngcare's ample appreciation of your support and assistance. Image via Yael Stempler.
Whether you're keen to kick on once lockout time comes, are hankering for a bite in the evening's early hours or need somewhere to dance the night away, Fortitude Valley's new watering hole will offer a one-stop-shop — and, when Beirne Lane opens its doors in the heritage-listed T.C. Beirne Building, it won't close them. Settling into the Brunswick Street spot from early November, Beirne Lane is set to trade 24 hours a day. The indoor and outdoor two-level space is the latest venture from Trent Meade and Matt Blyth at the Celissa hospitality group, and it combines the vibe of some of their other projects, blending the gastropub aspect of Isles Lane in the CBD with the hangout feel of fellow Valley residents The Met and GPO. Mixing things together drives the venue's food menu, too, which takes inspiration from Beirne Lane's namesake in an interesting way. If you're not up on Brissie's past, Thomas Charles Beirne came to Brissie from Ireland, opened a department store in the Valley at the turn of the twentieth century, and initially employed James McWhirter — who would then open a competing department store across the street. Beirne also apparently loved Japanese culture. What this mini-history lesson means is that Beirne Lane will be slinging an Irish-meets-Japanese menu in its iconic location, complete with a dedicated katsu sandwich menu featuring the likes of beef with spicy miso mayonnaise and tonkatsu sauce, and fish with Kewpie tartare, bacon, Sriracha and pickled jalapeño. Also on offer are chips slathered in Japanese curry, cob loaf with beer cheese, plus spicy pork rinds with seaweed crisps and peanuts, as well as king prawns with black garlic butter and marinated spatchcock with charred lime from the charcoal grill. In another nod to Brisbane gone by, the spot will also revive the 'shilling meal'. A plate of oysters, steak and more, it was available to T.C. Beirne's employees for just a shilling. The new version won't be as cheap, we're certain, but it will feature four oysters, dry-age rib-eye steak, buttermilk onion rings and a clotted cream cannoli, and is recommended for sharing. Drinks-wise, rotating beers and a range of natural, organic wines will be joined by a cocktail list that throws together combos of Australian native produce, house-made syrups and whatever's in season. That's evident in the Oh Boys! We Must Have Another!, which blends gin, brandy, rum, orgeat, lime and orange juice, and sherry, and is inspired by — like most of the joint — T.C. Beirne's past. Find Beirne Lane at 315 Brunswick Street, Fortitude Valley from early November, open 24/7.
Things are heating up at the Regatta Hotel, and not just because spring is in the air. Over the weekend between Friday, September 6 and Sunday, September 8, the Toowong pub is playing host to a three-day barbecue festival. You'll eat, you'll drink, you'll watch grilling masterclasses and you'll learn a few tricks — and, in the process, you'll take your barbie experience up a notch or several. All of the barbecue essentials will be covered, from smoking meats, to making side dishes, to rubs and sauces as well. Want to learn how to cook up the best steak you can? Whip up the perfect barbecue sauce? Pick up a few butchery basics? Then you'll be in the right spot. You can also spend time discovering all there is to know about Italian bubbles, Australian pale ales, bourbon cocktails and whisky in general — because a good barbie always comes with a few beverages. From trimming a brisket to cracking tinnies (yes, there really is a session on that), the list goes on. If you're really serious about barbecuing, you can also sign up for an in-depth five-hour class. While attending the Regatta Barbecue Fest is free, as is much of the fun, you can show your commitment for $199, which includes three hours of drinks. The Regatta Barbecue Fest also features a live fire precinct, live music, and a malt, bine and vine hub for satisfying your thirst. Menu-wise, expect smoked wings, brisket burgers, pork tacos, beef short ribs and more — or, if you're feeling extra peckish, you can take part in the hot wings eating competition. Images: Regatta Hotel.
This 15th annual Brisbane Queer Festival brings to our city a engaging, inspiring and of course, entertaining selection of LGBTIQ films from an international landscape. From documentaries, to shorts, feature lengths to sweaty romps, the line up has everything for any picture palate. If you're going to catch any though, we'd be happy to suggest a few: Camp Beaverton: Meet the Beavertons - Meet the dwellers of Camp Beaverton’s experimental make-shift community that hosts events like clit-tail social hours and the infamous strap-on-a-thon – possibly the largest play party for women on the planet. Monster Pies - It’s 1996 in Western Melbourne. Often picked on by the jocks for seeming “gay”, high school student Mike has felt alienated and alone for as long as he can remember. Test – the natural fitting dance movie, with twice as much flair as Step Up, with half the cheap tricks. Free Fall - Marc, a young police cadet with a pregnant girlfriend named Bettina, finds himself drawn to his rebellious and handsome roommate, Kay. Passion ensues. Films aside, there'll be a Kokomo-krazy love shack beach party to open the festival. BYO bikinis, trunks and towels (there won't be any water, but there's a strict theme), and dance around with a coconut in hand, all in homage to the Beach Boys - band, and 'racey' photo. The festival is on until April 5. Make your picks, jog along and enjoy.
We've had a lot to thank Winn Lane's Outpost for over the years. Think nice shirts, cool gigs, practical pocket knifes, zines, hats, expensive soaps and all those things that make cool people just the bit cooler. And now, this humble little jack-of-all trades of a store is rolling into the double digits. To celebrate, they're throwing a hell of a birthday do. To help Outpost mark their 10th birthday, White Lodge, I Heart Hiroshima and El Norto will be delivering some live music right throughout the evening. For those who like their tunes with a dash of art, the event also features visual showcases from a list of over 20 local and international artists. Most notably, skate artist Simon True will be jetting in from Japan. For one night only, you can witness the true genius of this talent as well many others, firsthand at this art-packed shindig. The night kicks off at 8pm this Friday and doesn't cost a cent. Yes, that means free birthday cake. HB2U Outpost!!
One of Brisbane's finest adult playgrounds, Cloudland, is playing host to the best wine from the world over. That's right — the Vintopia Festival is returning to take wine enthusiasts on a journey to some of the best producers from across the globe. Amidst the luxe backdrop of Cloudland's Rose Room, Moon Room and Terrace, guests can get their noses and palates across a selection of 85 drops spanning international and local winemakers. The tastings are just the start of it. During the three-hour festival experience, you and your crew will be able to chat with a rockstar lineup of winemakers and producers behind the drops on offer. Between sips, you'll feast on Mediterranean-inspired fare from gourmet food stations, and each guest will take home swag that includes a limited edition Vintopia tasting glass and tote bag. There will also be live music, the chance to win prizes, and the option to take home bottles of your favourite drop from the day and have them delivered to your door. Vintopia Festival 2024 is happening for just one day on Saturday, July 20, over two sessions (12–3pm and 4–7pm). It's a stellar outing for a group, and when you book for six or more guests, you can nab tickets for just $45 per person, so rally your people and lock it in your diary now. Your ticket includes unlimited tastings, so arrive thirsty.
Kimberley Bowden has quite a few feathers in her cap: a grand final berth in the 2008 Toyota Star Maker competition, a place on the Billy Thorpe Scholarship shortlist, and national airplay for the first radio single, 'Do I', from her 2009 debut EP, just to name a few. After taking some time out to perfect her stagecraft, write, record and collaborate, Kimberley is ready to send her new EP, Burnt on You, out into the world. We had a quick chat with the singer ahead of her official EP launch. Hi Kim! Thanks for talking to us. First of all, we'd love to know, who are your musical idols? At the moment, I'm listening to a lot of One Republic, Sia and Miranda Lambert. I've also flogged Adele, Sara Bareilles, Ed Sheeran and Lily Allen's albums and many more. Have any particular artists been an inspiration for this EP? I'd probably say Miranda Lambert the most. I'm not sure that it's her music exactly, more her image and the attitude she portrays. She's got spunk! The EP is all based on real events in my life, so that was how the songs came about. It's been several years since you released your debut self-titled EP. What have you been up to in that time? Yeah, it's taken a while! I was lucky enough to go to Nashville two years in a row to co-write and perform. I've also been gigging all over Brisbane with a good friend of mine, Ryan 'Brooksy' Brooks. I owe my stagecraft to him in many ways. I've been writing with people and on my own. Mostly I think I've just been growing up. Being twenty-six is a good time! https://youtube.com/watch?v=9Rg5JdeAMK0 Burnt on You has a more rock/pop vibe than your previous alt-country work. Do you think this is a permanent shift or will you return to your country roots one day? Who knows? Only time will tell. You mentioned that you've been to Nashville several times. Could you see yourself moving Stateside in the future? Yes, definitely, under the right circumstances. It's always in the back of my mind. I'd definitely miss Australia, though — it really is the best. How does the Brisbane music scene compare to America? For a start, genre. But Nashville in particular, which is where I've spent most of my time, has a real pulse going through it. Every single person you come into contact with is gigging around, writing something, has had a hit or is producing something. Brisbane has immense talent, just on a smaller scale and it doesn't live and breathe music quite as much. In Nashville people are fanatical! It's cray. Tell us a little bit about your writing process. It's always same process for me — I write the music and the lyrics at the same time. I might go back and tweak lyrics after, but it always starts with just gibberish and noise that turns into a song. You are playing with a full band at your EP launch on Sunday. How does playing with a full band differ from just you and your guitar? Which do you prefer? When I play on my own, I'm definitely more comfortable because I can fly by the seat of my pants more and change things around if I want. I'm usually solo so it's a comfort zone thing. But I hardly ever get to play my songs with a band and when I do I love it. So if I could I'd always have a band … no question. I still have fun either way, though. How can people get a copy of Burnt On You? Every single Brisbane citizen should come to my EP launch on Sunday and get a copy! Otherwise, it is available on iTunes now. You can also keep an eye on my Facebook page for upcoming shows elsewhere in Australia and news. Kimberley is launching Burnt on You at the New Globe Theatre this Sunday, July 20, from 4pm.
Art is a matter of life and death in the star-studded Velvet Buzzsaw, which might just earn the title of 2019's most out-there film so far. The movie marks the reunion of Nightcrawler writer/director Dan Gilroy and actors Jake Gyllenhaal and Rene Russo — and if you've seen that 2014 standout, you'll know that you're in for a wild ride. Both an unhinged horror effort and a satire of the art world, the film is set to premiere at this year's Sundance Film Festival, but general audiences won't have to wait long at all to see the flick for themselves. It'll hit Netflix worldwide on Friday, February 1, while Sundance is still running. While Nightcrawler took aim at tabloid news media and charted its deadly consequences, Velvet Buzzsaw has another realm in its sights. With Gyllenhaal playing an art critic, Russo an agent, and everyone from Toni Collette to John Malkovich to Stranger Things' Natalia Dyer among the cast, the film charts a spate of sinister happenings that are linked to a batch eye-catching paintings. The art collection in question is only found after an unknown elderly artist passes away, and comes with strict instructions to destroy the work; however, when that warning is ignored, everyone who profits from the pieces starts to suffer. Check out the trailer below, and add the movie to your streaming queue for your next fright-filled date with your couch: https://www.youtube.com/watch?v=XdAR-lK43YU Velvet Buzzsaw will be available on Netflix from Friday, February 1.
Through multimedia, creation and the physical theatre uniquely defined by Zen Zen Zo, Medea: The River Runs Backwards brings a powerful story of betrayal, passion and loss to the stage. This classic tragedy has received a revamp by Resident Director Drew der Kinderden and been perfectly marriaged with a theatre troupe of astounding talent. The plot follows the blurred life Medea – one of the great Greek sorceresses of the ancient world. Pulling tales from the past and present, she lingers on the years passed and the guilt that rode them before she dies. Time and space shatter as the echoes of Medea’s deeds ripple through her life. This unique and strikingly beautiful interpretation has already captured the attention of audiences with most shows already sold out, and two more announced by popular demand – don’t miss out.
It's been a busy couple of months of stargazing, with both the Lyrid and Eta Aquarids Meteor Showers lighting up our skies, as well as a supermoon. This weekend, there are another two reasons to look up, too: a strawberry moon and an eclipse. Well, it's penumbral lunar eclipse. And you'll have to shake yourself out of your warm bed at a super-early hour on the morning of Saturday, June 6 to catch this one. While the penumbral lunar eclipse — which occurs when the Earth moves between the Sun and the Moon, but they don't form a perfectly straight line — will start around 3.45am, the maximum eclipse will occur at 5.24am. From here, you'll only have a very short amount of time to catch the main event, with the moon setting at 6.59am. For the full details, timeanddate.com has put together a handy to-the-minute schedule of when the eclipse will be happening in each city. During a total lunar eclipse, the moon turns a shade of red, but during a penumbral eclipse, which is much subtler, it'll appear to look dark grey or silver. For a lunar eclipse to occur, there must be a full moon. This June full moon is called a strawberry moon after the wild strawberries that ripen at this time of year. If you can't get a clear view, The Virtual Telescope Project will be live-streaming the partial lunar eclipse from the skyline above Rome from Saturday, June 6 at 5am AEST.
The Gold Coast, with its enviable combination of good weather and beaches, already gives off festival vibes all year round. But the real kicker happens when you add beer to all of that goodness. Add vitamins B (beer) and C (cider) to the vitamin D you cop on the coast with the Crafted Beer and Cider Festival, on Saturday, October 6. Taking place in Kurrawa Park in Broadbeach, the beer festival will unite 35 of Australia's top craft breweries, more than 150 different brews and some good food and live music to line your stomachs and ears. It's as good an excuse as any for a cheeky getaway to the Goldy. Locals like Balter Brewing Company, Black Hops Brewing and Burleigh Brewing Co join up with visitors like Sydney's Akasha Brewing Company, Yulli's Brews and Young Henrys and Victoria's Bridge Road Brewers and Mornington Peninsula Brewery — and that's but a few of the many beer houses to be represented on the day. More of a cider person? Cheeky Tiki Apple Cider and Granite Belt Cider Co. are some of the cideries making the pilgrimage to the Coast. Food-wise, your picks include Greek Street Kantina, Mac From Way Back, The Wiener Haus, SoCal Tacos and more. The music lineup is equally eclectic with punk-pop quartet RACKETT, hip hop band Bootleg Rascal and Canberra's indie rock band Young Monks all providing the soundtrack to your day. Also on the day's agenda is a classic stitch up from comedian Aaron 'Gocsy' Gocs, who'll also be hosting a ping pong competition and beer yoga, where you can perform a few downward dogs before you down your beer — it's all about balance, after all. And, in even better news for your beer-loving palate and soul, you can win a pretty big prize bonanza: we've got two tickets to the festival up for grabs, along with $100 Crafted Cash to spend there, a night's accommodation and a Crafted Festival stubby cooler. To enter, see below. [competition]685434[/competition]
It's the horror franchise that's become a massive hit, and also sports a clear formula. We're talking about The Conjuring movies, which have become their own cinematic universe over the past eight years, and generally focus on eerie happenings in both ordinary and creepy abodes. If you saw the original 2013 film, its 2016 sequel, the three Annabelle flicks to-date, The Nun or The Curse of the Weeping Woman, then you'll know what we're talking about. Indeed, based on how much cash the combined saga has earned at the box office so far, we're betting you've watched at least one of them. If people keep turning out to see the series' movies en masse, then they'll keep being made, even if some hit the mark and some are terrible. That's how Hollywood works, after all. So, a third Conjuring film is now a thing — becoming the third movie specifically with The Conjuring in its title, and the broader franchise's eighth entry. In The Conjuring: The Devil Made Me Do It, however, the saga seems to be trying something a little different. Bumps and jumps still abound, at least based on the just-dropped first trailer, but so does a crime-thriller setup. Here, paranormal investigators Ed (Patrick Wilson, The Commuter) and Lorraine Warren (Vera Farmiga, Godzilla: King of the Monsters) are called to assist in a murder trial, with the suspect claiming demonic possession as a defense. By now, you should know that the Warrens were real people, and that some of the franchise's movies draw upon cases and incidences they looked into — including this one. When it hits cinemas Down Under on June 3, The Conjuring: The Devil Made Me Do It will also feature Ruairi O'Connor (The Spanish Princess), Sarah Catherine Hook (Monsterland) and Julian Hilliard (WandaVision), while The Curse of the Weeping Woman's Michael Chaves is on directing duties. The latter takes over from Australian filmmaker James Wan (Aquaman, Fast & Furious 7), who helmed the first two Conjuring movies, but produces and gets a story credit here. Check out the trailer below: https://www.youtube.com/watch?v=FMZPMMWIWn4 The Conjuring: The Devil Made Me Do It releases in cinemas Down Under on June 3.
Last time that Kenneth Branagh took on a cultural icon, he stepped into Hercule Poirot's shoes, starring in and directing a new adaptation of Agatha Christie's Murder on the Orient Express. He'll return to the character in next year's Death on the Nile, continuing a filmmaking career with a noticeable theme: bringing famous figures and stories to the screen. Mary Shelley's Frankenstein, Mozart's opera The Magic Flute, Marvel's initial Thor flick and fairy tale Cinderella all appear on his resume, however one particular chap has always retained pride of place. Thirty years ago, Branagh jumped behind the camera for the first time for a cinematic version of William Shakespeare's Henry V. In the decades since, he's directed and acted in Much Ado About Nothing, Love's Labour's Lost and As You Like It, too. So it was only a matter of time until he did the obvious, turning his attention to a Shakespeare biopic. Shakespeare in Love, this isn't. Shakespeare in Retirement would've worked as a title, though. With Branagh both starring and helming as he usually does, All Is True's take on the Bard sees him back in Stratford-upon-Avon, where his family has always lived while he's been triumphing in London. It took a fire to bring him home, with his beloved Globe Theatre burning down in 1613 during a performance of Henry VIII. Devastated, old Will has pledged never to work again, vowing to spend time with his wife Anne Hathaway (Judi Dench) and adult daughters Susanna (Lydia Wilson) and Judith (Kathryn Wilder) instead. Alas, absence hasn't exactly made the heart grow fonder. As Shakespeare switches from penning flowery prose to trying to make a garden blossom, drama still keeps finding him. Grief rears its head, over the son he lost years ago, while Anne's stoic sadness at being left to take care of the household also bubbles to the fore. So does Judith's simmering anger at being constantly overlooked due to her gender, as well as Susanna's gossiped-about troubles with her fiercely Puritan husband (Hadley Fraser). If being a genius isn't easy, living in the shadow of one is a much tougher feat. Still, in a reflective screenplay written by Ben Elton, it's Shakespeare's struggle to not only adjust to an ordinary life, but to weigh up his flaws and failings over the course of his life, that drives the film. In a movie filled with allusions to its subject's work, All Is True takes its name from the alternative moniker for Henry VIII, which would prove Shakespeare's last play. Elton's script is definitely fictionalised — although perhaps less than his recent British sitcom, Upstart Crow — and yet the eponymous phrase remains apt. At the heart of the handsomely shot feature sits an important notion that applies not only to the Bard, but to art in general: whatever unfurls on the page or stage speaks to something within its creator. Just as Shakespeare clearly resonates with both Branagh and Elton, the great playwright's acclaimed words were borne of his own emotions. Sure, All Is True includes one of those typically grating moments where a character utters its title in dialogue (no prizes for guessing who does the honours), however in painting a portrait of the Bard as a conflicted, haunted man, it conveys both the inner source and hefty toll of his output. In the acting stakes, Branagh makes for a melancholic later-in-life Shakespeare, repeatedly digging his hands into the earth as he grapples with being brought back to normality. Leading quietly, sensitively but commandingly even under a pronounced prosthetic nose, he's matched by the steely Wilder, a great stint of comic sneering by Alex Macqueen as one of the Bard's naysayers, and a witty appearance by Ian McKellen as the writer's long-term patron, the Earl of Southampton. And yet, while buoyed by strong performances and making good on its premise, the film always plays like a minor ode rather than a major work. Walking in the footsteps of greatness is a difficult task, as the movie makes plain, although Branagh has been trying for decades. With All Is True, he shows why — and demonstrates that passion, intelligence and enthusiasm can go a considerable way. https://www.youtube.com/watch?v=1I5cKmiONDI
It's been more than two decades since Baz Luhrmann's Romeo + Juliet changed the game when it came to screen adaptations of Shakespeare — and delivered a stunning soundtrack along with it. There are many things that make the 1996 movie great, from its stellar casting to the filmmaker's inimitable style. But tracks by everyone from The Cardigans to Radiohead to Everclear to Garbage rank right up there with its biggests strengths. It's no wonder, then, that Brisbane Festival is throwing quite the soiree to celebrate one of the best-ever collections of movie tunes. At Young Hearts Run Free, The Tivoli will become a rock masquerade, with patrons dressing up, dancing the night away, and listening to live performances of the entire soundtrack — with Tom Dickins, Greg Chiapello, Airling, Electric Fields and Miss Blanks on the lineup.
Every format, medium and type of technology has its day. Some persist, but many pass by in blink-or-you'll-miss-it fashion. If you've got a landline handset clogging up your cupboard or an old cathode ray tube television in your spare room, then you know what we're talking about. Others enjoy a revival years after their initial heyday, or are adapted for a new purpose. Take the risograph, for example. The 80s high-speed digital machine was designed and marketed as a cheaper photocopier, then received a second lease on life when it became the duplication and printing method of choice of zine publishers and artists. If it sounds like the type of format quite a few of the folks who line Junky Comics' shelves would use, well, that's because it is. In fact, the West End store is once again paying tribute to the humble riso from 6pm on Saturday, September 8, with 24 of artists unleashing their interpretations of and experimentations with dying media. The exhibition isn't called Dead Format II for no reason.
The local pub might be somewhere you feel at ease, but that doesn't mean you shouldn't seek out adventures further afield once in a while. If you're up for some incredible experiences that don't involve a pint glass, Adrenaline offers an almost endless array of activities that'll ensure you feel on top of the world the following day — something a night at the pub cannot guarantee. Ranging from scenic kayak trips to whale watching cruises and private windsurfing lessons, these unforgettable activities are the ultimate way to liven up your year. SPOT MAJESTIC SEA CREATURES ON A CRUISE Mooloolaba's stunning coastal community is already a must-visit destination for beach lovers, but it's even more impressive during whale watching season. Running from June to November, this fascinating three-hour cruise puts you within reach of several extraordinary whale species as they navigate the east coast and head towards warmer waters. The imposing humpback whales are the main attraction, but you might also catch a glimpse of minke whales, dolphins and turtles. The cruise keeps its distance from the marine life on show, but these inquisitive animals regularly come in for a closer look by breaching the waves and causing a stir with their tail flukes. FEEL THE WIND THROUGH YOUR HAIR Shorncliffe is one of Brisbane's top coastal suburbs, featuring a pristine foreshore, laid-back vibes and a host of charming cafe spots. It's also known as a top-notch windsurfing location, with the waterfront dotted with sailboarders skittering across the waves throughout the day. This two-hour private windsurfing lesson is perfect for both beginners and more experienced folk, as you receive one-on-one instructions tailored to your precise skillset. You'll be supplied with everything you need, including a helmet with built-in communications so your accredited trainer can improve your talents on the fly. LEVEL UP YOUR BARBECUE HOSTING GAME You might be looking to get away from the pub, but that doesn't mean you have to forget about beer altogether. This light-hearted cooking class gives your barbecuing skills a much-needed touchup, while also teaching you the ins and outs of pairing premium craft beer with classic barbecue dishes. Led by two knowledgeable grillmasters, this class will see you reproduce a multi-course feast, including barbecued half-shell scallops, jerk beer can chicken, and Cape Grim scotch fillet with feta and basil. After completing this class, you might actually be the backyard barbie master you always thought you were. STRETCH YOUR MENTAL MUSCLES AT AN ESCAPE ROOM With six challenging themed rooms to solve, this Brisbane escape room presents a simple solution to the ever-present riddle of what to do on the weekend. You and three of your most deductive pals will get dressed in some Sherlock-esque detective outfits and spend the next hour deciphering clues and figuring out how to escape the space. Each room has its own mystery to solve ranging from conspiracies against the Queensland Government to dead jockeys at Eagle Farm Racecourse. That all sounds very dramatic, but it's part of the fun as these immersive whodunits. KAYAK ALONG BRISBANE RIVER AT SUNSET Brisbane's skyline is a special sight once the sun begins to set and golden hour washes over the buildings. This evening kayak tour offers you a scenic vantage point on the Brisbane River and the chance to soak up the city's renowned landmarks with an extra element of adventure. For over 90 minutes, you'll make your way from the West End Riverside Drive Pontoon and under the vibrant Victoria Bridge, all under the guidance of a qualified instructor. As daylight fades away, landmarks further down the river like the Maritime Museum and the Brisbane Wheel will look even more impressive as they light up against the night sky. SOAR OVER SURFERS PARADISE IN A HOT AIR BALLOON You'll likely have to give the pub a miss if you want to attend this sunrise hot air ballooning experience, but it'll be well worth the sacrifice once you're peacefully floating above Surfers Paradise. Enjoy the crisp morning air as you drift across a network of waterways with views stretching all the way to the hinterland. The tour includes complimentary pick-up service from Broadbeach, Surfers Paradise or Main Beach. Once you arrive at the launch site, you'll also help get the balloon ready for your 30-minute flight. Choose adventure over your dusty old local. Visit the Adrenaline website and pick an incredible experience that you won't be able to stop talking about. Images: Adrenaline
In the darkness of space in Alfonso Cuarón's Gravity, no one could hear a stranded astronaut scream. In the writer-director's follow-up, Roma, no one would hear a maid's cries even if they shared the same room. Domestic worker Cleo (Yalitza Aparicio) attends to the everyday needs of her middle-class employers and their four loving but unruly children, treating them like family. But she's the first to rise in their well-appointed household in Mexico City's Colonia Roma neighbourhood, and the last to sleep. She's the person who both tucks the kids into their beds and scrapes dog excrement from the driveway each day. Cleo is part of the fabric of their lives, but the minutiae of her life is never part of theirs. That's a domestic servant's plight — indispensable but always an outsider — which Cuarón details with both a loving gaze and a clear-eyed stare. Inspired by his own upbringing in the early 1970s when the film is set, Roma is a tribute to women who often go unseen, as well as an acknowledgement of the realities of their existence. The contrasts keep coming, juxtaposing the privilege of Cleo's employers with her own modest reality, while recognising the comfort of Cleo's position compared to the puddles and shacks of village life. With the era's student protests also weaved into the movie, Roma similarly sees the chasm between widespread societal unrest and those clinging to their own patch of calm. Most of all, the movie sees Cleo. It spies the Mixtec housekeeper while doctor Antonio (Fernando Grediaga) complains to his wife Sofia (Marina de Tavira) about the state of the house, spotless except for the dog droppings that keep on coming. It observes when the kids call for Cleo's cuddles and snuggle up to her every chance they get. It spots the quick jokes she shares with her best friend Adela (Nancy Garcia), the family's cook, as well as the tiny apartment they share above their employer's sprawling home. And it watches on as she shares a date with Fermín (Jorge Antonio Guerrero), the cousin of Adela's boyfriend — then shares more, and then faces the aftermath. There's an episodic feel to Roma, which pieces together slices of Cleo's life more than it charts a clear dramatic arc — although the consequences of her tryst with Fermin provide a strong narrative thread. The increasing absence of Antonio, the impact upon Sofia and the ripples that flow through the house all provide another. Cuarón isn't simply paying attention to whatever takes his fancy, of course, but building a portrait: of the city at the time, of complicated lives, and of a woman that, to many eyes, would simply blend in. He's done so before in various fashions, championing the overlooked in Children of Men's dystopian future, in Y Tu Mamá También's coming-of-age road trip, and in his Harry Potter gig, The Prisoner of Azkaban. In focusing on a female medical engineer sent into space, he did the same with Gravity as well. For all of the highlights on Cuarón's resume, however, Roma sees the director enter another realm. Acting as his own cinematographer, he peers so attentively at his hometown, the era of his upbringing, and at Cleo, that he could be conjuring memories onto the screen. He's not, completely, but his visuals have that feel — and, in each crisp black-and-white frame, they have that look as well. In alternating between luxurious panoramic shots and intimate close-ups, and between slow pans and excited movement, he switches between the broad and the deep, mimicking the way that we think back about our lives. Both types of image overflow with detail, whether showing violence on the streets, wandering through a chaotic but merry party, venturing to the seaside for a holiday, or offering a window into Cleo's soul one tender glance at a time. Enter Aparicio, a first-time actor who is everywhere in Roma. She's firmly at the story's centre, in a role that recognises an important truth: Cleo, and Indigenous house staff like her, are rarely the centre of anyone's story, a fact that the untrained talent's naturalistic performance only underscores. Indeed, hers is a performance about quiet presence more than overt effort — or, more accurately, about the impact that someone has even when they're usually on the periphery. In the graceful way that Cleo soldiers on through her own crisis, as well as the family's and Mexico's circa 1971, it's a performance that makes you wish that she was always in the spotlight. https://www.youtube.com/watch?v=fp_i7cnOgbQ
Add another date into your doggo's diary — NewBARKet Dog Fest is back. On Saturday, June 8, Newmarket Village is going to the dogs, but in a good way, with the adorable festival returning for a huge second year. Take your pupper along from 11am till 5pm, with everything from pooch parades to a puppy ball pit to plenty of pats on offer. 2019's event is themed like a canine circus, so competing in categories such as The Bearded Lady (aka the doggo with the messiest bed head), The Strong Man (the most muscular pooch) and The Fortune Teller (the pupper with the best costume) is on the agenda. Also: canines with hula hoops. Pet photography, talks about puppy pampering sessions, market stalls and a bone bar are on the agenda too, so you can show off your four-legged best friend, make them feel special, and give them a treat or two. For attendees of the two-legged variety (no, your clever canine standing on their two back legs doesn't count), there'll also be food and live music, including free fairy floss. And if you're sadly lacking in the pooch department, don't worry — everyone else will have you covered, so you'll be in for a top day of dog-watching.
One great turn inspires another in Monsieur Chocolat — and what stellar, standout turns they are. In this handsome showbiz biopic, a late 19th/early 20th century comedic pioneer inspires a film-stealing performance from a current acting talent. The former is Rafael Padilla, aka Chocolat, the first black clown to star in the French big top. The latter is actor Omar Sy, who previously impressed audiences in The Intouchables, Mood Indigo and X-Men: Days of Future Past. If you don't recognise Padilla's name, the film will soon help you understand why. Examining how he became one of France's forgotten comics is as much a part of Monsieur Chocolat as charting his humorous feats. When the movie introduces the former Afro-Cuban slave, he's playing a cannibal in a regional circus and considered a novelty amongst a cast of white performers. His fortunes seem to change after he joins forces with English clown George Foottit (James Thierrée), and yet much still stays the same. While their acclaimed double act takes them to Paris' prestigious Nouveau Cirque, amusing the masses and earning their respect are two very different things. Here, the leap from loincloth to top hat proves giant in perception but tiny in reality, with director Roschdy Zem unafraid of tackling the obvious factor that complicated Chocolat's career. Bigotry dogs the performer at every turn; kids scream at his teeth-gnashing savage routine, while envious rivals try to keep him down. Even at the height of his popularity, he finds himself arrested on the street. So too is the prejudice clear in the public's reaction when he sets out to become a serious actor. Monsieur Chocolat presents a rise-and-fall narrative, as well as a dissection of stereotypes and discrimination, that feels simultaneously familiar and fresh. This isn't the first time a film has offered a behind-the-scenes look at the less-than-glamorous reality of fame and fortune; nor is it the first time we've been made to face the entertainment industry's poor treatment of multicultural talents. And yet, while few truly original stories may rear their heads these days, previously untold true tales can still strike a chord — particularly when may of the same social issues remain a problem more than a century later. Accordingly, Monsieur Chocolat is a bittersweet affair. It's rightfully sombre in its contemplation of how its title character was treated, and yet absolutely jubilant in depicting him do what he did best. Sy is crucial to both – his clowning skills are a sight to behold, as is his rapport with real-life circus performer Thierrée. In a better world, their reenactments of Chocolat and Foottit's marvelous act would be the only thing this movie needed to focus on, but unfortunately that's not the one we live in. Come for the big top delights. Stay for the grim reality behind them. In tackling both, this film is a worthy tribute to Chocolat's remarkable legacy. https://www.youtube.com/watch?v=bgOVqeNNu58
Been meaning to get into stargazing but don't know where to start? This could be your gateway event. On Wednesday, March 23, you can join thousands of Aussies attempting to smash the World Record for Most People Stargazing Simultaneously Across Multiple Locations in Roma Street Parklands. There is lots of starry-eyed fun going down across the country, but the Roma Street Parkland celebrations kick off at 7pm. There'll be a little something for stargazers of all levels, with Dr Karl and Jimmy Giggle on hand to host the proceedings. From 8pm, catch the ABC's live stargazing broadcast on the huge outdoor screen, hosted by Julia Zemiro and physicist Brian Cox. There'll also be telescopes available to order, and food trucks on hand in case all that gazing leaves you feeling peckish.
It doesn't take a fool to figure we in Australia have a nasty habit of throwing out perfectly fine food for petty reasons. You can blame it on Pete and Manu for making us believe the flower is the only edible part of the zucchini, or the natural and overpowering fear of eating the brown bit of a banana. But in reality, we put more edible food in the trash than we do our tum and it's a something that needs to change. As part of the Human Rights Film Festival, the Brisbane Powerhouse will be screening Just Eat It: A Food Waste Story. In a Super Size Me-type gonzo documentary, Just Eat It follows Canadian food lovers Jen and Grant as they dive head first into the issues surrounding overconsumption and food wastage. By surviving solely on food waste for six months, they provide an entertaining and shocking look into how much food we throw away and how it effects our earth.
Another year, another rainbow-filled February and early March. And, now that the parade has unleashed 2022's fabulous lineup upon Sydney, another Mardi Gras has come to an end. Whether you made the trip down south to celebrate or partied along from home, it's been a big few weeks — which means that you might need to wind down at a Mardi Gras recovery pool party. The venue: W Brisbane, at the opulent hotel's fourth-level rooftop pool and wet deck area. The reason: adding another shindig to this vibrant time. The setup: DJ-spun pride anthems and vodka cocktails, all from 2–7pm on Sunday, March 13. On the decks, DJ ENN and DJ Nate will be keeping the vibe pumping. Luna Thicc, Sarah Problem and Stefani Stefani will also be adding performances to the afternoon and evening, too. Drinks-wise, you'll be choosing between the 'Stay Golden' (made with Absolut citron, finger lime, kaffir soda and edible gold paint) and the 'Loud and Proud' (with Absolut rainbow, berry cordial, coconut water and butterfly pea soda), all while tucking into char sui pork baos, lobster chipotle tacos and Philly cheesesteak rolls. Tickets cost $60, and bringing your togs is obviously essential.
Join the exploration of how the human body perceives, interacts with and is affected by time in all its forms. As part of Metro Arts’ Friday Night events, you can welcome your weekend by indulging in stunning works by contemporary artists; this upcoming round is created by Eleanor Jackson and Thomas Day, known as Ma Ya Ga Ng Re Ne. Head along to Studio 3.1 (on level 3) for Jackson’s interactive installation, ‘Now You See Me’. This is a reactive and reflexive examination of queer pride, particularly that which is represented in the media. By shining a light on all the positives of the queer community, have they invited acceptance, or perhaps a perspective that suits insidious fiction rather than satisfying fact? Then, in Studio 3.7, Ma Ya Ga Ng Re Ne (Thomas Day) performs his live presentation ‘Secrete Success’. By recreating the spaces and dynamics of a typical office environment, he replicates the situations of greater life. Repetition, the same daily activities, fuelled by repeating drives and expectations create engrained behaviours, all aligned to the notion of success. By addressing this craving for prosperity, he asks who can afford to fall short?
John Lennon's life has fascinated many around the world. From the silver screen, to lyrics and the traditional stage, many creative souls have decided to pay homage to the man who insired them. One such production is, Looking Through a Glass Onion, showing in Brisbane from 25 February to 2 March. This is not the first time that the play has hit the stage. In 1992, John Waters and Stewart D'Arrietta performed the production at the Tillbury Hotel, Wooloomooloo. The two performers initially decided it would be a one-week producton, but due to high demand the stage show transformed into a six-week sell out season. Waters plays Lennon in a way that doesn't seek to wholly imitate him, rather it encapsulates Lennon's differing personalities and various emotions to display a complex representation of a fascinating man. The performance features classics such as 'A Day in the Life', 'Strawberry Fields Forever', 'Lucy in the Sky with Diamonds' and 'Imagine'.
Have you ever watched a play a wondered what its supporting characters were doing while not on stage? Would they be talking about the actions of the main characters, or simply going about their normal business until fate (or the playwright) requires them to make another entrance? Tom Stoppard has certainly considered these notions in his play, Rosencrantz and Guildenstern Are Dead. If you're a Shakespeare buff, those names may sound familiar; they are two courtiers who appear in Hamlet. Childhood friends of the prince of Denmark, they get drawn into the machinations of Hamlet’s intended execution, but instead meet their own untimely end. Stoppard focuses on the actions and conversations of these characters as they might exist in the unseen parts of the world of the play. They wax philosophical in this absurdist, existential tragicomedy, rambling on with nonsensical jargon, playing Questions, and reflecting on the nature of reality… while they are not ‘on stage’, of course. The show is being staged by the Brisbane Arts Theatre, and is directed by Natasha Kapper. The play originally debuted at the Edinburgh Fringe Festival in 1966, and since then has become very popular. This piece of meta-theatre is waiting for you. Don't miss it!
British masters of the catchy pop tune, Bombay Bicycle Club, are bringing in the New Year in long-awaited fashion with an all-ages show at The Tivoli. The foursome have visited Australia early in 2012 as supports for fellow British outfit Elbow, the tickets for which were on high demand. BBC have been making strides since their debut in 2009; 2010 saw their sophomore album “Flaws” as well as NME’s award for Best New Band and a nomination for an esteemed Ivor Novello Award. Supporting Bombay Bicycle Club will be Melbourne five-piece The Paper Kites. Their ethereal sound and uplifting melodies are sure to complement Bombay Bicycle Club, ensuring a night of pop-driven euphoria. Tickets are still available, so get on your bike to avoid disappointment!
While Facebook asks if you are in a relationship, whether said relationship is open and or complex, the popular app Grindr is a tad more blatant. Would you like to have sex with any of the men within your immediate proximity? While the idea of an application which institutionalises sex isn’t wildly original - and yet none of us thought of it - neither is the comedy that ensues from these iOS fuelled love riots. It's an idea and concept that surpassed us again, yet didn’t pass the mind of comedian Nath Valvo who, in a spark of genius, created Grindr: A Love Story. Valvo has combined his own melodramatic comedic wit, with his own experiences with the infamous app to produce his sell-out, stand-up, 18+, brutally hilarious comedy masterpiece. Grindr: A Love Story aims to capture the lust and the comedy of Grindr, through the eyes of a rising comedy star on a stage that couldn't hold a handful of the 1.5 million men who use the app every day.
The latest production from Crosstown Artists is Slammed — by name, in its narrative and in nature. The first instance is obvious. The second part is reflected in a story that understands life's tougher times. And the third? Well, that's made plain by a performance that mixes music by local bands, graffiti art and slam poetry. This edgy new work tells the tale of downtrodden 15-year-old Jake Ryan, a teen neglected by his father, abandoned by his mother, and just generally feeling pushed around by the world. He's far from happy, but as he tries to carve out his own niche, he realizes that everyone else is struggling too. If Slammed seems more than a little close to home, that's because it's meant to, set as it is in a fictitious but familiar high school setting. And if Slammed seems more realistic than these things usually do too, that's because it was written by a former teacher. Here, yesterday's teen troubles become today's thought-provoking theatre.
There's something rather cool about being ahead of the curve when it comes to cinema, watching the latest and greatest flicks on the silver screen well before anyone else. And at Australia's biggest short film festival, you can do just that. The internationally acclaimed Flickerfest is celebrating its 31st year in 2022, too, so you can expect an A-class lineup of cinematic delights. The annual short film festival is Australia's leading Academy Award-qualifying short film fest, and is backed with BAFTA recognition, too. In March, you can catch screenings at the James St Palace Cinemas. [caption id="attachment_843659" align="alignnone" width="1920"] 'A Summer Place'[/caption] Get a window into the most exciting contemporary short films with both national and international acclaim. The films featured are handpicked as the most inspiring, provocative and entertaining among the whopping 3100 submissions this year. So this program is not one you want to miss. On Thursday, March 10, it'll be showcasing the Best of Australian Shorts, kicking off at 7pm with complimentary drinks on arrival. Here, you'll get to mingle with a bunch of incredible Queensland filmmakers fresh from their Flickerfest premieres. The local filmmakers will be sharing the big screen with Australian festival award winners and acting legends — like Paul McDermott and Tara Morice, who star in the quirky dark space comedy The Home Team. Then, on Friday you can check out the Best of EU Showcase and discover talent from France, Sweden, Poland and more. Our pick is the moving drama On My Mind which has been nominated for a short film Oscar. To see the full Flickerfest 2022 program and grab tickets, head to the website. Flickerfest will run in Brisbane from March 10–11, and will continue touring nationally until October 2022. Top images: 'The Home Team', 'Shower Boys'
Revving up the bikie drama genre and ramping up the bloodshed and brutality, 1% is a shiny new ride made from familiar parts. It's ostensibly Australia's big-screen answer to Sons of Anarchy, with that comparison both a curse and a blessing. The two share so much in common narrative-wise that, if you've seen the American TV series, it's impossible not to think about it while you're watching 1%. That said, Stephen McCallum's directorial debut still offers an engaging West Australian-set and -shot take on leather-clad brotherhood — one that never feels like its motoring down a new path, and yet never feels like it's blindly sticking to the expected route either. The story falls firmly into the first camp, but the film's energy falls into the second. Dwelling in Perth's seedier side, 1% steps into the world of the Copperheads Motorcycle Club. For the past three years, vice president Paddo (Ryan Corr) has overseen the gang with his ambitious girlfriend Katrina (Abbey Lee), trying to steer the club down a legitimate road. He wants to stop the outlaw life and start making cash they're actually able to splash around, but two things threaten to derail his plans. Firstly, his brother Skink (Josh McConville) gets on the wrong side of a rival motorcycle gang, with its leader (Aaron Pedersen) demanding that the two crews start laundering money together — or there'll be deadly consequences. Secondly, Copperheads president Knuck (Matt Nable) is released from prison and, helped by his wife Hayley (Simone Kessell), is quick to throw his weight around. Both within the club and within WA's broader gangland underbelly, conflict roars louder than a two-wheeled chopper down an open highway. So too does a term that's often bandied about when bikie battles get serious on-screen: Shakespearean. Across its seven seasons, Sons of Anarchy moulded its mayhem in Hamlet's image, throwing in a bit of Macbeth for good measure. Each rears their heads here as well — and while nodding to the Bard can signal that a film or TV series is trying to bulk up otherwise routine material, 1%'s violent clashes, grim power struggles and testosterone-soaked atmosphere all prove suitably tense and tragic. Also adding bulk is the film's cast, a roster of talent that fires on all cylinders. Bringing depth, nuance and authenticity to characters that might've seemed one-note in the hands of other actors, Corr and Nable are memorable as two leaders striving for the same thing in different ways, while McConville fleshes out Skink to become more than merely a plot device. Lee and Kessell ensure that 1% isn't just a boy's club, even if the idea of scheming women standing behind their men is far from a new one. Indeed, if there's a disappointment in this department, it's a matter of screen time rather than performance. One of Australia's best contemporary talents, Pedersen makes his presence known, however his part falls firmly in the supporting category. Nable also wrote the script, his second after jumping from playing rugby league to making movies. Perhaps he's the Sons of Anarchy fan? Or perhaps he's simply fond of a genre that has enjoyed plenty of entries, including 1970s Aussie classic Stone. Either way, exploring male-dominated realms has proven his recurrent fascination — whether featuring in front of the camera in Underbelly, Son of a Gun and Hacksaw Ridge, or penning 2007's The Final Winter, which was set in and around a football club. Given visual grit by McCallum, Nable's latest story fits his usual mould, and does enough to leave an impression. https://www.youtube.com/watch?v=Nva4s76JW_o
Keen on all things innovative when it comes to technology and culture? Suffer from pangs of envy when SXSW kicks off on the other side of the planet each March? Jetting around the world to get your fix mightn't be realistic; however, thanks to the return of Brisbane's Myriad festival, it's no longer necessary. Holding its second annual program at the Brisbane Showgrounds from May 16 to 18, Myriad might still be a relative newcomer to the scene, but that hasn't stopped the fest from going big. More than 100 speakers will ponder the future of culture, health, food, money, cities, work and play — aka the event's key themes — at the kind of gathering that aims to bring technology's best and brightest together in the one place. As for what everyone will be chatting about, topics include building virtual cities, driving flying cards, hacking the Great Barrier Reef and making digital art — and why artificial intelligence is about to influence our lives, so expect to hear about AI often. There'll also be sessions on how humans and bots can work together, technology in sport, whether 3D printing is a passing fad, and why working the 9-to-5 is falling by the wayside, just to name a few subjects. Basically, it's three days of pondering the future and discussing more technological advancements than you'd see in a sci-fi movie. A word of warning, though: because Myriad is a conference-style event, tickets aren't cheap.
Paniyiri Greek Festival is back for another year, with the weekend of all things Greek food, dance and celebration taking place on May 18 and 19 at Musgrave Park. It is the longest running cultural festival of its kind in Australia, and once you’ve been, you’ll know why. Over 30 food stalls of meats and sweets and everything in between will leave no craving unsatisfied, and traditional music and dancing will entertain and enlighten you throughout the day. Grape stomping, honeypuff eating competitions, Zorba ‘til you drop, cooking demonstrations, surprise guests; it’ll all be Greek to you. Prepare yourself for an afternoon (or a double feature?) of al-fresco dining, the smells and smashing plates, the sounds of the bouzouki and the lira, among some 50,000 Greeks and honorary Greeks and this year’s special guests, Kelly Paterniti (Home & Away) and Jake and Elle (My Kitchen Rules). Opa! Children under 13 enter free, and tickets can be purchased online or at the gate. Opa!
Just over a decade ago, Noomi Rapace was The Girl with the Dragon Tattoo — The Girl Who Played with Fire and The Girl Who Kicked the Hornet's Nest, too. After starring in the first film adaptations of Steig Larsson's best-selling Millennium books, the Swedish actor then brought her penchant for simmering ferocity to Alien prequel Prometheus, and to movies as varied as erotic thriller Passion, crime drama The Drop and Australian-shot thriller Angel of Mine. But Lamb might be her best role yet, and best performance. A picture that puts her silent film era-esque features to stunning use, it stares into the soul of a woman not just yearning for her own modest slice of happiness, but willing to do whatever it takes to get it. It also places Rapace opposite a flock of sheep, and has her cradle a baby that straddles both species; however, this Icelandic blend of folk-horror thrills, relationship dramas and even deadpan comedy is as human as it is ovine. At first, Lamb is all animal. Something rumbles in the movie's misty, mountainside farm setting, spooking the horses. In the sheep barn, where cinematographer Eli Arenson (Hospitality) swaps arresting landscape for a ewe's-eye view, the mood is tense and restless as well. Making his feature debut, filmmaker Valdimar Jóhannsson doesn't overplay his hand early. As entrancing as the movie's visuals prove in all their disquieting stillness, he keeps the film cautious about what's scaring the livestock. But Lamb's expert sound design offers a masterclass in evoking unease from its very first noise, and makes it plain that all that eeriness, anxiety and dripping distress has an unnerving — and tangible — source. The farm belongs to Rapace's Maria and her partner Ingvar (Hilmir Snær Guðnason, A White, White Day), who've thrown themselves into its routines after losing a child. They're a couple that let their taciturn faces do the talking, including with each other, but neither hides their delight when one ewe gives birth to a hybrid they name Ada. Doting and beaming, they take the sheep-child into their home as their own. Its woolly mother stands staring and baa-ing outside their kitchen window, but they're both content in and fiercely protective of their newfound domestic happiness. When Ingvar's ex-pop star brother Pétur (Björn Hlynur Haraldsson, Eurovision Song Contest: The Story of Fire Saga) arrives unexpectedly, they don't even dream of hiding their new family idyll — even as he's initially shocked and hardly approving. Jóhannsson isn't one for telling rather than showing, as Lamb's sparse dialogue ensures. That said, he doesn't unveil Ada a second before he needs to, either. While Maria has a little lamb and its fleece is as white as snow, the film spends much of its first half revelling in how the creature's arrival drastically alters the household's mood. Lamb is firmly a tone poem, in fact, living, bleating and breathing in its titular critter's wake. Something sinister still dwells — and recurrent shots of Iceland's towering surroundings still ripple with foreboding — but Maria and Ingvar have eagerly snatched up what bliss they can. Smartly, when the revealing shot comes, and also when Ada keeps being seen in all her human-animal glory (courtesy of live animals and children, plus CGI and also puppetry), Jóhannsson's winning mix of anticipation and playfulness isn't shorn away. It's easy to spy another picture from this part of the world with an ovine focus and think of Rams (the original, not the 2020 Australian remake). Recalling A White, White Day's musing on grief and its stunning use of wintry landscapes is just as straightforward as well. Throw in the fact that Lamb frolics forth from US distributor A24 — home to fellow folk-horror hits The Witch and Midsommar, the nightmarishly atmospheric Hereditary and The Lighthouse, and the dark and discomforting The Lobster and The Killing of a Sacred Deer, with the company's moniker now accepted in filmic circles as shorthand for a particular type of indie flick — and believing you know what's in store is equally understandable. But like Robert Eggers, Ari Aster and Yorgos Lanthimos, the directors behind those aforementioned features, Jóhannsson has made a disquieting and dazzling movie that couldn't be more distinctive. Indeed, just as Ada is her own creature, Lamb is its own singular film. Nursery rhyme nods and fairy tale-like touches add extra layers to Lamb's contemplation of parenthood, loss and all the stress that comes with each; however, the movie's religious symbolism is less effective. Christmas songs echo, placing the film at a time of year already loaded with meaning. A manger obviously exists on the farm, too. Also, having a woman called Maria embrace motherhood after a miraculous birth clearly isn't an accidental move on Jóhannsson and co-screenwriter Sjón (an Icelandic poet and frequent Bjork collaborator's) behalf. What rings loudest among these inclusions is the notion of grasping onto whatever you need to in order to understand and endure all that life throws your way. Lamb is also a movie about nature versus nurture, so brooding over the impact of choices both overt and innate cosily resides in the same paddock. Enticing, surreal and starkly unsettling all at once, Lamb also benefits from exceptional animal performances — it won the Cannes Film Festival's Grand Jury Prize for Palm Dog, the prestigious event's awards for best canine acting — and its own savvy. It nabbed Un Certain Regard Prize of Originality at Cannes as well, but the movie's shrewdness isn't limited to its standout concept. Each patient shot that roves over the hillside, peeks through the fog, and soaks in the strain and pressure is just as astute. Each rustle, huff and jangle in the film's soundscape proves the same. Every aesthetic decision paints Lamb in unease and uncertainty, in fact, and lets its lingering gaze towards the steely Rapace, affecting Guðnason and their four-legged co-stars unleash an intense and absurdist pastoral symphony of dread and hope, bleakness and sweetness, and terror and love.
Eight-hour slow-roasted lamb shoulder. Jam-packed souvlaki filled with lamb, onion, mustard mayo and hand-cut chips. A Sunday lamb roast. In the '80s, they're all dishes Naomi Watts would've given up a date with Tom Cruise to eat. These days, they're staples at The Lamb Shop on the Gold Coast — and from March 6, they're heading up north to Brissie. As first announced in 2016, anyone eager to devour hearty, spit-roasted, mostly lamb-centric meals should make their way to King Street in Fortitude Valley, with the Broadbeach eatery becoming the latest restaurant to make the revamped Brisbane Showgrounds their new home. Expect all of the tasty items that have made them such a favourite on the Coast since opening first opening their doors in late 2014, with the exact same menu making the jump. The Lamb Shop is known for their modern take on traditional Greek offerings, as inspired by owner Peter Glouftis' memories of his childhood. Those after something other than the form of meat mentioned in the restaurant's moniker can snack on char-grilled corn, prawns, octopus or sheeps' cheese, or tuck into chicken versions of their souvlaki and small plates. Their menu is simple — like their concept — but it's also oh-so-succulent and delicious. And it comes with the added bonus of allowing diners to watch their meat rotate over hot coals while they're waiting. The Lamb Shop joins what's fast becoming one of the tastiest areas in the city, joining King Street tenants The George Bar and Bistro, GG Espresso, Fat Dumpling and Il Verde, plus Sushi & Nori and Hello Chicken, with new burger joint Super Combo also due to open this week. As the area continues to grow, one thing is certain: no one is going to be hungry here. Find The Lamb Shop on King Street, Fortitude Valley, from March 6. Keep an eye on their website and Facebook page for more information.
Get your fashion fix at the next Suitcase Rummage at Reddacliffe Place (top of Queen Street Mall). While these markets aren't huge in size, they are monstrous in fashion finds and boast a variety of goodies. Sort through an array of suitcases and get your hands on fabulous vintage pieces, artwork, bric-a-brac, clothing, books, handmade clothes, shoes, records, cards and pretty much anything else you can imagine. If you're planning on selling your much-loved treasures, you will need to register your wares. Then, on Sunday bring along a suitcase filled with your offerings and spend the afternoon swapping, haggling and selecting new additions to your wardrobe. Make a few bucks or throw them away on new fripperies — sounds like the makings of a great Sunday.
James Street already boasts the best in shopping, restaurants and art-house cinema — and now it adds a festival to its ever-expanding footprint. An event befitting the street’s status as New Farm’s style hub, Resort is the first artistic and cultural celebration in a planned series, taking over the precinct for three days of well-heeled fun. No matter whether you’re a morning or evening person, there’s something to suit your timetable. The Resort Breakfast offers an eating, art and shopping experience at Blonde Venus, the Resort Mexican Food Fiesta brings a day of mojitos and munchies to Gerard's Laneway, and Resort After Dark combines cocktails and putt putt by starlight. But wait, there’s more, including the Resort Trailblazers discussion on fashion and the digital age hosted by ELLE Australia deputy editor Damien Woolnough, as well a sneak peek of GOMA’s forthcoming Future Beauty: 30 Years of Japanese Fashion exhibition. And who could pass up the nocturnal experiment that is #SunglassesAtNight? Singing Corey Hart’s hit song is not compulsory.
Grab a choc-top and a bucket of popcorn and head to the Judith Wright Centre for Flickerfest. This special festival is not only a great platform for filmmakers to show off their skills, it's also an absolute treat for movie buffs. The short film festival is renowned for being Australia's only competition accredited by the Academy of Motion Picture Arts and Science and recognised by BAFTA, which means award winners here go on to be considered for Oscars. It's a huge badge of honour for Flickerfest, which had its humble beginnings 22 years ago at Sydney's Balmain High School. Brisbane gets a three-day 'best of' this year's competition, which ran at Bondi Beach in January. A huge number of entries were submitted, and the top 100 were chosen to screen in Brisbane. The most inspiring, creative, and edgy short films our nation and the world have to offer will be available for viewing, and our Sunshine State will be represented by two short films. Past participants of the festival include Sundance-awarded director David Michod (Animal Kingdom) and Cannes Film Festival winner Warwick Thornton (Samson and Delilah). Catch these outstanding quick flicks and support the talented people involved. Each film is loaded with energy, emotion, and creativity, so fasten your seatbelt and enjoy the ride. We have one double pass to give away to each night of Flickerfest, including opening night on Thursday 21 February. To be in the running, subscribe to our newsletter (if you haven't already) and then email hello@concreteplayground.com.au with your name and address.
