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.
When Halloween falls on a Saturday, there's always the urge to start off the spooky celebrations a day early. And when you have the ideal venue for such a party — aka a hotel, which at this time of year we'll say is haunted in hopes of reliving The Shining — then fighting that temptation seems pointless. In throwing their annual Halloween event, the gang at the Limes clearly feels the same way, as they should. This year, due to popular demand, they're doubling up the devilishness and making their ode to the eerie a two-day affair. That means the same number of options await keen patrons: choose the night that suits you best, even if it is the evening before the real deal — or head along to both. Either way, you'll find cauldron cocktails, deadly shots, prizes for the best dressed and barkeeps raised from the dead (or staff pretending that they are, but in the name of the occasion, we'll go along with it).
Everyone knows someone who can't wait to throw a party, and will use any occasion and excuse they can to do so. Queensland Museum is that pal in venue form, regularly putting on after-hours shindigs for its exhibitions — and also dedicating a night to after-dark festivities during World Science Festival Brisbane 2024. On Friday, March 22, running from 6.30pm, the South Bank spot will welcome in Brisbanites to see baby turtles, peer at Lego dinosaurs, listen to DJ-spun tunes and more — all with drinks. QM's usual After Dark sessions are normally huge, but Social Science levels up the fun and activities for the city's annual science fest. And, your $60 ticket also includes entry to Jurassic World by Brickman. Attendees can also catch a runway display featuring upcycled wearable art from Claudia Williams donned by the House of Alexander — and then witness drag and science join forces at The Drag (S)experiment with Dr Naomi Koh Belic and Lee Constable. Phoebe Paradise is doing live painting, Dead Puppet Society is hosting a workshop on laser-cut insect pinning, and Dr Norman Swan and Tegan Taylor are recording podcast What's That Rash? live. The list goes on, complete with DJ Spock and Neesha Alexander on the decks.
Good things come in small packages at Simply Shorts — and, as the name suggests, short ones as well. Both a screening session of bite-sized filmmaking and a networking get-together for those who make and watch them, the event showers the love on cinematic storytelling of the briefer kind. At their latest evening on July 12, all things science fiction will be zooming across the screen, spanning from monsters to mutants to plenty of other genre staples. Will giant lizard-like creatures amble across the frame? Extra-terrestrials looking for home? Time-travelling teens? You just know that the film selection will include plenty of nods to sci-fi gems gone by, because that's what science fiction typically does — it takes inspiration from the past and present, and blends them into a new vision of the future. Expect all of that over three hours of filmic wonders, plus drinks and chatter afterwards. Expect music videos and movie trailers too, with all sorts of shorter bits and pieces in the spotlight.
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
Roll up, roll up to Cirque du Soleil's big top, with the acclaimed circus company heading back to Brisbane with its newest show. Called KURIOS: Cabinet of Curiosities, this acrobatic extravaganza steps inside a fantasy world in the latter half of the 19th century. If you think that normal Cirque du Soleil performances test your perception of reality, then you won't be disappointed — not quite believing your eyes, using your imagination and peering beyond the expected is part of the story. Specifically, KURIOS delves into the tale of the Seeker, who happens to be in possession of a larger-than-life curio cabinet, and also happens to think a hidden world is lurking inside. After world premiering in Montreal back in 2014, the production has been touring the globe since, and now it's setting up shop at Northshore Hamilton from Friday, January 10, 2020. The show marks Cirque du Soleil's 35th since it was formed in 1984, and features 47 artists from 17 countries. Basically, prepare to stare and drop your jaw as gymnasts, acrobats, contortionists, puppeteers, yo-yo wizards, clowns, actors and musicians do their thing. Performances will take place on Tuesdays–Fridays at 8pm, Saturdays at 4.30pm and 8pm, and Sundays at 1.30pm and 5.00pm, with the season running through until Sunday, February 9. Tickets for shows until January 26 are on sale now, with tickets for performances between January 29–February 9 going on sale on Monday, August 26 at 10am. Images: D-CORD Costumes: Philippe Guillotel © 2018 Cirque du Soleil Updated August 26.
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.
From chewy Neapolitan pizzas to giant five-cheese topped slices, decent gluten-free bases and inventive vegan toppings, Brisbane's pizza stores cover all the variations. Here are five places that keep us coming back for stretchy buffalo mozzarella, pillowy bases and perfect toppings.
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'.
After the work-week marathon, holing up at home all weekend can be mighty tempting, especially in 2020. And while technology has gifted us with the amazing ability to get both food and entertainment without changing out of our PJs, you might still feel like sunshine and socialising. So, once a month, swap the hermit life for an outside hangout. The Sound Society is an initiative that fills Roma Street Parkland with music. If a slow Sunday morning and afternoon accompanied by live tunes is your style, meander down to the Banyan Lawn between 11am–2pm — picnic blanket in hand. The lineup is eclectic, with the Jess Spina Quintet slated to perform on August 2. You can then head by on September 6, October 4, November 1 and December 6 as well. You can also order a picnic hamper from the Parkland's Garden Cafe to pick up on the day — or, of course, you can bring your own. The Sound Society takes place at Roma Street Parkland's Banyan Lawn from 11am–2pm on August 2, September 6, October 4, November 1 and December 6.
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!
Music lovers of Brisbane, and festival fans as well, we foresee a trip to the Gold Coast in your near future. That's where The Grass Is Greener is returning this year, with the music, food and arts fest heading to Doug Jennings Park on Saturday, October 22 with an impressive lineup. Leading the bill: Ty Dolla $ign, YG, Zhu and Pnau. The event is particularly pumped to have not one but two of the biggest names in hip hop gracing its stages, as well as one of EDM's global stars and some homegrown heroes. And, it's betting that you'll be just as thrilled to check them out live. Of course you will. Onefour, Boo Seeka, Sidepiece and Alok also have spots on the lineup — and yes, the list goes on. [caption id="attachment_856350" align="alignnone" width="1920"] Curdin Photo[/caption] Queenslanders should already be familiar with the fest, which made its debut back in 2016 up in Cairns. This year, it's hitting up not only the state's far north and the Gold Coast — spreading the love from one end of the Sunshine State to the other — but also branching out further for the first time ever. Each 2022 stop will boast multiple — and themed — stages, other eye-catching activations, and VIP packages if you're feeling flush with cash. [caption id="attachment_856348" align="alignnone" width="1920"] Mitch Lowe[/caption] THE GRASS IS GREENER 2022 LINEUP: Alok Aluna Boo Seeka Brux Crush3ed Gaudion Little Fritter Market Memories Maya Jane Coles Noah Devego Onefour Pedro Pnau Shimmy Disco Sidepiece Sticky Fingers SVLT TDJ Ty Dolla $ign Volaris Wongo YG Zero Zhu (DJ set) Top image: Mitch Lowe.
Thanks to the huge array of streaming services available at the mere press of a button, as well as the seemingly non-stop array of new movies hitting them each and every month, it's easy to forget that films don't always last forever. The very medium of 35mm film itself doesn't, in fact — it deteriorates, which is why restored and remastered versions of old classics, and shiny 4K digital transfers, are such a big deal in cinephile circles. Here's a movie that won't ever grace a DVD, a streaming queue or even get digitised, however: The Afterlight by Fear Itself and Beyond Clueless filmmaker Charlie Shackleton. It's 100-percent designed to only screen on 35mm, and only exists as one single print. And, that means that it degrades every time it's shown, and will one day fade away to the point it can no longer be played. Accordingly, getting to see The Afterlight isn't an ordinary trip to the cinema. It's a rare one-off and a true once-in-a-lifetime experience. It's also what's on offer at the Gallery of Modern Art's Australian Cinematheque, for free, for one night only from 6.30pm on Thursday, August 18. Arriving in Brisbane fresh from playing MIFF, the film will screen just once, with Shackleton in attendance for an in-conversation session afterwards. And if you're wondering what The Afterlight is actually about, it's a cinematic collage featuring clips of actors who are now dead but will always live on on celluloid — although not on this strip of celluloid once it disappears.
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
Surfers Paradise is known for many things — sun, surf, sand, Schoolies and tourists, mainly — but there's one thing that the Gold Coast strip hasn't had for more than 20 years. That's a cinema, after Hoyts shut up shop back in 1995. Local cinephiles and holidaying movie buffs can rejoice, however, with Palace announcing plans to open a 12-screen complex later this year. Coming to the corner of Surfers Paradise Boulevard and Elkhorn Avenue as part of the X Galaxy Centre redevelopment, the cinema will feature multiple lounge and bar areas, plus views over the city, all a mere block away from the beach. It'll form part of an extensive retail and dining precinct, and will be serviced by the light rail system. Patrons can expect the usual array of Palace bar offerings when the cinema opens — with an exact date yet to be announced — plus the chain's mix of art house and mainstream titles. Other than the Home of the Arts cinema (formerly known as the Arts Centre Gold Coast), the area is underserved when it comes to anything other than blockbuster and multiplex fare, making Palace a welcome addition. The Surfers site will bring the company's Queensland locations to three, with Palace operating 22 in total across Australia. They're certainly busy — as well as opening a 13-screen, pink-hued cinema in Sydney's Chippendale last year, new sites in Double Bay and Melbourne's Old Pentridge Prison and Moonee Ponds are also in the works.
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!
Maybe you first saw Mad Max: Fury Road in a cinema, with engine roars echoing through the theatre, and cars racing and crashing across the big screen. Perhaps you initially watched the exceptional Aussie flick — the best action movie of this century, and the best Australian film of the same period as well — at home. So, you felt all that revving reverberating through your lounge room. Whichever fits, there's no way that you can ever forget the experience. Fury Road arrived after three decades of anticipation, and it well and truly delivered beyond everyone's wildest dreams. There's zero chance that you've forgotten its many vehicles, either, because this is a film that knows how to get fast and furious (yes, even more so than that other franchise). Can't get those cars out of your head? Love movie history, and keen to own a piece of it? Lloyds Auctioneers and Valuers have just the thing for you, then, with 13 vehicles from Fury Road going under the hammer. Yes, if you need new ride that's all shiny and chrome, you can get your hands on the Nux car, the Doof Wagon, the War Rig, the Pole Car, the Fire Car and more. Read those names, and you already know which vehicles we're talking about. When the great George Miller, Fury Road's director — and the filmmaker behind the entire Mad Max franchise — dreamed up these sets of wheels, he truly came up with movie cars for the ages. Obviously, the Fury Road vehicles aren't going to come cheap. But if you somehow have the necessary cash, they'll be up for auction across the weekend of Saturday, September 25–Sunday, September 26 — and, as they're part of a tender, you'll need to submit an expression of interest first. Clearly, they're the best things to drive if you find yourself in a desertscape that's part of a post-apocalyptic wasteland — or if you want to pretend that's the case. And, they're something Mad Max-related to get pumped about until the next movie in the franchise, Furiosa, hits cinemas. Need a reminder of just how all the vehicles look in the film? Check out the Fury Road trailer below: Thirteen cars from Mad Max: Fury Road will be up for auction across the weekend of Saturday, September 25–Sunday, September 26. For further information, head to the Lloyds Auctioneers and Valuers website.
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.
Enter the charming little dream world of Lucy Folk, from her covetable candy-hued cocktail clutches to wearable works of art, and make them yours thanks to its online archive sale — all for a fraction of the price, too. Older styles and past collections are available at up to 70 percent off retail price. We're talking crocheted copper earrings, choker necklaces, colourful loungewear, clutches and basket-woven bags, retro-inspired shades and more. The Australian designer is known for her incredibly luxe yet playful accessories and wares, drawing inspiration from a variety of avenues in her life, although food and travel are two of the clearest. In the online sale, you'll find Moroccan-inspired clothing such as boldly striped robes, boilersuits, dresses, pants and kaftans — all of which are perfect for lazing around the house. Jewellery-wise, expect sphinx-like earrings and ones that look like coral; pearl-encrusted hoops; simple gold, silver and copper chokers; fun beaded necklaces; and a bunch of rings and bracelets — from fine and dainty to statement pieces. You can also nab a pair of her coveted sunnies for just $100, which usually retail for upwards of $375, as well as $125 off her much-loved beaded clutches. As we move into cooler autumnal weather and shorter days — and not to mention spending almost all our time at home — future you will thank Lucy Folk (and your shopping habits) for adding a burst of cheer to your every day outfits. The sale ends at midnight tonight, Monday, April 20 — so you best be quick. Lucy Folk Archive Sale runs until 11.59pm AEST.
What's better than a horror film about a taunted teenager who unleashes her telekinetic powers upon her classmates? All that, but transported to the stage and set to music. Yes, another movie has been given the musical treatment — and it's not one you might expect. Say hello to the singing and dancing version of Carrie. Even if you've read Stephen King's book, viewed the original 1976 feature directed by Brian De Palma or sat through the 2013 remake starring Chloë Grace Moretz and Julianne Moore, you haven't seen the iconic story told like this. In fact, when Carrie the Musical first debuted on Broadway back in 1988, audiences and critics didn't quite know what to make of it. In the production's Brisbane debut, expect a tale of terror and revenge, a flurry of teen angst, and a prom to remember. Also expect to have a bloody good time, with emphasis on the buckets of red, oozing substance.
Beau is afraid. Beau is anxious. Beau is alone. Beau is alive. Any of these three-word sentences would make a fitting name for Ari Aster's third feature, which sees its titular middle-aged figure not just worry about anything and everything, but watch his fears come true, concerns amplify and alienation grow — and then some. And, in the Hereditary and Midsommar filmmaker's reliably dread-inducing hands, no matter whether Beau (Joaquin Phoenix, C'mon C'mon) is wallowing in his apartment solo, being welcomed into someone else's family or stumbling upon a travelling theatre troupe in the woods, he knows that he's truly on his own in this strange, sad, surreal and savage world, too. More than that, he's well-aware that this is what life is inescapably like for all of us, regardless of how routine, chaotic or grand our individual journeys from emerging out of our mother's womb to sinking into death's eternal waters happen to prove. Aster has opted for Beau Is Afraid as a moniker, with this horror-meets-tragicomedy mind-bender a filmic ode to existential alarm — and, more than that, a picture that turns catastrophising into a feature. Psychiatrists will have a field day; however, experiencing the latest in the writer/director's growing line of guilt-dripping celluloid nightmares, so should viewers in general. Even with Chilean The Wolf House helmers Cristóbal León and Joaquin Cosiña lending their help to the three-hour movie's midsection, where animation adds another dreamlike dimension to a picture book-style play within an already fantastical-leaning flick frequently running on dream logic, Aster embraces his favourite deranged terrain again. He makes bold choices, doesn't think twice about challenging himself and his audience, elicits a stunning lead performance and dances with retina-searing imagery, all while pondering inherited trauma, the emotional ties that bind and the malevolence that comes with dependence. Death, the bonds of blood, life's onslaught of damage, long-kept secrets, wild and weird groups, odd rituals, unnerving altercations: yes, they're all present and accounted for in Beau Is Afraid as well; yes, this is unshakeably and unmistakably an Aster joint. When he slides into suburbia in the second act, he also gets as Lynchian as he ever has — that Beau Is Afraid springs from a ravenous mind fed a diet of Eraserhead, Twin Peaks and Inland Empire isn't in doubt long before Mariah Carey's earworm 'Always Be My Baby' scores a Blue Velvet-esque spin. Charlie Kaufman's Synecdoche, New York and Anomalisa, Darren Aronofsky's mother!, Richard Kelly's Southland Tales: they're equally among this movie's melange of peers, ambitious and impressive company that offers a litmus test for viewers. Swimming through someone else's mindscape is never easy, after all, and doesn't Aster love sharing that feeling. Beau Wassermann is an average Joe with a rundown flat in a dilapidated neighbourhood, his therapist (Stephen McKinley Henderson, Causeway) on speed dial, and O'Loha frozen dinners — an incredulous mix of Hawaiian and Irish cuisines — for sustenance. He's also the son of a wealthy and controlling businesswoman, Mona (played by American Horror Story's Patti LuPone, plus The Craft: Legacy director Zoe Lister-Jones in flashbacks), another mainstay on his call list (Moviefone, the US number for obtaining cinema session information that's been defunct since 2014, is another). And, he's wracked with stress whenever he leaves his house, which doesn't seem that far-fetched given there's a nude killer dubbed 'Birthday Boy Stab Man' by the news on the loose. That said, after Beau Is Afraid shows its namesake's birth from his perspective, obligatory slap on the rear and all, then meets him nearing 50 and nervous about a trip home, he's just fretful all the time anyway. Thanks to an escalating series of unfortunate events — another string of words that could've doubled as Beau Is Afraid's title; Disappointment Blvd was the actual original moniker — the basis for that apprehension is similarly swiftly apparent. From the tiniest minutiae to the biggest change, Beau's existence keeps getting worse, then bleaker still, then even more grim and hopeless. He's prescribed anti-anxiety pills that he's told absolutely must be taken with water, but doesn't have any and his building's supply is shut off. When he sprints to the convenience store across the road, everyone on his crime-riddled street slips into his apartment and trashes it. Aster begins Beau's malaise in the everyday, but becomes hellish quickly, a pattern constantly repeated when he's hit by a van and taken in by the married Grace and Roger (Only Murders in the Building co-stars Amy Ryan and Nathan Lane), watches that aforementioned theatre production, reflects upon his time as a teenager (Armen Nahapetian, NCIS) on a cruise holiday falling for his first crush (Julia Antonelli, Outer Banks) and seeks answers about his father. In only his second on-screen role since winning an Oscar for Joker, Phoenix plays Beau with deeply internalised sorrow, so much so that spying his shoulders do anything but slump in the character's uniform of pyjamas seems like the most fanciful thing that could happen — and this is a movie overflowing with eccentric, imaginative and absurd touches. It's a fascinating performance, both vulnerable and primal at once, as situations exceeding Beau's foulest terrors keep bubbling. Crucially, whether Beau Is Afraid is in Freudian and Oedipal mode, or bringing Misery or Station Eleven or Lord of the Rings to mind in Aster's unceasingly distinctive way, or having its central figure wrestle naked in the bath, Phoenix is committed to the ride and to being the everyman. He's in an often bitingly funny black comedy as much as he's in a horror flick, and he's both game and empathetic as Beau overtly endeavours yet struggles to keep it together. Ideally, no one watching is discovering intruders perched above their baths and monsters in attics, but they'll always understand Beau's panic, shame, dismay and humiliation. Of course, when Aster gets amusing, it's in largely while getting so distressing that you really can only laugh, as Beau's mushrooming plight forever is. If every possible development in your life is always the most miserable, what else are you meant to do? That's Beau Is Afraid in a smart, dark, cerebral, gut-punching, hope-crushing, relatable, hilarious and horrific nutshell. Aster packs in humour wherever he can, though, demanding the utmost attention to his returning Hereditary and Midsommar cinematographer Pawel Pogorzelski's purposefully disorienting frames for slapstick silliness, dick jokes and brief flashes of background wordplay (Asstral Projection and Erection Injection are the names of the peepshows next to Beau's building, for instance). Beau is afraid of it all, and teeming with anxiety over it. He's alone in it all, but that's what being alive is. It'd be the film's biggest surprise if Aster wasn't chuckling — and having the ultimate fever dream.
The end of Game of Thrones is coming, with the show's eighth and final season kicking off this month. Not ready to say goodbye? Try claiming the Iron Throne for yourself instead. Joining the huge list of GoT-themed bits and pieces — including spinoff series, official tours, boozy banquets and ice hotels — is Game of Thrones Winter Is Coming, a new multiplayer browser game that puts players in the thick of the action. It might have the most obvious title possible, but Game of Thrones Winter Is Coming gives fans an important role and a huge task: becoming either a lord or lady in Westeros, scheming against and slaying your enemies, and seizing the Seven Kingdoms' coveted metal chair. So, basically, stepping into the standard GoT world and doing what all of your favourite characters have been doing for years. Unlike Jon Snow, you'll know that much at least. Now available to play, it all kicks off after the death of Eddard Stark, aka the moment that had every TV fan hooked. Your character will take his place among Westeros' upper echelons, train an army, recruit followers and endeavour to remain victorious (and keep your head, obviously). And, because the game is a collaboration with Warner Bros. Interactive Entertainment under license from HBO, expect plenty of other iconic GoT figures to pop up. Expect to virtually roam around the Seven Kingdoms as well, which has been recreated complete with major landmarks and castles from the show. You'll also be able to relive some of the series' iconic moments, just in computer game form. Played online in your browser, it's really your latest excuse to never leave the world created by George RR Martin, even if the hugely successful TV show based on his books is about to leave our lives. Or, think of it another way — it's a way to pass the time until Martin finally finishes the sixth instalment in the printed franchise, the long-awaited The Winds of Winter. Check out the trailer below: https://www.youtube.com/watch?v=gon69yQTx9M Game of Thrones Winter Is Coming is available to play online now. Image: Game of Thrones season 8. Helen Sloan/HBO.
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 Brisbane's newest festival, it's no longer necessary. Say hello to Myriad. Coming to Brisbane Powerhouse from March 29 to 31, Myriad might be in its first year, but that hasn't stopped the fest from going big. More than 100 speakers from over 20 different countries will ponder the future of culture, health, money, cities, and work and play — aka the event's five key themes — with more than 2000 people expected to head along to listen. Still playing the numbers game, more than 100 startups and 75 investors will be represented 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 the intersection of fashion, robotics and technology; future business trends such as shaking hands with robots (yes, expect to hear robots come up quite often); tech advancements everywhere from Estonia to Chile; 3D-printed body organs; things that you can learn from Spotify and Tinder; drones; and the future of sex (you know that robots will get a mention here too). In addition to the discussion component of the program, Myriad also features a variety of interactive experiences, such as an art exhibition that explores sexual violence and women's rights through augmented reality, an exclusive V8 racing installation, and a series of collaborations with fellow Brissie fest BIGSOUND. That might sound like a massive amount of interesting pieces all jammed into two and a half bustling days; however consider organisers and Myriad cofounders Murray Galbraith and Martin Talvari up to the task. Galbraith was behind Melbourne's Pause Fest in 2015, while Talvari was formerly one of the guiding hands at Slush, the Helsinki startup event with more than 17,500 attendees. A word of warning, though: because Myriad is a conference-style event, tickets aren't cheap.
A skating session that's all about exercise — and sometimes rolling freely — Rollerfit finally arrived in Brisbane a few years back. It's still going strong, and it still wants you to go for a spin. Two days a week, you can hit the rink at the PCYC Lang Park in MIlton, with separate one-hour sessions for beginners just learning to skate and intermediate-to-advanced speedsters. Yep, if this is the first time you've ever even thought about living out your Whip It or Xanadu dreams, don't worry — you're covered. The novice classes take place on Fridays from 6.30–7.30pm and Sundays from 3.30–4.30pm, while the more experienced skaters lace up on Friday nights from 7.30–8.30pm. And if you do just fancy rolling around openly, without instructors giving you tips, that's also on the agenda during disco hour from 8.30–9.30pm on Friday evenings. Dropping in costs $25, or you can take that down to $20 if you plan to visit regularly and sign up for a $25 membership. Five, ten and 20-class passes are also on offer, which can bring your per-session fee down to $14. If you don't have your own wheels, you can also rent them for an extra $5 per session. Rental covers sizes 5–13, and it's a first-come, first-served kind of deal. Images: Susie Yang.
You've got your whole life to spend night's lazing at home, having a quiet one – why not, for once, watch someone else do the exact same thing in a non-creepy way. In the latest intimate performance by QUT graduate and and PhD candidate Belinda Locke , audiences are willingly asked to indulge in a peek behind one woman's closed doors – no strings attached. This already highly credited performance, Maureen O'Hara Spends a Quite Night at Home, is inspired by the 1946 photograph by the same name, taken by Peter Stackpole. Returning home from a glamorous social event, the character of O'Hara unwravels her vulnerabilities exposing the everyday strains and pains of celebrity and femininity. A strikingly beautiful devised performance set to a soundtrack of 1940s big band, jazz and French electro-pop, this solo performance shares the intimacy of O'Hara's private moments, seductive nature and deepest anxieties.
Brunch isn't just something you eat after you've enjoyed a weekend sleep in. And it's not just an excuse to gorge on breakfast, lunch and a few cheeky mid-morning beverages all at once. It's both, as well as an occasion that's always worth celebrating. That's why, after throwing a series of brunch-themed shindigs in November, Cloudland is doing it all over again on December 18. It's a concept that has been happening in New York and London for a while now, and now it's Brisbane's turn. The Brunch Club really does combining everyone's favourite meal with a party vibe; think live entertainment, garden games and a 3.5 hour food and beverage package. That's what you'll find from 11.30am Sunday — and yes, if it kicks off before midday, it still counts as brunch. Tickets cost $75 per person for the most indulgent before-noon boozy spread you're likely to ever enjoy. And it's certain to be popular, so we'd recommend booking in advance.
First, you watch Rings. Then, your interest in the franchise quickly dies. That's what happens when someone unleashes a video no one really wants to see, right? If the Ring series has taught us anything, it's that unpleasant content always sparks a nasty end — and that's exactly what happens here. In a way, the saga's own rules explain why these movies keep coming, except for the fact that creating a copy is supposed to stop something bad from happening. In this case, it just makes things even worse. Odds are, you should already have some idea as to what this movie is about. Maybe you saw Naomi Watts in 2002's The Ring and its lacklustre 2005 sequel. Maybe you're familiar with the (superior) Japanese original from 1998, Ringu, and the numerous spinoffs that followed on from that. Perhaps you're even aware of the Korean remake The Ring Virus or the recent crossover with The Grudge franchise Sadako vs. Kayako. Point is, the premise remains much the same in every single one: unsuspecting folks press play on a creepy video tape, a phone call delivers a seven-day deadline, and the long-haired Samara (now played by Bonnie Morgan) starts wreaking havoc once time runs out. Finding a VCR at a flea market, college professor Gabriel (Johnny Galecki) and his student Skye (Aimee Teegarden) are the latest to let the unhinged ghost loose, turning it into a research project about the existence of the soul. Freshman Holt (Alex Roe) gets himself caught up in the mess, and is soon counting down the days as well. Enter his worried hometown girlfriend, Julia (Matilda Lutz), who decides to get to the bottom of the whole unsettling business. Wait, didn't the first two American Ring flicks involve a feisty female trying to thwart death by investigating Samara's background? Yes, yes they did. Doing the same thing over and over is what horror sequels are usually about, so the fact that this F. Javier Gutiérrez-directed effort retraces the same path is hardly a surprise. Indeed, there's basically nothing surprising about this film, other than Vincent D'Onofrio showing up to deliver some exposition. When you're trying to elicit scares, that's a problem. Cue the same tape and the same journey, shot in a style that makes the entire movie look like a digital copy of better material. A video-within-a-video of extra spooky visuals taunt Julia and company, and an expanded backstory tries to explain Samara's actions even further, but both just typify the filmmakers' underlying "more is better" line of thinking, and neither device manages to amp up the scares or the intrigue. Nor does updating the concept for the modern day. Seeing Samara on in-flight screens and smartphones, and watching people duplicate files rather than tapes, still ultimately smacks of more of the same. Even more infuriating is the fact that Rings is blatantly setting the scene for more unwanted chapters. That means that the 102-minute revisit isn't just a routine rehash — it's filler designed to work up a frenzy for something that might never actually get made. Keeping audiences hanging for future fare rather than bothering to really entertain them this time around might be common in an era of endless, interconnected superhero movies, but here, it's a bigger drag than Samara's limp locks.
