Not be outdone by their neighbours, whose own festival du film celebrates its 25th anniversary this year, the latest line-up at the Audi Festival of German Films is guaranteed to give the French a run for their money. Presented by the Goethe-Institut in conjunction with Palace Cinemas, the 2014 festival boasts a selection of more than 50 German language films, as well as parties, lectures, special screenings and Q&As. Just a few of the highlights include Marc Rothemund's The Girl with Nine Wigs, about a young woman struggling with a cancer diagnosis; Constanze Knoche's simmering family drama, Visitors, about the strained relationship between a father and his three adult children; and Jan-Ole Gerster's black and white, day-in-the-life dramedy Oh Boy, which scooped up the top prize at the 2013 German Film Awards. The Audi Festival of German Film is in Sydney and Melbourne from March 27 to April 11, and in Brisbane from March 28 to April 3. Thanks to the festival, we have six double passes to give away in each city, valid for a session of your choosing. To be in the running, subscribe to the Concrete Playground newsletter (if you haven't already), then email us with your name and address. Sydney: win.sydney@concreteplayground.com.au Melbourne: win.melbourne@concreteplayground.com.au Brisbane: win.brisbane@concreteplayground.com.au For the full Audi Festival of German Films program, see the festival website. https://youtube.com/watch?v=Xlyt_IRWM30
UPDATE: April 28, 2020: Star Wars: Episode IX — The Rise of Skywalker is available to stream via Google Play, YouTube and iTunes — and via Disney+ from Monday, May 4. Pity the fool who directs a Star Wars movie these days, even if that fool is JJ Abrams. It feels like a long time ago, in a galaxy far, far away from the internet, when fans only interacted with films at the cinema and movies survived or died largely on merit alone. Back then, criticism and praise happened in private — between friends, colleagues and, occasionally, strangers at conventions. Now, films can fail before they're released. Emboldened by online anonymity and pocket-sized megaphones, devotees decry everything from casting choices to millisecond-long trailer grabs. To borrow from A New Hope, it's as if millions of voices suddenly cried out in terror that a woman was cast in the lead, or a stormtrooper was both black and friendly. "Thanks for ruining my childhood" became the catchcry for anyone who felt they didn't see the movie they wanted to and, unfortunately, studios started listening. It's in this context that the third and final film in Star Wars' sequels trilogy arrives. Reactions to Rian Johnson's The Last Jedi were as polarised as the entire franchise had seen — with some praising his efforts to reimagine swathes of lore and actually deliver something new for the first time in nearly 30 years, and others (most, even) tearing the film down. Cries of disrespect rang long and loudly as OG fans believed that their beloved characters had rejected everything they'd once stood for. Sure, Johnson dropped the ball on a number of fronts, but at least he tried something different. Star Wars: Episode IX — The Rise of Skywalker does not try anything different. It retreats to the safest possible territory, borrowing heavily from Return of the Jedi to round out a trilogy crippled by an absence of cohesion. Like 2018's Ready Player One, nostalgia is the film's oft-used trump card, relying almost entirely on familiar visual or musical moments to trick you into thinking you're watching something clever or special. The end result is a chaotic, inconsistently paced, 142-minute package of fan service that gets a few things deliciously right and a lot disappointingly wrong. The Rise of Skywalker's best parts, as has been the case across this trilogy, stem from the relationship between Rey (Daisy Ridley) and Ren (Adam Driver). As the only enduring, meaningful source of mystery, Ridley and Driver again deliver committed performances filled with emotion and raw physicality — and both deserved a far greater story. Here, they're after the same thing: the somehow-resurgent Emperor Palpatine. We say 'somehow', because at no point does the film substantially address this crucial point. At least soaps like Dynasty offered explanations when they pulled this narrative trick (it's his evil twin; he fell off a boat and had amnesia; he was in protective custody). For Abrams, Palpatine is just back. In fact, he never left. Still, it's a joy to see Ian McDiarmid reprise one of cinema's greatest villains, with his scenes among the movie's highlights. Another strength, of course, is The Rise of Skywalker's special effects. As always, they're dizzying and dazzling. The large-scale planets and battles are amazing because Industrial Light & Magic — the company that helped kick-start incredible SFX back in 1977 — continues to push new boundaries, but the imagery particularly impresses in smaller ways. The ongoing commitment to practical effects (those that actually happen live on-set), for example, and managing to not only keep Carrie Fisher on-screen two films after she died, but to ensure that Leia remains the franchise's best character. The wizardry behind these posthumous performances must give pause to all working actors; however credit also goes to the writers for holding true to everything that made Leia an iconic hero in the first place. Her lines are limited but her actions speak volumes, and the film's most emotional moments belong to her. Others don't fare nearly as well. Kelly Marie Tran's Rose, a major player in The Last Jedi, is sidelined, as are Domhnall Gleeson and Lupita Nyong'o's characters — while franchise newcomer Keri Russell scarcely appears before she's gone. Even C-3PO is on the outer, notwithstanding one touching moment. Richard E. Grant is an inspired addition, and his turn as a ruthless First Order general makes you wish he'd been there from the beginning. As for Billy Dee Williams' return as Lando Calrissian (as already spoiled in the trailers), it's among the better nostalgic flourishes. Returning to Star Wars after first directing The Force Awakens, that Abrams plays it safe is no surprise. Yes, it can be argued that a franchise this big needs to take fewer risks to ensure it resonates with the widest possible base. Just as true, though, is the fact that playing it safe is a gross disservice to a property worthy and capable of greatness. If this really is the end of this universe as we know it, then surely it would've been better for The Rise of Skywalker to try and fail than fail to try at all. https://www.youtube.com/watch?v=8Qn_spdM5Zg
On the water, near the water and from the water: that's one of the ways to look at the 2024 Sydney Festival lineup, which has just been announced in all of its 150-plus-event glory. When the Harbour City welcomes back its annual arts fest in January, the event will make the absolute most of its setting. So, cue a version of Puccini's opera Il Tabarro onboard the Carpentaria lightship in the harbour, a waterside Walsh Bay Arts Precinct takeover and a towering giant octopus sculpture that you can get closer to via a kayak tour. As proves the case every year, the festival's program will and does go on. In her third year at the helm, Artistic Director Olivia Ansell has compiled a hefty selection of things to see, do and experience — and if you're a fan of getting a snapshot via the numbers, the figures are impressive. Running for 24 days from Friday, January 5–Sunday, January 28, Sydney Festival 2024 will feature more than 1000 artists in bringing its showcase to audiences. Among the events, there'll be 26 world premieres, 29 Australian exclusives and 43 free activities. If seeing Il Tabarro performed on a boat piques your interest, you can catch the free one-act production at the Australian National Maritime Museum without spending a cent — but you do need to book. Or, you can watch from home via the livestream. Keen on hanging out at the Walsh Bay Arts Precinct? That part of the program is called The Thirsty Mile. On offer there: theatre and art, cabaret and dance, bars and speakeasies, and also a late-night club Moonshine Bar. This is where you'll marvel at a 46-metre-long installation Hi-Vis, a sculpture by Michael Shaw; enjoy a cabaret tribute to Kate Bush; and watch a Swedish dance double from GöteborgsOperans Danskompani — and that's just for starters. Also joining the bill: dance event SPIN, which is both interactive and guided; sunrise yoga sessions; and art exhibition Talking Posters: Garage Graphix 1981–1998. [caption id="attachment_923479" align="alignnone" width="1920"] Sarah-Louise Young Onstage, Claudio Raschella Photography[/caption] A eight-legged sea creature scurries onto the program thanks to Te Wheke-a-Muturangi: The Adversary by Māori artist Lisa Reihana, which'll make its home in Watermans Cove in Barangaroo — well, once the octopus has been assembled from 1000-plus pieces — to explore the tale of the discovery of Aotearoa New Zealand. Another huge highlight is Summerground a new three-day Tumbalong Park music fest with a lineup that includes King Stingray, Electric Fields, Cimafunk, Queen Omega, The Brand New Heavies, Dem Mob, Beckah Amani, The Teskey Brothers, Full Flower Moon Band and more. Hopping between genres will be a big feature, spanning everything from alt pop and R&B to soul and reggae, all across the first weekend of the broader festival. Sydney Festival's Blak Out program is similarly worth hitting up the event for alone. ILBIJERRI Theatre Company's world-premiere production Big Name, No Blankets will pay tribute to the Warumpi Band; dance performance Mutiara will also make its debut, as set among Broome's early pearling industry; Anita Heiss adapts her own novel Tiddas for the stage; and GURR ERA OP will feature four Torres Strait Islander women who were born on the mainland explore the impact of the rising sea. Other standouts on the full lineup include Courtney Barnett playing a two-part performance at City Recital Hall; Night Songs at Coney Island, which will feature choral tunes at Luna Park; and Encantado, which will tell First Nations tales from Brazil thanks to Lia Rodrigues' choreographer, 11 dances and 140 bright blankets, and heads to Sydney Opera House. Also, Arka Kinari will be hitting the harbour with its music production that's powered by the sun and moved by the wind, and Kate Miller-Heidke's new musical-comedy Bananaland will make its Sydney debut, [caption id="attachment_919319" align="alignnone" width="1920"] Darren Thomas[/caption] Elsewhere, Dinosaur World Live will continue Australia's fascination with the ancient creatures (see also: Jurassic World: The Exhibition, for example); annual favourite Sydney Symphony Under the Stars: Pictures in the Sky returns to Parramatta Park; theatre production Things Hidden Since the Foundation of the World riffs on murder-mystery podcasts; Orpheus & Eurydice gets reimagined in contemporary times by Opera Australia; and the Art Gallery of New South Wales' Louise Bourgeois: Has the Day Invaded the Night or Has the Night Invaded the Day?, Kandinsky and Tacita Dean exhibitions all link in. And, also on the music roster: everyone from sitarist Anoushka Shankar and Irish folk singer Lisa O'Neill to Joe Camilleri and Deborah Conway paying tribute to Elvis Presley, plus a feast of tunes at the ACO Neilson. [caption id="attachment_923482" align="alignnone" width="1920"] Sammi Landweer[/caption] Yes, 2024 is set for a busy start. "Get ready for a blockbuster summer that speaks to the heart and soul of Sydney — the best harbour city in the world," said Ansell. "With an explosive music program and the biggest to date, 2024 also offers spellbinding theatre, exquisite dance, electrifying circus and immersive experiences that lift Sydney's underbelly — see you in January at The Thirsty Mile," [caption id="attachment_923487" align="alignnone" width="1920"] Lennart Sjoberg[/caption] [caption id="attachment_923488" align="alignnone" width="1920"] Moritz Kustner[/caption] Sydney Festival 2024 runs from Friday, January 5–Sunday, January 28 at venues across the city. For further details and to buy tickets from 12pm on Thursday, October 26, visit the Sydney Festival website. Top image: Mark Tantrum.
Asteroid City isn't 2023's only new Wes Anderson film. Wonka, if it does hit cinemas and isn't delayed to 2024 due to Hollywood's current strikes like the also Timothée Chalamet-starring Dune: Part Two, won't be the year's sole Roald Dahl adaptation, either. Adding a second title to both piles is The Wonderful Story of Henry Sugar, which sees filmmaking's foremost fan of symmetry and pastels take on a tale by the author who has defined many a childhood. Instantly excited? The end result arrives in September. Netflix is bringing this 40-minute film to streaming, via a world-premiere slot out of competition at the Venice Film Festival first. Viewers at home will get to see the flick mere weeks after it plays the prestigious event, with The Wonderful Story of Henry Sugar landing on the small screen on Wednesday, September 27. The story? It's one of seven in Dahl's 1977 book The Wonderful Story of Henry Sugar and Six More, telling of a wealthy man who is so fond of wagering that he comes up with a crafty plan. After discovering a guru who can see without using his eyes, he decides to learn to the same to cheat while having a bet. Playing the gambler for Anderson is Benedict Cumberbatch (Doctor Strange in the Multiverse of Madness), as part of a cast that also includes Dev Patel (The Green Knight), Ben Kingsley (Shang-Chi and the Legend of the Ten Rings), Richard Ayoade (The Souvenir: Part II). In glorious news for The Grand Budapest Hotel fans, Ralph Fiennes (The Menu) also reteams with the director. Fingers crossed for more line readings that are so completely perfect that they're unforgettable. [caption id="attachment_914800" align="alignnone" width="1281"] The Grand Budapest Hotel[/caption] In fact, Fiennes is stepping into Dahl's own shoes in the film, as well as playing a policeman. All five announced high-profile cast members are doing double duty, which sounds wonderfully Andersonesque. Anderson directs, writes and produces, while the filmmaker's regular cinematographer Robert D Yeoman and composer Alexandre Desplat also notch up their second of his projects this year — so it'll definitely look and sound like an Anderson film. There's no trailer yet for The Wonderful Story of Henry Sugar, but you can enjoy the Asteroid City and The Grand Budapest Hotel clips instead in the interim: The Wonderful Story of Henry Sugar will be available to stream via Netflix from Wednesday, September 27. The Wonderful Story of Henry Sugar images: courtesy of Netflix.
Bangs is the Sudanese refugee turned viral internet star who just wants to take girls to the movies and meet them on Facebook. His innocent song topics combined with his unique video aesthetics have lead to his YouTube channel receiving over 5 million hits. Tess Cameron caught up with Bangs prior to his appearance at Lovecats for a quick chat on all things related to meeting people on Facebook and taking girls to da movies. Are you excited about performing at Lovecats in Brisbane? I am. Can't wait. Have you ever been to Brisbane before? Yes, I've visited a lot. Will you be taking any girls to the movies in Brisbane? Yeah I will take them, I will take them all. What was the last movie you saw and did you like it? Day and Knight. It was fun. What snacks do you buy for girls at the movies? Whatever they want. Every time I take them to the movies I let them get whatever they want. Was the song Take U to Da Movies inspired by anyone? Lupe Fiasco. Do you want to meet him on Facebook? Yes. I'm a friend of his fan page. How do you come up with song ideas? I just get it from my gut. Any idea what your next song will be about? No idea yet but I'll be in the studio soon. Will you be doing any new songs on Thursday? Yes I will be. Your boi Bangs will be performing at Lovecats this Thursday. We've got two double passes to give away - visit our Facebook page for more information.
The Melbourne International Film Festival is back for 2022, and has been screening flicks across the Victorian capital's cinemas since Thursday, August 4 — but that's not the only way to get your MIFF fix this year. Here's another: MIFF Play, the festival's digital offshoot, which is also returning for another spin. That's fabulous news both for Melburnians and for movie buffs interstate — and an unsurprising move given that in 2020, when it first made the leap to streaming the fest in a big way, it enjoyed its biggest audience ever. In 2022, MIFF Play will be available from Thursday, August 11–Sunday, August 28, and will show 105 features and shorts. Among the 77 features, there's plenty of highlights — and, like at all good film fests, something for all tastes. Starting with the local picks, you can explore the history of Melbourne on film thanks to classics Noise and Love and Other Catastrophes, or check out new Aussie gems including First Nations anthology We Are Still Here, Back to Back Theatre's Shadow and Petrol from Strange Colours filmmaker Alena Lodkina. Or, Spanish horror-thriller Piggy spins a savage coming-of-age tale, Neptune Frost serves up an Afrofuturist musical and Give Me Pity! parodies 70s and 80s musical variety television. Hit the Road marks debut feature from Jafar Panahi's (x) son Panah Panahi, while meta Filipino action film tribute Leonor Will Never Die won Sundance's Special Jury Award for Innovative Spirit, and Indonesia's Yuni picked up the Platform Prize at the Toronto International Film Festival There's also Mass, starring Jason Isaacs (Streamline) and Ann Dowd (The Handmaid's Tale) and set in the aftermath of a school shooting; New Zealand gem Millie Lies Low, about a uni student who fakes going to New York for a big internship; and existential drama The Humans with Beanie Feldstein (Booksmart), Steven Yeun (Nope) and Amy Schumer (Only Murders in the Building). The list obviously goes on — kicking off with a one-night-only session of Funny Pages, as produced by Uncut Gems and Good Time's Benny and Josh Safdie. And, on the doco lineup, Citizen Ashe steps into tennis great Arthur Ashe's life, Jane by Charlotte sees Charlotte Gainsbourg focus on her mother Jane Birkin, Navalny follows Vladimir Putin's political rival as he investigates his own state-sponsored poisoning, and We Were Once Kids looks back at 1995 indie hit Kids. Price-wise, you'll pay as you watch — all from your couch.
In just a few years time, the Academy Awards will notch up a century of celebrating the best movies to grace the silver screen each year. How will the acclaimed accolades build up to that point? In 2024, at the 96th ceremony, probably with a whole lot of love sent Oppenheimer's way. The J Robert Oppenheimer biopic earned the most nominations of any film from the past year. Don't be surprised if it takes home the most trophies as well, including for Christopher Nolan, Cillian Murphy and Robert Downey Jr. We won't be come Monday, March 11, Down Under time. While winning an Oscar — or a swag of them — over other flicks doesn't mean that there aren't masterpieces among the fellow nominees, or among pictures that didn't even make the cut as well, Oppenheimer is a worthy favourite in a range of 2024 Oscar fields. What will it collect? What will it nab that another film should instead? Who else might win, and what? Can't they just give both Emma Stone and Lily Gladstone Best Actress Oscars? That's all part of our predictions. As we did in 2022 and 2023, we've watched everything — many of which you can too in both Australia and New Zealand right now — and done some assessing and prognosticating. Here are the results, aka the movies and folks likely to shortly be able to add "Oscar-winner" to their posters and resumes in 15 key categories. Best Motion Picture The nominees: American Fiction Anatomy of a Fall Barbie The Holdovers Killers of the Flower Moon Maestro Oppenheimer Past Lives Poor Things The Zone of Interest Should win: Poor Things Could win: Poor Things Will win: Oppenheimer Barbenheimer was a phenomenon before either Oppenheimer or Barbie even reached cinemas in 2023, with both arriving on the same day to create a memorable pop-culture moment. They shared a release date, and the same wave of attention — but only one can win Best Motion Picture at the Oscars. That one: Oppenheimer. Christopher Nolan's biopic of J Robert Oppenheimer is a mind-blower, and one of 2023's absolute best films. It has some stunning company in this category, however, most of which would also make excellent picks for the Academy's big gong: Anatomy of a Fall, Killers of the Flower Moon, Past Lives and The Zone of Interest, for instance. Then there's Poor Things, which is pure jaw-on-the-floor viewing, and its own unique creation at every turn. It deserves to win. It could achieve the feat. Even if it misses out to Oppenheimer, it'll still be the standout feature of the past 12 months. Best Director The nominees: Justine Triet, Anatomy of a Fall Martin Scorsese, Killers of the Flower Moon Christopher Nolan, Oppenheimer Yorgos Lanthimos, Poor Things Jonathan Glazer, The Zone of Interest Should win: Christopher Nolan, Oppenheimer Could win: Yorgos Lanthimos, Poor Things Will win: Christopher Nolan, Oppenheimer Despite his stunning resume, Christopher Nolan has only been nominated for the Best Director Oscar once before, for Dunkirk. If Greta Gerwig had secured a nod for Barbie, they would've faced off again; the first time, Guillermo del Toro deservedly won for The Shape of Water. Everyone knows that the Academy completely overlooked Gerwig this year — but this is Nolan's year anyway. Don't discount Yorgos Lanthimos for Poor Things, though. This is also his second nomination, after The Favourite — and again (see: Best Motion Picture above), there's nothing like his riff on Frankenstein. Nolan and Lanthimos' fellow nominees are equally at the top of their games with their latest work, so there's no bad choice here if Justine Triet becomes just the fourth woman to win this category, Martin Scorsese collects just his second directing Oscar or Jonathan Glazer nabs his first. Best Performance by an Actress in a Leading Role The nominees: Annette Bening, Nyad Lily Gladstone, Killers of the Flower Moon Sandra Hüller, Anatomy of a Fall Carey Mulligan, Maestro Emma Stone, Poor Things Should win: Emma Stone, Poor Things Could win: Lily Gladstone, Killers of the Flower Moon Will win: Emma Stone, Poor Things Give Emma Stone an Oscar for her line reading of "I must go punch that baby!" alone. Of course, that's not the only reason that she should win the Best Performance by an Actress in a Leading Role category for a second time — the first was for La La Land — but it's emblematic of the commitment that she gives her work in Poor Things. Her delivery, her physicality, her constant ability to surprise: now that's a performance. If only two actors could share this field, though. With heartbreaking subtlety as well as searing defiance, Lily Gladstone is exquisite in Killers of the Flower Moon — and if she wins, which she may well, it'll be wonderful. Her speech will also be the highlight of the night. She's also already the first Native American woman to receive a nomination in this field, and will keep making history if she ends up with a statuette in her hands. Best Performance by an Actor in a Leading Role The nominees: Bradley Cooper, Maestro Colman Domingo, Rustin Paul Giamatti, The Holdovers Cillian Murphy, Oppenheimer Jeffrey Wright, American Fiction Should win: Cillian Murphy, Oppenheimer Could win: NA — Cillian Murphy will win for Oppenheimer Will win: Cillian Murphy, Oppenheimer "Dearest Cillian. Finally a chance to see you lead... Love, Chris." That's how Cillian Murphy's script for Oppenheimer came — and although this isn't the Irish talent's first-ever leading part, Christopher Nolan pushing him to the fore of his latest film will garner him an Oscar. It's remarkable casting, even given that Murphy is never less than excellent in anything that he's in, back to and preceding when 28 Days Later first thrust him to broader attention. If anyone else has their name read out, it'll be a massive shock. That's not criticism of Murphy's fellow nominees, though. Bradley Cooper directs himself to a career-best portrayal in Maestro, while none of Rustin, The Holdovers or American Fiction would be the movies they are without Colman Domingo, Paul Giamatti and Jeffrey Wright, respectively. Best Performance by an Actress in a Supporting Role The nominees: Emily Blunt, Oppenheimer Danielle Brooks, The Color Purple America Ferrera, Barbie Jodie Foster, Nyad Da'Vine Joy Randolph, The Holdovers Should win: Da'Vine Joy Randolph, The Holdovers Could win: NA — Da'Vine Joy Randolph will win for The Holdovers Will win: Da'Vine Joy Randolph, The Holdovers Not all award-winners keep their accolades on a mantle; however, Da'Vine Joy Randolph's must be getting crowded — or wherever else she puts the trophies that she's been collecting for her soulful turn in The Holdovers. She won at the BAFTAs, Critics Choice Awards, Golden Globes, Satellite Awards, Film Independent Spirit Awards, National Board of Review and Screen Actors Guild, plus thanks to an extremely hefty list of other critics' associations. She won't leave the Oscars empty-handed. As with Best Actor, this is a category where there's no shortage of deserving nominees, but still one certain winner. If someone else does cause an upset, Jodie Foster being rewarded for her efforts in Nyad would see her win for just her second nomination in this field — she's received the Best Actress prize twice for The Accused and The Silence of the Lambs — a whopping 47 years after her first for Martin Scorsese's Taxi Driver. Best Performance by an Actor in a Supporting Role The nominees: Sterling K Brown, American Fiction Robert De Niro, Killers of the Flower Moon Robert Downey Jr, Oppenheimer Ryan Gosling, Barbie Mark Ruffalo, Poor Things Should win: Ryan Gosling, Barbie Could win: Ryan Gosling, Barbie Will win: Robert Downey Jr, Oppenheimer There's no walking out of Oppenheimer without thinking that Robert Downey Jr is going to win an Oscar for playing AEC commissioner Lewis Strauss. And no, he won't just emerge victorious because he's not playing Iron Man, although it's such a treat to see him in such a weighty part (and outside of the Marvel Cinematic Universe) again. That said, if you did the Barbenheimer double on the same day (Barbie then Oppenheimer is the best order), then you would've walked out of Barbie thinking that Ryan Gosling should get the Best Supporting Actor prize, too. Winning for comedy is significantly difficult at the Oscars, but his Ken almost stole Barbie from Margot Robbie. Whatever the outcome, Gosling will sing 'I'm Just Ken' at the ceremony, so he'll be up on stage at least once. Best Original Screenplay The nominees: Anatomy of a Fall, Justine Triet and Arthur Harari The Holdovers, David Hemingson Maestro, Bradley Cooper and Josh Singer May December, Samy Burch and Alex Mechanik Past Lives, Celine Song Should win: Past Lives, Celine Song Could win: Past Lives, Celine Song Will win: Anatomy of a Fall, Justine Triet and Arthur Harari That Celine Song's Past Lives only received two Oscar nominations is near unfathomable. That it might go home without any awards is as well. Song missed out in the Best Director field, but the Academy does like to use its screenwriting awards to redress wrongs elsewhere — Quentin Tarantino and Jordan Peele both have wins here, for instance. It's for the same reason that Justine Triet and Arthur Harari will likely win for Anatomy of a Fall, especially given that France didn't put the film forward for Best International Feature, so it couldn't have been nominated and obviously can't win there. It's worth noting that May December's sole Oscar recognition is in this category, and that that's a ridiculous oversight, so an award for it would also be stellar. Best Adapted Screenplay The nominees: American Fiction, Cord Jefferson Barbie, Greta Gerwig and Noah Baumbach Oppenheimer, Christopher Nolan Poor Things, Tony McNamara The Zone of Interest, Jonathan Glazer Should win: Poor Things, Tony McNamara Could win: Barbie, Greta Gerwig and Noah Baumbach Will win: Oppenheimer, Christopher Nolan As noted in the Best Original Screenplay category, winners for putting pen to paper — or fingers to the keyboard — often let the Academy throw some love towards movies largely ignored elsewhere. Consequently, if Greta Gerwig and Noah Baumbach score victory for Barbie, that trend just might hold up again (although Barbie is particularly in with a great chance in Best Costume Design and Best Production Design). If Barbie loses, expect Oppenheimer to top it — again. Anything could succeed in this field, though, because Poor Things, The Zone of Interest and American Fiction all also boast cracking scripts. Poor Things isn't just a marvel; it's as bold as any movie could ever dream of. Australian screenwriter Tony McNamara did get nominated for The Favourite, too. Best International Feature The nominees: Io Capitano, Italy Perfect Days, Japan Society of the Snow, Spain The Teachers' Lounge, Germany The Zone of Interest, United Kingdom Should win: Perfect Days, Japan Could win: Society of the Snow, Spain Will win: The Zone of Interest, United Kingdom Finding a viewing experience that's more sublime, soulful and thoughtful than Perfect Days — not just among the nominees for Best International Feature, but in general — is a near-impossible task. Watching the Tokyo-set Japanese contender about a toilet cleaner, which is directed by German filmmaker Wim Wenders (Submergence), is as life-changing as cinema gets. A British film set in Germany and told in German, The Zone of Interest is unforgettable in a completely different way given that it is set during the Holocaust among a family living next door to Auschwitz. It's also exceptional — and an worthy recipient of this award. Indeed, there's no wrong pick, which means that Society of the Snow could sneak in for also telling a harrowing real-life tale. Best Animated Feature The nominees: The Boy and the Heron Elemental Nimona Robot Dreams Spider-Man: Across the Spider-Verse Should win: The Boy and the Heron Could win: The Boy and the Heron Will win: Spider-Man: Across the Spider-Verse 2018's Spider-Man: Into the Spider-Verse won an Academy Award in this very category. Among the American films that've made it to the final five in 2024, sequel Spider-Man: Across the Spider-Verse is the pick of the bunch — and another spectacular achievement for the medium of animation. Twice now, watching the Spider-Verse movies means realising how live-action takes on superheroes will never be able to relay the full story. If Spider-Man: Across the Spider-Verse wins, that'll be an ace outcome. Going past Hayao Miyazaki's comeback The Boy and the Heron would be downright audacious at the same time, however. With his first film since 2013's The Wind Rises, the master Studio Ghibli co-founder adds one of his best movies yet to his resume. It's imaginative, heartfelt, smart, breathtaking and awe-inspiring — and that's just the beginning. Best Documentary Feature The nominees: Bobi Wine: The People's President The Eternal Memory Four Daughters To Kill a Tiger 20 Days in Mariupol Should win: 20 Days in Mariupol Could win: NA — 20 Days in Mariupol will win Will win: 20 Days in Mariupol For two years in a row, the Best Documentary Feature field will likely offer a damning indictment of Russia with its winner. Navalny did just that in 2023, with the film must-see viewing then and even more so since Vladimir Putin opponent Alexei Navalny's recent death in incarceration. With 20 Days in Mariupol, the invasion of Ukraine is in the spotlight. This is a movie that can't be unseen, nor forgotten. An on-the-ground exploration of the first 20 days of the war in the titular city, including in hospitals where victims of bombings and shellings are sent, this is as essential as documentary filmmaking gets. Fighting for freedom is also at the heart of Bobi Wine: The People's President, which could earn some love — and battling for justice similarly drives the also-excellent To Kill a Tiger. Best Original Score The nominees: American Fiction, Laura Karpman Indiana Jones and the Dial of Destiny, John Williams Killers of the Flower Moon, Robbie Robertson Oppenheimer, Ludwig Göransson Poor Things, Jerskin Fendrix Should win: Poor Things, Jerskin Fendrix Could win: Poor Things, Jerskin Fendrix Will win: Oppenheimer, Ludwig Göransson Ludwig Göransson knows what it's like to win an Oscar thanks to Black Panther. Soon, the Swedish composer will probably know what it's like to win two. As the greatest scores do, his work on Oppenheimer turns it into the film that it needs to be but wouldn't without such influentual music — which, seeing how astounding everything else is about the movie, isn't a minor achievement. Jerskin Fendrix's tunes for Poor Things do all of that with such distinctiveness, while also feeling so deeply perfect for the feature, that it would come as a surprise to no one if he was somehow composing from within its frames. Giving this award to Robbie Robertson, who does wondrous work for Killers of the Flower Moon, would also be a touching posthumous tribute to The Band musician and regular Martin Scorsese collaborator. Best Original Song The nominees: 'The Fire Inside', Flamin' Hot, Diane Warren 'I'm Just Ken', Barbie, Mark Ronson and Andrew Wyatt 'It Never Went Away', American Symphony, Jon Batiste and Dan Wilson 'Wahzhazhe (A Song For My People)', Killers of the Flower Moon, Scott George 'What Was I Made For?', Barbie, Billie Eilish and Finneas O'Connell Should win: 'I'm Just Ken', Barbie, Mark Ronson and Andrew Wyatt Could win: 'I'm Just Ken', Barbie, Mark Ronson and Andrew Wyatt Will win: 'What Was I Made For?', Barbie, Billie Eilish and Finneas O'Connell First, the obvious observation: Best Original Song is Barbie's to lose. Bringing the eponymous doll to the screen notched up two of the five nominees in this category, and is almost certain to win for one of them — after they're both performed live, with Ryan Gosling singing 'I'm Just Ken', of course, and Billie Eilish belting out 'What Was I Made For?'. Expect Eilish and her brother Finneas O'Connell to take home the trophy, which'll be the pair's second Oscar thanks to 'No Time to Die' from, yes, No Time to Die. Mark Ronson and Andrew Wyatt's catchy dive into Ken's soul keeps getting stuck in the world's heads due to more than just its melody, though. And if there's a non-Barbie upset, it might come from Jon Batiste and Dan Wilson's 'It Never Went Away' from American Symphony. Best Cinematography The nominees: El Conde, Edward Lachman Killers of the Flower Moon, Rodrigo Prieto Maestro, Matthew Libatique Oppenheimer, Hoyte van Hoytema Poor Things, Robbie Ryan Should win: Oppenheimer, Hoyte van Hoytema Could win: Poor Things, Robbie Ryan Will win: Oppenheimer, Hoyte van Hoytema Again and again throughout 2024's Oscar contenders, the fields often come down to two prime candidates: Oppenheimer and Poor Things. Either winning in most categories is a magnificent outcome; when movies this superb are competing against each other, there's no such thing as a losing flick — just one that gets the trophy and one that doesn't. Hoyte van Hoytema and Robbie Ryan's lensing for this pair of pictures is exquisite in different ways; stark and precise for the former, dreamy and inventive for the latter. Oppenheimer emerged with the prize at this year's American Society of Cinematographers Awards, though, which can be a reliable guide. Don't discount Rodrigo Prieto for Killers of the Flower Moon, even if he should've been nominated for Barbie as well. Best Film Editing The nominees: Anatomy of a Fall, Laurent Sénéchal The Holdovers, Kevin Tent Killers of the Flower Moon, Thelma Schoonmaker Oppenheimer, Jennifer Lame Poor Things, Yorgos Mavropsaridis Should win: Oppenheimer, Jennifer Lame Could win: Poor Things, Yorgos Mavropsaridis Will win: Oppenheimer, Jennifer Lame It's happening again: Oppenheimer and Poor Things leading the pack, that is — and likely Oppenheimer winning. Just as with Best Cinematography, there's form for Christopher Nolan's film getting the nod over Yorgos Lanthimos' flick thanks to other accolades. Oppenheimer's Jennifer Lame won at the American Cinema Editors Eddie Awards, for instance. Thelma Schoonmaker is an editing icon, however; this is her eighth Oscar nomination for a Martin Scorsese movie, a run that spans wins for The Aviator and The Departed. And editing is so pivotal to Anatomy of a Fall in telling its story — over every other contender in this field, actually — that Laurent Sénéchal's chances can't be ruled out. The 2024 Oscars will be announced on Monday, March 11, Australian and New Zealand time. For further details, head to the awards' website. Wondering where to watch this year's Oscar contenders? We've put together a rundown for both Australia and New Zealand.
I have a secret to confess: ever since I saw A Knight’s Tale many moons again, I’ve always had a sneaking desire to attend the Abbey Medieval Festival. A chance to dress up, attend an old-school banquet and potentially meet my own (literal) knight in shining armor? Who could say no? Held over the 9th and 10th of July, the always-popular event attracts numerous visitors who come to embrace a lifestyle lost long ago. The jousting tournament and Turkish Oil Wrestling pit seem to be marketed as the main attractions, however I think the constant re-enactments would provide the most amusement as well as information on the era. I also wouldn’t pass up any of the medieval cuisine on offer, but that could just be my obsession with food. It may seem like a bit of a drive, but I promise it will be worth it. Hot people in costumes! A falcon show! Delicious foods! And off to Caboolture we go.
Riveting dissections of realistic situations: that's where siblings Jean-Pierre and Luc Dardenne have made their careers. Continuing in the same finessed, naturalistic vein, Two Days, One Night compels by rendering relatable circumstances without sentiment but with surprises. It follows the attempts of Sandra (Academy Award-winner Marion Cotillard) to convince her co-workers to save her job. To do so, they would need to forgo a cash bonus they've been offered and in many cases need. The precision with which the filmmakers present a feature almost solely comprised of conversations cannot be underestimated, nor can Cotillard's expert efforts in illustrating the fragility of her striving but uncertain protagonist. Small in stature yet striking in its statement, Two Days, One Night took out the Sydney Film Prize at this year's Sydney Film Festival. Two Days, One Night is in cinemas on November 6. Thanks to Madman Entertainment, we have two Dardenne Brothers DVD prize packs to give away, each including a double in-season pass to see the new film. Eight runners up will also get double in-season passes. To be in the running, subscribe to the Concrete Playground newsletter (if you haven't already), then email us with your name and address. Sydney: win.sydney@concreteplayground.com.au Melbourne: win.melbourne@concreteplayground.com.au Brisbane: win.brisbane@concreteplayground.com.au https://youtube.com/watch?v=qxLqaEGZiDY
Fancy a few stints at the flippers, but don't quite possess the skills? Pinball is a game that looks easy, but can be downright frustrating if you're struggling to find your button-mashing rhythm — which is where Netherworld's experts come in. If you're going to run a retro-style gaming and arcade bar, then you're going to staff it with folks who know their stuff. And, with pinball lovers happy to share their talents with the masses. Just mosey on by from 5–9pm on Thursdays, August 30, where the venue's experts will teach you their tricks — for free, including a few games on the house. Dead flipping, cradling and post passing might mean nothing to you now, but that'll change once you've spent a few hours working your way around the Brunswick Street hangout's tables. Pinball for Beginners is all part of this year's Valley Fiesta, and it'll have you mastering the multi-ball mania in no time. Image: Cole Bennetts
Every Easter long weekend for 29 years, Bluesfest has descended on Byron Bay for five days of blues and roots. But this year, the acclaimed festival's 30th anniversary, may be its last in the Northern Rivers location. In a scathing letter addressed to the NSW Government, Festival Director Peter Noble has revealed that Bluesfest might leave the state because of the government's strict new policies on music festivals. "I am saying now, Bluesfest will leave NSW. We have no choice it's a matter of survival," the letter, originally published on The Industry Observer, said. "Will the last festival to leave NSW please turn out the light of culture in this soon to be barren state?" You can read the full open letter, which was shared with Concrete Playground, below. Noble described the new policies — which include a strict new licensing regime — as "poorly thought-out", "unbalanced" and "the Lockout Laws Version Two for festivals", highlighting that the State Government had neglected to fully consult those in the industry. He also revealed that the 30-year-old festival is having to spend hundreds of thousands of dollars to comply with recently implemented policies. Bluesfest, if relocated, will be just the latest casualty of the NSW Government's new policies, with both the Mountain Sounds and Psyfari teams cancelling their 2019 festivals in the last seven days, stating "the government's war on festivals", particularly "newly imposed safety, licensing and security costs", as reasons. Both said they were also required to spend thousands of dollars to comply with the new policies, but were unable to do so at such short notice. The new music festival licensing regime follows advice from the government's expert panel on music festival safety, which was assembled in September after two young people died of suspected drug overdoses at Defqon 1. Since then, three more young people have died from suspected drug overdoses at NSW festivals. The NSW Government is continuing to ignore increased calls for pill-testing as a harm-minimisation technique at festivals. Read Peter Noble's full letter below. Letter from Peter Noble OAM, Bluesfest Festival Director re NSW Government's policy changes to festivals in the State: Bluesfest may well be celebrating our last festival in NSW, should the sitting NSW Government proceed with its plans for its policies. Even though we are Australia's most highly-awarded festival both nationally and internationally – having won Best Major Event at the NSW Tourism Awards three years in a row; and in representing NSW we came in second in the Australian Tourism Awards (beating Victoria's F1 Grand Prix) – we have been designated a 'high risk event'. This will cost us hundreds of thousands of dollars to comply with a policy where we and every other event in this State have had zero opportunity to have any consultation or input into a policy where we will need to spend significantly more money to put on the event this year with zero notice. The policy will see our full-strength liquor approval denied, while a myriad of other costs may be levied costing us hundreds of thousands of dollars. The NSW police regularly state that our policies are those of an industry leader in the supply of alcohol, field hospital, and crowd security and care. But, due to headlines in the media, our 30-year-old professional business is to be seriously damaged in a new policy imposed regarding festival presentation by a government who has rushed the judgement of our industry without full consultation of stake holders, or meetings with entertainment industry professionals. I charge the Government with a systemic failure in fairness here and implore all politicians from all parties to quickly become involved with what is a serious injustice. We, like most events in this State, supply a significant level of culture – we don't receive a cent from government even though we cause thousands of people to be employed – and bring tens of millions of dollars into NSW through Tourism. In the recent study done by the NSW government into the arts, it was found NSW is significantly behind Victoria and Queensland. I ask the Premier, the Minister for the Arts, Tourism and Major Events and EVERY sitting politician: WHY? Why do you seem to be hell-bent on destroying our industry? We provide culture to the people of this state, and Australia, through our good works. Most festivals haven't had drug deaths and contribute greatly to our society through presenting well-run, professional, world-class events. Why have we been given zero recognition in this government's actions? It seems the new policies are poorly thought-out and through their implementation will decimate our industry, should our government not see good sense. Will the last festival to leave NSW please turn out the light of culture in this soon to be barren state? I have in my 50 years in presenting music NEVER EXPERIENCED such poorly thought out, unbalanced legislation. Surely a professional governing body could do better. It's the Lockout Laws Version two for festivals. This is NOT a vote winner in the upcoming election. Thank you, Peter Noble OAM Presenter, Bluesfest and the Boomerang Indigenous Festival Bluesfest 2019 is scheduled to run from April 18 to April 22 at Tyagarah Tea Tree Farm, Byron Bay. More details and ticket info here. Image: Joseph Mayers.
Mono are coming. No, I'm not referring to the kissing disease here; I mean the Japanese post-rock legends Mono. Duh. The band are in the country to perform at Hobart's DARK MOFO festival but were kind enough to arrange a few sideshows for their adoring Australian fans. The band have been performing and releasing material since the early 2000s, and their career has risen in profile every year. Their latest effort, For My Parents, was released in 2012, so their performance will surely contain a set list of new material as well as numerous soaring epics from previous albums. The band will be heading up and down the east coast to play shows in Melbourne, Sydney and Brisbane before jetting off into the sunset. I can't emphasise how important it is that you get a ticket; these guys might not be back for a while. Curious about what the band sounds like? Have a listen to this 15-minute epic, 'Yearning'. https://youtube.com/watch?v=zAleQ79UlT8
Hearing about a new bridge in Brisbane is like seeing the sun shining above the River City: it happens all the time. We've been scoring additional river crossings for years now, and there's more on the way. But when Kangaroo Point's next green bridge opens in 2024, it'll also come with an overwater restaurant and bar, plus a cafe on its city landing. Accordingly, don't just get excited about a different way to stroll from the CBD to Kangaroo Point — a car-free route at that, given that the bridge will only be open to pedestrians and bicycles. Indeed, while this town of ours has more than a few eateries and watering holes either perched over the river or next to it (including plenty adjacent to river crossings), the Kangaroo Point Green Bridge will mark a first for the city, because no other bridges have built-in bars and restaurants. It was back in 2021 that Brisbane learned of the in-development structure's plan to become a destination for eating and drinking as well, complete with an overwater venue and a cafe in its plaza area. Now, the Brisbane City Council has revealed a heap more details, including that two dining spots will open in 2024 — and that Tassis Group of Restaurants, the hospitality crew behind Opa Bar + Mezze, Yamas Greek + Drink and Massimo Restaurant and Bar, will be behind them. Tassis won the tender, and will open restaurant and bar Bombora for bites and drinks ten metres above the Brisbane River, plus the Mulga Bill's cafe to take care of bridge visitors' caffeine fix. "On the upper level, Bombora will be an elegant, modern celebration of Australia's land and sea, while Mulga Bill's (named after Banjo Patterson's poem) on the bridge level will offer casual all-day dining," explains Tassis Group Restaurateur and director Michael Tassis. Bombora takes its name from an Indigenous term for large sea waves that break over a submerged reef or sand bar, and will be an upscale dining and drinking experience to match its stunning location. Views are clearly a big highlight, which will span over the Brisbane River, CBD, Story Bridge and Kangaroo Point cliffs. Nothing has been revealed about the menu yet, but the venue's design will take its perch to heart, evoking moving water in a homage to its above-the-river spot. As for Mulga Bill's, it'll sit by the river in the new urban plaza that's being created on the corner of Edward and Alice streets. The cafe is pitched as a stopover spot for frequent bridge users, which it'll reflect in its bicycle-themed decor. And, food-wise, it'll serve up wood-fired pizzas, steak and seafood to eat in, plus pastries and picnic boxes to grab and go. Both venues are expected to score ample foot traffic. Indeed, more than 6000 pedestrians, cyclists and e-mobility riders are forecast to be using the bridge every day by 2036. "This is much more than just a bridge project — the Kangaroo Point Green Bridge will become a must-visit dining destination for residents and visitors to Brisbane," said Lord Mayor Adrian Schrinner, announcing the new eateries. "Being able to stop for a meal or drink and sit more than ten metres above the Brisbane River is something that is sure to excite residents of all ages and draw tourists in droves." "The Kangaroo Point Green Bridge will also provide the perfect way for people to explore our river city during the Brisbane 2032 Olympic and Paralympic Games, leaving a lasting legacy for generations to come." Now under construction, the Kangaroo Point Green Bridge will stretch between the corner of Alice and Edward streets in the CBD over to Scott Street at Kangaroo Point. Dedicated cycle and pedestrian paths are a big feature, with the bridge spanning a minimum width of 6.8 metres — and the design features a single-mast cable stayed structure, if you're wondering what it'll look like. The Kangaroo Point Green Bridge is one of two that the Brisbane City Council currently has in the works, including one from Albion to Newstead at Breakfast Creek. A couple of others are mooted; however, the structures from Toowong to West End and St Lucia to West End have been paused while the city recovers from 2022's floods. And yes, Brisbane is a city of bridges. Our governments can't get enough of them, it seems. In the CBD alone, we already have the Go Between Bridge, which caters for vehicles, cyclists and walkers between West End and Milton; the William Jolly Bridge that links Grey Street with North Quay; the foot traffic-only Kurilpa Bridge that runs from the Gallery of Modern Art over to Tank Street; the Victoria Bridge from QPAC to George Street; and the pedestrian-only Goodwill Bridge that spans from the southern end of South Bank over to the Queensland University of Technology. And, the Neville Bonner Bridge from the new Queen's Wharf precinct to the Cultural Centre Forecourt is currently under construction as well. Bombora and Mulga Bill's are slated to open on the Kangaroo Point Green Bridge in 2024. We'll update you with exact launch dates when they're announced. Images: Brisbane City Council.
It's that time of the year again. Time to dig out your old witch hat or join the vampires and grow some fangs. Perhaps the only thing scarier than your fake blood and broomstick are these vintage Halloween get-ups. Nothing says Halloween in the '70s like a shiny plastic devil mask, after all. Halloween garb in the '60s, '70s and '80s was dominated by two costume companies, Ben Cooper Inc. and Collegeville. Ben Cooper had relationships with multiple media companies often leaving Collegeville to create their own version of Frankenstein and Batman, resulting in hilariously similar characters with pathetic names such as 'The Monster' and 'The Bat.' Despite the name of the costume, both companies survived off excitable youth desperate to avoid their mother's home-made sheet-ghost costume for the third year in a row. For better or for worse, the companies have retired their Halloween costume services and the awkward one-piece jumpsuits and thick plastic masks have graduated and become classic vintage collector's items.
When you're in Brisbane instead of roaming the world partying, getting frosty or watching sport, and you've come down with a huge case of FOMO as a result, remember this: odds are that Lina Rooftop will let you pretend you're somewhere else while you're hanging out poolside and overlooking the city. Following its Coachella-themed shindig and winter wonderland in 2023, the South Brisbane venue is going all in on the Australian Open, which means watching all the tennis action from Melbourne. By staying in Brissie, however, you'll enjoy an English-themed shindig, the matches on a big screen and splashes in the pool, all from a sky-high perch. And spritzes. Everyone's Aperol drink of choice is this event's beverage of choice, too — and there'll be orange hues mixed in among the decor. Running from Sunday, January 14–Sunday, January 28 during Lina's usual operating hours, entry is free, and comes with DJs, saxophonists and percussionists providing tunes. Drop by on the final day for a rooftop lawn party with games of pétanque and a new food menu, with attendees encouraged to wear white outfits.
To the dismay and disbelief of some (and to the giggles and chuckles of others), the recent Anthony Weiner sex scandal in American politics is producing some very interesting coverage. For instance, today's New York Post headline has created plenty of controversy as it brazenly proclaims 'Obama Beats Weiner'. The headline relates to President Obama's comments about Weiner's resignation, and while many are growing tired of the constant double entendres others are enjoying watching how far the joke can be pushed. The House Majority Leader, John Boehner, made comments earlier today calling for Weiner's resignation. Potential suggestions from Twitter for tomorrow's headline include 'Boehner Hard On Weiner'. While some suggest that this kind of childish joke-making is degrading American politics, it is hard not to laugh when you consider other recent political news. Fox Business host Eric Boilling yesterday remarked "What's with all the hoods in the hizzy?" after President Obama hosted rapper Common and Gabon President Ali Bongo at the White House recently. Boilling later apologised for "getting a little fast and loose with the language" but not for his comments about Obama "chugging 40s". And of course who could forget Sarah Palin, who continues travel around the United States on her One Nation tour, obviously inspired by her Australian political counterpart Pauline Hanson's One Nation party. Let's just hope the entire presidential campaign continues to be this much fun. https://youtube.com/watch?v=0XnLjDaREXs
Icons, pioneers, the cutting-edge and the boundary-pushing: when ΩHM (pronounced "ohm") Festival of Other Music debuted at Brisbane Powerhouse in 2023, that's what it was all about. Thankfully, the new addition to the New Farm venue's lineup wasn't just a once-off, with the fest locking in its 2024 return — and dropping another impressive program for its next stint. When it again takes over Lamington Street, this time from Wednesday, February 28–Saturday, April 20, 2024, ΩHM will split its must-sees into three categories: music, movement and visual art. All tie in with tunes in one way or another, whether via folks taking to the stage, soundtracks to performances or, in the case of the fest's exhibitions, by presenting works by a talent best known as a musician. Leading the bill: Yothu Yindi, a band unparalleled in Australia's music history. More than three decades since first hitting the airwaves, and getting songs such as 'Treaty' and 'Djäpana' rocket up the charts — and almost four decades since they first formed — the Yolngu group from far North East Arnhem Land will headline ΩHM with an exclusive performance. Also high among the fest's big names is Sonic Youth's Kim Gordon, who has the visual art component taken care of thanks to two exhibitions, both of which will be free to enjoy. The first, Objective Projection, will feature both 2D works called Picture-Window and video installations of the bassist and guitarist's Los-Angeles-June-6-2019 — the latter heroing Gordon with a guitar in hand. The second, video work Proposal for a Dance, will take place over two nights, where attendees can expect to see women wearing Rodarte dresses playing electric guitars and satirising traditional male rockers. From there, ΩHM's lineup also includes Drab Majesty returning Down Under after 2023's Dark Mofo, this time to gift Brisbane a new experience — and an Australia exclusive — that'll accompany 80s sci-fi film The Arrival. Or, festivalgoers can look forward to an opening concert by Michael Rother and friends (aka Hans Lampe, Franz Bargmann and Vittoria Maccabruni) to celebrate 50 years of German band NEU!, Japan's Boris marking three decades of tracks, and The Necks showcasing their own highlights from the 80s onwards. The list goes on, with Franck Vigroux and Antoine Schmitt's latest audio-visual piece ATOTAL — CHRONOSTASTIS-TEMPEST, Canada's Tim Hecker, The Veils and Matt Hsu's Obscure Orchestra also on the bill, among others. [caption id="attachment_925409" align="alignnone" width="1920"] Quentin Chevrier[/caption] In ΩHM's movement strand, Colossus by choreographer Stephanie Lake will feature 50 dancers and a Robin Fox soundtrack, Chunky Move will get two performers becoming live sculptures to comment on consumerism in Universal Estate, and Australasian Dance Collective's THREE will return with a trio of pieces — including by Alisdair Macindoe, Jenni Large and Amber McCartney. At Brisbane Powerhouse, ΩHM sits on an annual calendar that also includes the Brisbane Comedy Festival, as well as queer cultural festival MELT — and, just like in 2023, ΩHM's 2024 fest will kickstart the venue's events for the year. [caption id="attachment_925412" align="alignnone" width="1920"] Mark Gambino[/caption] ΩHM FESTIVAL OF OTHER MUSIC 2024 LINEUP: Music: Yothu Yindi Drab Majesty Boris Michael Rother and friends The Necks The Veils Lydia Lunch and Joseph Keckler Erin Fitzsimon and Matt Hsu's Obscure Orchestra Tim Hecker Franck Vigroux and Antoine Schmitt CORIN Arka Kinari The Wild WITCH Dots+Loops Movement: Colossus by Stephanie Lake Company THREE by Australasian Dance Collective Universal Estate by Chunky Move Visual art exhibitions: Kim Gordon's Objective Projection Kim Gordon's Proposal for a Dance ΩHM will run from Wednesday, February 28–Saturday, April 20, 2024 at Brisbane Powerhouse, 119 Lamington Street, New Farm. For more information and to buy tickets — with presales from 10am AEST on Thursday, November 9 and general sales from 10am AEST on Friday, November 10 — head to the Powerhouse website. Top image: Lachlan Douglas.
UPDATE, July 24, 2020: Vox Lux is available to stream via Binge, Foxtel Now, Google Play, YouTube and iTunes. Fame's sharp edges have punctured the cinema screen several times of late. They cut deep in A Star Is Born's moving pop star epic, which tracked the ups and downs of celebrity with wrenching emotion and heightened drama. And they sliced superficially in Bohemian Rhapsody, as it neatly and cleanly explored Freddie Mercury's quest to remain true to himself as he stepped into the spotlight. In Vox Lux, the difficulties and complexities of success slash savagely and hack furiously, with Brady Corbet writing and directing a blunt yet brilliant onslaught of a movie. As he did in The Childhood of a Leader, the actor-turned-filmmaker relentlessly charts the ascension of an influential fictional figure who owes their rise to struggle and trauma. Perhaps unexpectedly, the difference between a troubled kid becoming a fascist ringleader in the former film and a shooting victim becoming a superstar singer in the latter is paper-thin. Celeste is that singer and, as Willem Dafoe's all-knowing, somewhat ominous narration explains, her story is significant. Initially just an ordinary American girl, she grows up to be a victim, then a symbol — and then a star and a pariah. As a teenager (Raffey Cassidy) in 1999, she escapes a Staten Island school shooting with a bullet lodged in her spine and disturbing memories embedded in her brain. Savvy even in her darkest hours, the 13-year-old parlays her distress into a heartfelt ballad with her sister Ellie (Stacy Martin), sparking global attention and a prosperous music career under the guidance of an opportunistic manager (Jude Law). As a long-established public figure (Natalie Portman) in 2017, Celeste has since endured the rollercoaster ride that is fame, and is worse for wear for the experience. She's now a largely absent mother to her own teen (also played by Cassidy), and a target for the tabloids, especially after a terrorist attack is carried out by perpetrators wearing costumes from one of her early music videos. Three acts of violence punctuate Vox Lux: the two mentioned above as well as 9/11. A classroom erupts with gunfire, ending Celeste's childhood. A plane hits the World Trade Centre, just as the rising star is farewelling her adolescence. A beach resort becomes the site of the world's latest massacre, all on the eve of Celeste's big comeback tour. Each incident proves the narrative equivalent to the sparing bursts of silence deployed by composer Scott Walker, punctuating his booming, needling orchestral score. They find further parallels in the soulful instances when cinematographer Lol Crawley peers closely at Celeste, lingers and truly sees her, rather than presenting the character as a product of her surroundings via mid and long shots. They're the moments when everything stops and changes, however Vox Lux is primarily concerned with the exact opposite. Tragedy strikes, and people are lost again and again, but life, pop music and celebrity worship all adapt, evolve and continue. A tale of multiple chapters, periods and sources of pain, all operatically building to a huge pop concert finale, Vox Lux knows that the show will go on. It also knows that everything comes at a cost, especially the type of whirlwind that transforms Celeste from a mousy slip of a girl to a strutting, spiky, leotard-clad adult with a chip on her shoulder as broad as her newly adopted accent. Penetrating insight is baked into the movie's frames, as its protagonist turns trauma into success, then sees her success defined by, reactive to and almost reliant upon the world's seemingly never-ending cycle of trauma. When tragedy and popular culture have become irreversibly intertwined, there's no alternative. There's no reprieve, either. As a result, when Portman's version of Celeste sings "I'm a private girl in a public world" during Vox Lux's third act (crooning bangers composed by Sia, who's responsible for all of the film's original pop tracks), it's the movie's most obvious observation. Still, it's also a powerful statement, recognising how hurt, despair, and humanity's darkest moments have become grist for the entertainment and escapism-driven mill that is our 21st-century existence. Corbet eschews subtlety for force, but he's smartly mirroring his subject matter. Everything that his film says about fame, celebrity, success, myth-making, trauma and public spectacle shouldn't come as a surprise. Yet there's knowing something, and then there's revelling in the crash, rush and mess that arises when a movie dissects its topic in such a provocative and piercing way. For a filmmaker whose visuals demonstrate a love of control — with every inch of Vox Lux proving as slick and stylish as a music clip, and as enamoured with its own style as well — Corbet also clearly loves chaos. He loves making a splash, engineering a reaction, then waiting for the fallout he knows will eventuate. When bullets intrude upon a classroom and later a beach resort, it's jarring. When the film flits from near-stilted scenes of violence to glossy concerts — and from staring up at New York City buildings to watching the younger Celeste grapple with her injury — it bathes in the evident contrasts. And when Cassidy's shy portrayal of Celeste gives way to Portman's larger-than-life vision, it's similarly grating by design. Indeed, the movie's two versions of its fractured protagonist, as played to perfection by its lead actors, couldn't better encapsulate Corbet's overall approach. For better and for worse, Celeste shines in the space where the fragile meets the gleefully in-your-face, and so does everything else about the exceptional, memorable Vox Lux. https://www.youtube.com/watch?v=fMCYE9hKP68
Making a cup of tea can be simple. Grab a teabag, pour in some boiling water, let it steep and voila, you've got yourself one of the world's favourite hot beverages. Enjoying a cuppa can be much more creative, too — whether you're keen on pure green tea leaves, some chai or matcha, high tea, a sip of kombucha, frosty iced tea, bubble teas or a tea latte. Expect all of the above at Brisbane's first laneway tea festival, which takes over Bakery Lane on Saturday, October 5. Someone will be putting the kettle on for a day of tea tastings, tea classes and tea readings. You'll also be able to blend your own teas, and take part in tea competitions. Run by Botanical Lab, the event will kick off at 10am and finish up at 4pm. While general entry is free, you can opt for a VIP $10 ticket, which'll nab you a tote bag and a ceramic tea tasting cup. Image: Botanical Lab.
Jimmy Chin is no stranger to peering at the world from angles that most folks don't see. He's also familiar with hitting peaks. As a mountain athlete, scaling great heights has been his job; however, the above descriptions also apply to his work as a filmmaker. With his partner Elizabeth Chai Vasarhelyi, he won the Best Documentary Feature Oscar for Free Solo. Before that, the pair took home an audience award at Sundance for the also climbing-focused Meru. The Rescue, their doco about the efforts to free 12 Thai schoolboys and their soccer coach from the Tham Luang Nang Non cave system, earned them more acclaim — and both Annette Bening (Apples Never Fall) and Jodie Foster (True Detective: Night Country) scored Academy Award noms for starring in the duo's feature debut Nyad. Get Chin talking, then, and he'll clearly have much to discuss — about his work as a director and a mountaineer alike. On his first appearance in Australia, he'll be doing just that at Sydney Film Festival and Vivid Sydney. The two events are co-hosting Beyond the Summit with Jimmy Chin, where the Oscar-winner, National Geographic photographer and author will be behind the microphone for one night only. [caption id="attachment_706085" align="alignnone" width="1920"] National Geographic/Jimmy Chin[/caption] How does someone who clambers up mountains then become a celebrated documentarian? How did skills in the former help with the latter — not just when climbing is the focus on-screen, as was clearly the case with Meru, and also with Free Solo's chronicle of Alex Honnold's El Capitan ascent sans ropes, but in general? Why do extraordinary feats, including Diana Nyad's 110-mile ocean swim, appeal to Chin as a filmmaker? They're just some of the threads that this in-conversation session, which is taking place on Friday, June 13, 2025 at Sydney Town Hall, might cover. Chin will dig into shooting in extreme conditions, too, alongside how being a professional adventurer influences the way he sees the natural world on film. [caption id="attachment_833518" align="alignnone" width="1920"] National Geographic[/caption] "I'm excited to be a part of Vivid Sydney and the Sydney Film Festival this year. It's a great way to celebrate storytelling and creative risk-taking, which have both shaped my life in the mountains and behind the camera. To share my experiences in one of the world's most iconic cities is an incredible opportunity," said Chin about his upcoming trip Down Under. "Vivid Sydney's collaboration with Sydney Film Festival this year helps bolster the calibre of both festivals and this event is testament to that. Jimmy Chin is a captivating creative with an equally impressive resume, and this conversation promises to be one to remember," added Vivid Sydney Festival Director Gill Minervini. "Jimmy Chin's work sits at the intersection of art, athleticism and ambition. His films are as exhilarating as they are emotionally resonant, and we're honoured to welcome him to Sydney for this one-of-a-kind conversation," noted SFF Festival Director Nashen Moodley. [caption id="attachment_945212" align="alignnone" width="1920"] Kimberley French/Netflix ©2023[/caption] Sydney Film Festival and Vivid Sydney have a number of collaborations on their 2025 slates, including a screening of Justin Kurzel (The Narrow Road to the Deep North)-directed documentary Ellis Park, about iconic musician Warren Ellis establishing an animal sanctuary to protect endangered species in Sumatra, plus An Evening with Warren Ellis at City Recital Hall. At the first, at the State Theatre, audiences will obviously see the film. Afterwards, its subject — a Nick Cave & The Bad Seeds collaborator and Dirty Three founder, as well as a pivotal force in movie scores, including on The Proposition, The Road, Far From Men, Mustang, Hell or High Water, The Velvet Queen, The New Boy, Back to Black, Kid Snow and newly minted Oscar-winner I'm Still Here — will chat about the doco, and also put on a short musical performance. Then there's Planet City: Live. Courtesy of designer and director Liam Young, the speculative fiction experience takes attendees to a different future — one where humanity has responded to the environmental destruction of the planet in a decisive fashion. Young's film is set at a time where there's just one city, which is where everyone on earth resides, with the rest of the globe left to rewild. At SFF, Young will provide live narration for the film, while Forest Swords will play its score live as Planet City screens. All of the above are just a taste of Sydney Film Festival's program, which has unveiled a few other sneak peeks so far — a batch of other initial titles, a Jafar Panahi retrospective and Together as the opening-night flick, for starters — in advance of the full lineup releasing on Wednesday, May 7. Check out the trailers for Meru, Free Solo, The Rescue and Nyad below: Beyond the Summit with Jimmy Chin takes place on Friday, June 13, 2025 at Sydney Town Hall — head to the Sydney Film Festival website for tickets. Sydney Film Festival 2025 runs from Wednesday, June 4–Sunday, June 15 at cinemas across Sydney. Hit up the festival website for further information and tickets — and check back in with Concrete Playground on Wednesday, May 7 for the full lineup. Vivid Sydney 2025 runs from Friday, May 23–Saturday, June 14 across Sydney. Head to the festival website for further information.
Every year since 2007, millions of people throughout the world collectively shut off the lights for one hour to support environmental sustainability. Known as Earth Hour, this 60 minutes of darkness has reached over 125 countries and major landmarks such as the Sydney Harbour Bridge, Rome's Colosseum and Toronto's CN Tower. This year, Earth Hour will take place on March 26 from 8:30 to 9:30 p.m. local time, creating an hourly wave of support as the blackout hits each time zone. But how much change can a single hour make? Although Earth Hour serves its purpose by creating a universal initiative to save the planet, for the past four years the effort never seemed go beyond that one hour. 2011 has the potential to be different. In 2011, we hope to extend environment-friendly living beyond a single hour of darkness. Beyond the Hour is a platform that encourages individuals, governments and organisations to post pledges using various social networks about how they will decrease their carbon footprint in their everyday lives. Pledges can be as simple as recycling, carpooling, using reusable bags or shutting off the water when brushing your teeth.The Beyond the Hour platform has already been released as an iPhone application called 60+, where users can click "do this" next to others' pledges that they like and agree to do the same. It's hard to believe that cutting a few showers shorter will make a big difference in sustaining a positive future for Earth. But when small changes are made by a large group of people, that little bit of effort can go a long way. https://youtube.com/watch?v=MyTe66KY7SY
Good times are coming Down Under in October, and disco-soul hit 'Good Times', too. As well as locking in spots at 2023's Harvest Rock in Adelaide and the Melbourne International Jazz Festival, Nile Rodgers & Chic are doing their own headline tour. Ah, Brisbane, get ready to freak out on Friday, October 20 at the Fortitude Music Hall. Not only 'Good Times' but also 'Le Freak' is certain to get a whirl when the one and only Rodgers takes to the stage with the group that he co-founded more than five decades ago. Also on their recent setlists: Chic tracks 'Everybody Dance', 'Dance, Dance, Dance (Yowsah, Yowsah, Yowsah)' and 'I Want Your Love'. [caption id="attachment_916215" align="alignnone" width="1920"] Alex Marshall via Wikimedia Commons[/caption] Mention Chic and Rodgers instantly springs to mind; however, as a guitarist, the latter is in a league of his own. You'll also know his work on Daft Punk's Random Access Memories, including single 'Get Lucky'. And as a writer and producer, he's had a hand in everything from David Bowie's Let's Dance album to Madonna's 'Like a Virgin'. Accordingly, Nile Rodgers & Chic gigs are known to bust out tracks from across Rodgers' career beyond Chic. Cue 'Get Lucky' and its earworm of a guitar riff, both 'Let's Dance' and the always-delightful 'Modern Love' by Bowie, and also a Madonna double of 'Like a Virgin' and 'Material Girl'. Because Rodgers and late, great fellow Chic member Bernard Edwards were involved in writing, composing and/or producing them, Diana Ross' 'I'm Coming Out' and 'Upside Down' also get a spin, plus Sister Sledge's 'He's the Greatest Dancer' and 'We Are Family'.
When winter rolls around, W Brisbane's resident bar gets gooey in a big way. Now that the festive season is upon us, it's switching to an appropriately themed high tea. If you like drinking Christmas-themed cocktails while tucking into tiny bites to eat, then add Living Room to your list. On the menu: charcoal and feta arancini, mini pancakes with red pesto and chive creme fraiche and a number of other small dishes, all designed to look suitably festive. But you'll probably get most excited about the boozy side of things — including a 'Bad Santa' cocktail made with Hennessy and a 'Tipsy Angel' Belvedere vodka cocktail. Yes, it's time to chose your pals best in need of a Xmas treat, then make a date — with the Naughty or Nice Festive High Tea kicking off on Friday, November 20 and running from Friday–Sunday each week between until Sunday, January 10. You can book in for a two-hour sitting between 11am–3.30pm, and you have three price options. Pay $60 each, and you'll feast your way through the food like you're Santa on Christmas Eve. Opt for the $76 option, and you can add one of the two aforementioned cocktails. And for $85, you'll also get a glass of Veuve Clicquot champagne.
If you're in or around the Valley this winter, you are in prime position to completely submerge into a world of theatrical delight. Inside an old warehouse, 38 rooms set the stage for Love Lust Lost, the latest production from the convention-shattering creative collective Broad Encounters. Courtesy of the team's sky-high production limits (and creative prowess), you will explore at least 20 of the rooms during your visit — so you'll need to come more than once to discover every nook. You'll set sail into a tumultuous ocean of heartbreak and desire, bravery and passion, led by your captain, Hans Christian Andersen. The fairytale great's story is imagined alongside those of Jules Verne and Joseph Conrad, with their intimate worlds brought to life with soundscapes, spoken word, dance, circus and taste. (There are discounted tickets especially for CP readers, too.) [caption id="attachment_861957" align="alignnone" width="1920"] Jade Ellis[/caption] The true delight of your literary-fuelled adventure exists in the delightfully unknown aspects. Let your curiosity take over as you follow your captain into the storm, chasing each clue and desire as the mystery unfurls. And, up until Sunday, September 11, use code CPLUST at the checkout for $25 off tickets (for shows up to and including Sunday, September 25). 'Love Lust Lost' is in residence in Fortitude Valley until Friday, September 30. Head to the website to grab your tickets. Top image: Jade Ellis (second)
Everyone should have a go-to wine bar within a stone's throw of their house — the kind of spot that's compact but inviting, sports a highly curated vino list and boasts plenty of folks who know what they're talking about while you're getting sipping. Ardo's is that type of place, and it's seemingly on a mission to give every wine lover in Brisbane their own local outpost. Now open in Hawthorne, the chain is up to three sites in 2023 — and it's only August. Hailing from the City Winery crew, Ardo's first arrived in Carl's Bar and Bistro's old Newstead digs to start off 2023. Then, it hit Graceville midyear. When that second venue launched, the brand had already announced that that Hawthorne would be next — and that's exactly where you can now grab a glass of vino. The experience at each Ardo's is the same, just in different areas of Brisbane. So, wine fans in Brisbane's inner east now have easy access to the plonk-slinging chain's carefully selected range of vino, including over pintxos, cheese and charcuterie, on Lindsay Street just off Hawthorne Road. Like its sibling sites, Ardo's Hawthorne is welcoming in patrons in for a glass and a bite, and will also let folks pick up their favourite tipples — or a new discovery — to take home. Offering a selection that you wouldn't just find at any bottle-o is a big source of pride, with Ardo's staff on-hand to chat you through its drops, help you make a choice and impart their expert knowledge. Here, customers can enjoy wines by the glass and the bottle. The lineup rotates, but everything you see on the shelf is able to be drunk on the premises or taken away. As you're getting cosy, you'll also be surrounded by vino all across the walls, plus a wine tap that looks like an altar. And, you'll be tucking into seasonal snacks. There are a couple of new inclusions for Hawthorne, too: gourmet seafood preserves from Conservas, which you can eat into bread and butter, or as a part of a pintxos platter; and Woombye Cheese's dairy goods. Brisbane has embraced more than its fair share of trends in the past — doughnuts, burgers and rooftop bars, to name just a few — and a spate of neighbourhood wine bars is up there with the best of them. Find Ardo's Wine Bar at 7 Lindsay Street, Hawthorne. Keep an eye on the venue's website for more details.
If you're one to track down wholesome treats on Instagram — particularly sweet bites of the vegan, dairy-free or gluten-free variety — then you've probably come across Ines Scholtes's feed. But sharing an image of an aesthetically advanced dish is one thing — whipping them up everyday and selling them in a cafe is quite another. But with Mylk + Ko, Scholtes is setting out to do just that. The New Farm cafe brings the aspiring pastry chef-turned-lawyer-turned cafe owner's nourishing, dietary requirement-friendly fare to the hungry Merthyr Road masses. That includes caramel slices, cookies, cakes and more in a significant range of raw, vegan and gluten-free varieties. Snickers mousse, anyone? How about Nutella cake, or raw peanut butter and jelly cheesecake? Red velvet waffles? "You should be able to nourish your body and make your tastebuds dance at the same time," says Scholtes of Mylk + Ko's menu, which also features its namesake mylkshakes, using almond and soy milk, plus other non-dairy alternatives. Allpress coffees, smoothies and fresh cold-pressed juices help round out the selection, making the cafe a daytime pit-stop dream for anyone after something indulgent but healthy. Plus, consider Mylk + Ko's initial offerings just the beginning of a broader range of all-round goodness. In the future, Scholtes plans to add cooking classes and talks to the eatery's array of delights, plus something to satisfy sweet cravings when evening hits: a nighttime dessert bar.
It's a shot favourite with lemon and salt. There's a surf instrumental track that shares its name. Just thinking about it likely gets the early-90s hip hop cover of that tune stuck in your head. Although it's a famous spirit, tequila isn't always the best-appreciated tipple. Head to Carmen, James Street's newest bar and Mexican eatery, however, and the latter might change. Running through Fortitude Valley and New Farm, this stretch of road has long had Brisbanites flocking to the city's inner north for a sip and a bite to eat, adding dining and drinking options aplenty over the two decades since it rebadged its industrial stretch into an urban precinct. The new reason to head is this 80-seater tequileria from aka Potentia Solutions Leisure, joining a hospitality stable that also features rooftop joints Lina and Soko. While Carmen is an eatery, bar and lounge in one, tequila- and agave-heavy drinks take pride of place on the menu. Standout sips include the El Tigre, which is made on Patron Reposado, plus grapefruit bitters, agave and dehydrated grapefruit; Sueno de Sandia, a citrusy number featuring Patron Silver, watermelon juice, lime, agave and basil syrup; and the Aventura, a mix of The Lost Explorer Espadin, Grand Marnier, St Germain elderflower, lime, lemon and raspberries. In addition to cocktails, plus a hefty list of tequila and agave in general — including a focus on small-batch mezcals — Carmen boasts Coronas, naturally, plus a premium wine list ready for the swilling. Australian vinos get ample attention, as do New Zealand, French and Italian drops. Food-wise, patrons can tuck into poached lobster tacos, Mexican popcorn chicken, charred corn rillettes, kingfish ceviche with fermented pineapple and wagyu steak crudo tostaditos, as well as dulce de leche cheesecake and Patron tequila sorbet. Other dishes also glean their influences from elsewhere around the world, as seen with Sydney rock oysters and beef short rib rendang. Seafood is a big feature, as tends to be the trend no matter what style of cuisine is on offer in Brisbane. Also, sustainability is a hefty focus across both the food and drinks spread. Carmen is working towards a zero-waste cocktail list, setting itself a goal to achieve waste-free tipples — but launching with a menu that's as close as possible in the interim. As Soko does, Carmen is collaborating with the One Tree Planted program, too, donating a portion of funds from some drinks to support global reforestation. And in terms of decor, visitors will find the space decked out in neutral tones amid white walls and curved archways. Find Carmen Tequileria at 70 James Street, Fortitude Valley — open 4pm–late Monday–Tuesday and 12pm–late Wednesday–Sunday. Images: Fortem Media.
Architecture in Helsinki are back, and set to make the folk at the Hi-Fi dance through their shoes in their first headline tour in three years. To celebrate the release of their fourth album Moment Bends, the band who are renowned for live shows bursting with energy and sweaty fun are coming to Brisbane. Architecture In Helsinki burst straight out of art school around a decade ago, with albums positively tingling with amazing indie pop songs and a slew of videos featuring trampolines, capes and creepy fluorescent puppets dancing around their necks. They've gone on to become one of Australia's most loved and internationally acclaimed acts, playing national and international tours alongside such luminaries as David Byrne, Belle & Sebastian and Yo La Tengo. Their new album develops the kind of ecstatic pop that makes you want to dance in a cloud of glitter, but with the kind of sophisticated touch that comes from many years of being one of Australia's most acclaimed and innovative bands. But at the end of the day, and most importantly, Architecture In Helsinki make you want to dance. So get your fluoro shirt out, stick something weird in your hair and get yourself a ticket while you can. https://youtube.com/watch?v=IxjcszKEcHE
Spring Hill Deli is another fine establishment that has realised that using real chocolate on top of cappuccinos makes them approximately 1000% better. We probably don’t need to say much more, but if you still need convincing, the beans come from celebrated locals Cup Coffee Roasters and the moreish food menu is the perfect accompaniment.
Space Betwixt, a group exhibition curated by Alexandra Winters, explores the concept of gaps in information, the places of transition and the blank spaces at the edges of existing forms. The works in the exhibition act as the visual representation of this concept — each of the four artists works in shapes and in the spaces between shapes, creating modernist-influenced geometric forms. Genevieve Felix Reynolds’ paintings are created from intersections of complex geometric shapes, with tonal colours giving the appearance of creased paper, or unfolded origami. In a similar fashion, Andy Harwood layers simple triangles and rectangles into larger forms, transforming them into tangible, almost sculptural objects. Christian Flynn’s work is inspired by a contemporary expression of modernism that references science and technology, with a bold approach that mixes organic forms and severe, hard-edged spikes of colour, while Freda Davies explores the shapes around us, recreating the simple geometry of the urban landscape. Space Betwixt exhibits in the Brisbane Powerhouse Foyer spaces from October 7 to November 1. Image: Genevieve Felix Reynolds
Alright, alright, alright. NSW has a new tiny cabin — but this one is a little different. Aussie startup Unyoked, which currently has 12 tiny cabins around NSW and Victoria, has teamed up with the one-and-only Matthew McConaughey to launch the new extra-special off-grid getaway. As part of his role as Wild Turkey's creative director, the Dazed and Confused, Dallas Buyers Club and The Beach Bum actor helped design the cabin, which is popping up on the NSW Central Coast from December. It's launched as part of Wild Turkey's With Thanks campaign — a global initiative supporting people and organisations committed to preserving wildlife. [caption id="attachment_751856" align="alignnone" width="1920"] Inside the The Reserve by Wild Turkey X Unyoked cabin. Getty Images for Wild Turkey.[/caption] Previously, the campaign has helped firefighters battling blazes across California. Now, it's doing its bit in Australia, with both proceeds from stays at the new cabin and $1 from every bottle of Wild Turkey Longbranch sold in November and December going to the Foundation for National Parks & Wildlife, which is helping with the recovery and rehabilitation of native flora and fauna caused by the ongoing NSW bushfires. While this is a great excuse to book a getaway on its own, there's an added bonus for McConaughey fans inside the cabin, too. The actor himself won't be there, but he has filled it with his favourite music, vintage literature and booze (no prizes for guessing what that is). As well as a bar stocked with Wild Turkey Longbranch — McConaughey's own blend, which he says it best drunk with "a couple of rocks at sundown and neat at 8.30pm" — you'll find Og Mandino's The Greatest Salesman in the World, Origins: African Wisdom for Everyday by Olivier Follmi and a collection of essays by 19th century American philosopher Ralph Waldo Emerson. [caption id="attachment_751855" align="alignnone" width="1920"] Getty Images for Wild Turkey.[/caption] You'll be able to listen to McConaughey's favourites tunes on tapes, too, including Talking Timbuktu by Ali Farka Touré and Ry Cooder, Sturgill Simpson's Metamodern Sounds of Country Music and Highway 61 Revisited by Bob Dylan. If American country and folk music isn't your schtick, make sure you download some alternative playlists before you head off — there won't be any wifi at this off-grid cabin. As well as the above, the solar-powered cabin is equipped with basically everything else you'll need for your off-grid adventure — bedding, towels, plates, a gas stove and even toilet paper is provided. Plus, you can add on extra luxuries like negronis, s'mores kits and pancake mix at the time of booking. Reservations for the one-of-a-kind cabin have just opened. A night in it will set you back $293 on a weeknight and $353 on a weekend (when you'll have to stay for at least two nights). Most of December is already booked up but there are plenty of free nights in January and beyond — for now. We're sure they'll get snapped up fast. The Reserve by Wild Turkey X Unyoked cabin will pop up on NSW's Central Coast in early December. You can book here. Images: Getty Images for Wild Turkey at the launch of the cabin at Bennelong Lawn. Updated: November 28, 2019.
All over Brisbane you can find art and craft markets catering to those with a penchant for individuality and artistic flair. But when it comes to markets for pre-loved clothing is often gets hard to find a good one. A Frock Affair is hoping to change that one Saturday at a time. In a similar vein to Suitcase Rummage (except for an exclusive focus on fashion) stalls can be purchased by those with cupboards full to the brim of clothes that need new homes. The vintage and pre-loved angle means you can pick up a bargain – or several – for limited funds. Attendees this Saturday will find a mix of labels including (but definitely not limited to) Oroton, Country Road and Cue. If past reviews are anything to go by, this day is a treat for both wardrobes and wallets, as the stock available for purchase is both high in quality and quantity. In fact, the Frock Affair website suggests bringing your own bags to help carry your purchases. Best take their advice if you're planning on spending up big! Best of all A Frock Affair boasts free entry and has an ATM on site, which is a necessity for those who underestimate how much awesome attire they will find.
Brisbane creatives, look here! The Brisbane Emerging Art Festival is returning in 2012 and is going to be even better than it was this year. The festival was once visual-arts-only but next year will also incorporate film, performance, music and fashion into its 2012 program. The Fashion department are currently calling out for artists to exhibit within their discipline. If you work directly within fashion - be you designer, milliner, jeweller - or indirectly - fashion illustration, film, et cetera - then the Brisbane Emerging Art Festival wants to hear from you. To find out more information on the call out and apply, please visit the Brisbane Emerging Art Festival website. You can also connect to the Brisbane Emerging Art Festival through Facebook and Twitter.
If you live in Australia and you love French cinema, then you already have a hefty chunk of autumn blocked out in your 2023 diary. To help cap off 2022, the annual Alliance Française French Film Festival locked in its dates for the year ahead, when it'll take its movie-adoring show on the road throughout March and April. What's even better? Unveiling the initial 15 titles that'll be gracing its big screens in Aussie capitals, and also a heap of regional locations. Among the first titles revealed, both variety and high-profile names feature heavily. Among the latter, there's a big focus on France's leading ladies, such as Juliette Binoche (The Staircase), Marion Cotillard (Annette), Virginie Efira (Benedetta), Léa Seydoux (Crimes of the Future), Laure Calamy (Call My Agent!), Noémie Merlant (Portrait of a Lady on Fire), Bérénice Bejo (The Artist) and Isabelle Adjani (The World Is Yours). And, AFFFF already boasts its usual smattering of homegrown box-office sensations and up-and-comers, aka already-proven hits and the talents who'll be making them in years to come. Get ready for zombies, comedies, Cannes titles, acclaimed filmmakers, Oscar contenders and more. One big highlight: Final Cut, a French remake of Japanese cult hit One Cut of the Dead from The Artist director Michel Hazanavicius, starring Bejo and Romain Duris (Eiffel), and a movie that is playful with that whole setup. If you missed the original, it follows a film crew making a zombie special that's being broadcast live — but then things get real. Selected as France's submission to this year's Oscars, in the Best International Feature category — and already named on the Academy's shortlist — Alice Diop's Saint Omer is another absolute must-see. The documentarian draws from true events to craft a drama about a young Parisian journalist and novelist attending murder trial, then wading through the complexities it surfaces within her own family history. Acting icon Adjani is part of the cast for Masquerade, which has the honour of opening this year's AFFFF. Directed by La Belle Époque's Nicolas Bedos, and playing at last year's Cannes Film Festival, it tells of glitz, glamour and a far-less-glossy underbelly in the Côte d'Azur, as led by Pierre Niney (Yves Saint Laurent). Or, film fans can also look forward to One Fine Morning, the latest film by Bergman Island's Mia Hansen-Løve, this time a family drama starring Seydoux; The Innocent, as written and directed by, and starring, Louis Garrel (A Faithful Man), based on his own experiences and featuring Merlant; and Other People's Children, an Efira-led effort about being a stepmother that's also inspired by director Rebecca Zlotowski's (Planetarium) own life. And, Efira pops up again in Paris Memories, which is set in the aftermath of Paris' November 2015 terrorist attacks, and is helmed by Proxima director and Mustang screenwriter Alice Winocour. Binoche features in Winter Boy, the new film from Sorry Angel's Christophe Honoré, an autobiographical drama focusing on 17-year-old Lucas (newcomer Paul Kircher). As for Cotillard, she's part of the cast of Brother and Sister, playing a stage actor and sibling to Melvil Poupaud (Summer of 85). And, after proving so astounding in 2022's Full Time, Calamy appears in two of AFFFF's 2023 titles: Two Tickets to Greece, a comedy about estranged childhood friends heading off the eponymous country, as hailing from fellow Call My Agent! alum Marc Fitoussi and also starring Kristin Scott Thomas (Slow Horses); and the 1974-set Annie's Fire, which follows a working-class mother of two who unexpectedly falls pregnant at a time when abortion isn't legally accessible. Rounding out this first drop of titles: November, one of the biggest French box-office hits of 2022, with Jean Dujardin (Deerskin) playing the lead anti-terrorist squad investigator into the Paris 2015 attacks; Notre-Dame on Fire, about the 2019 blaze; Everybody Loves Jeanne, a comedy about self-doubt; and Lie with Me, as based on Philippe Besson's award-winning autobiographical novel. Notching up its whopping 34th year, AFFFF will play Sydney, Melbourne, Brisbane, Perth, Adelaide, Canberra and Hobart — plus Byron Bay, Parramatta, Victor Harbour, Bendigo, the Gold Coast and Margaret River. ALLIANCE FRANÇAISE FRENCH FILM FESTIVAL 2023 DATES: March 7–April 5: Sydney, NSW March 8–April 5: Melbourne, VIC March 8–April 5: Perth, WA March 9–19: Hobart, TAS March 9–April 5: Canberra, ACT March 15–April 12: Brisbane, QLD March 16–April 5: Byron Bay, NSW March 23–April 19: Adelaide, SA March 29–April 2: Parramatta, NSW March 29–April 16: Gold Coast, QLD March 31–April 2: Margaret River, WA April 3 and 10: Victor Harbour, SA April 21–23: Bendigo, VIC + encore dates in some cities The Alliance Française French Film Festival tours Australia from Tuesday, March 7–Tuesday, April 25, 2023. For more information, visit the AFFFF website. Check back here on Wednesday, February 1 for the full program.
Let's do some quick math. 120 bands, 12 venues, two nights. If my basic addition is correct, these all equal one heck of a good time. BIGSOUND is massive. Whether you are a member of Australia’s booming music industry or just a regular music fan, BIGSOUND has something for you. Hailed as Australia’s answer to SXSW, BIGSOUND is a music conference with a bit of bite. Located in our very own entertainment precinct, Fortitude Valley, this music gathering is a place to swap ideas, make contacts and see some of Australia’s best up-and-coming bands. While the music conference might not be for everyone, the Live Showcase is going to be off the proverbial chain. 12 of Brisbane’s best live venues are hosting two nights of great live music. New bands, old bands, great bands – there is something here that everyone can enjoy. Some of the musicians on display are: Billy Bragg (pictured), Robert Forster, Regurgitator ,Megan Washington, The John Steel Singers, Melbourne Ska Orchestra, Darren Middleton, Natalie Pa’apa’a of Blue King Brown, Gossling, Yukon Blonde, The Jungle Giants, Calling All Cars, Stonefield, Chance Waters, Bleeding Knees Club and loads more. Whoa, that’s a lot of talent. BIGSOUND is happening all over town from Tuesday the 10th, to Friday the 13th.
She's inked everyone from Miley Cyrus to Post Malone, and she could adorn your skin with art next — for free, at a three-day tattoo event taking over the Brisbane Convention and Exhibition Centre. Celeb tatt artist Lauren Winzer is hitting the River City for the Brissie leg of the Australian Tattoo Expo, which runs from Friday, June 9–Sunday, June 11. And yes, free tattoos are 100-percent on the agenda. For the event, Winzer is teaming up with Bepanthen Tattoo aftercare ointment, which is where those tatts without spending a cent come in. She'll be busting out ink from a capsule collection — which includes sunrises, lavender, waves, ice cream cones and other options — and leaving you with a lasting memento. If you get one, you'll definitely always remember this event. View this post on Instagram A post shared by Lauren Winzer (@laurenwinzer) Of course, Winzer has plenty of company: more than 250 fellow tattoo artists will be showcasing their skills, and live performances by Sideshow Cabaret will backdrop all of that body art. And if you're not up for getting a tatt yourself — for free or otherwise — you can chat to the country's top folks in the field, find out about different styles and genres, explore the world of body piercing and watch tatt competitions.
Who doesn't want to fling some tropical fruit around on a public holiday? It's a strange concept, we know — and one that's exactly as silly and simple as it sounds — however this day seems to not only embrace tradition, but novelty. Of course, when it comes to throwing pineapples, there's only one iconic, 130-year-old venue for it. Head to one of Woolloongabba's finest, enjoy the other Australia Day merriment (including pub food, brews and the Hottest 100), and then try your luck in the 10th annual competition. The winner won't just receive bragging rights, but $750 for their efforts.
2024 marks two decades since one of the best blends of romance, comedy, drama and sci-fi of the 21st century reached screens in the form of Michel Gondry's Eternal Sunshine of the Spotless Mind. How should you celebrate that fact? Rewatching the movie always, and also checking out the French filmmaker's latest feature at Australia's annual Alliance Française French Film Festival. In his first movie since 2015, the director draws from his own experience in semi-autobiographical comedy The Book of Solutions — one of the just-announced full AFFFF program's clear must-sees. French film fans, rejoice — the lineup goes on from there, with 41 titles on offer overall. The festival will run across March and April in its 35th year, giving most of its stops a month of Gallic movies. So, in Brisbane, Sydney, Melbourne, Perth, Adelaide and Canberra, get ready to see plenty of France from your cinema seat. Byron Bay's season is shorter, but still lasts for three weeks. At the end of 2023, AFFFF unveiled its first eight flicks for 2024, so audiences already had opening night's The Three Musketeers: D'Artagnan to look forward to, alongside its second part The Three Musketeers: Milady. And, the Catherine Deneuve (The Truth)-led The President's Wife, Juliette Binoche (The Staircase)-starring The Taste of Things, futuristic The Animal Kingdom, regal scandal-focused Jeanne Du Barry, legal drama All Your Faces and Laure Calamy (The Origin of Evil) in Iris and the Men as well. Joining them are plenty of new highlights, such as Last Summer, the latest from iconic director Catherine Breillat (Abuse of Weakness), about a woman and her teenage stepson. Not one but two movies starring the great Isabelle Huppert (The Crime Is Mine) are on the roster, with The Sitting Duck casting her as IRL whistleblower Maureen Kearney and Sidonie in Japan about a love triangle that includes a ghost. And Second Round gets the closing-night spot, hailing from Albert Duponte (Bye Bye Morons), and taking aim at politics and the media. Attendees can also check out A Difficult Year, from The Intouchables' Éric Toledano and Olivier Nakache, and with Noémie Merlant (The Innocent) and Mathieu Amalric (The French Dispatch) among the cast — plus rom-com Mr Blake at Your Service!, with author Gilles Legardinier turning director to adapt his own book, and John Malkovich (Billions) and Fanny Ardant (Well Done!) starring. Historical drama Bonnard, Pierre & Marthe is about the painter (Vincent Macaigne, Irma Vep) and his wife (Cécile de France, The Swarm), while Out of Season has Guillaume Canet (Breaking Point) and Alba Rohrwacher (La Chimera) play ex-lovers. Like The Book of Solutions, The Taste of Things, The Animal Kingdom and romantic drama Along Came Love, both Àma Gloria and Rosalie grace the program after debuting at Cannes 2023. The first focuses on a girl and her nanny, while the second tells of a real historical figure who was born with hair covering her face and body. Other options include Take a Chance on Me, as starring French pop singer Louane Emera; fellow comedy A Chance to Win, where two rival villages face off in rugby; the swashbuckling The Edge of the Blade; the world premiere of King of My Castle, from the writers of Welcome to the Sticks; and the animated Nina and the Secret of the Hedgehog, with Audrey Tautou (The Jesus Rolls) among the voices. The fest is also giving classic Children of Paradise from 1945 a new big-screen celebration, taking viewers back to the 1800s with its storyline, as well as into Paris' theatre scene — because looking at France's great films from year gone by is another way to showcase the country's cinema industry and its impact. Alliance Française French Film Festival 2024 Dates: Tuesday, March 5–Tuesday, April 2 — Palace James St and Palace Barracks, Brisbane Tuesday, March 5–Tuesday, April 9 — Palace Central, Palace Norton Street, The Chauvel, Roseville Cinema and Cinema Orpheum Cremorne, Sydney Wednesday, March 6–Tuesday, April 2 — Palace Como, Kino Cinema, Palace Balwyn, Palace Brighton Bay, Palace Westgarth, Pentridge Cinema, The Astor Theatre and Palace Penny Lane, Melbourne Wednesday, March 6–Tuesday, April 2 — Palace Raine Square, Luna on SX, Luna Leedeerville and Windsor Cinema, Perth Thursday, March 7–Wednesday, March 27 — Palace Byron Bay, Byron Bay Thursday, March 7–Tuesday, April 2 — Palace Electric, Canberra Thursday, March 21–Tuesday, April 16 — Nova Prospect and Palace Nova Eastend, Adelaide The Alliance Française French Film Festival tours Australia in March and April 2024. For more information and tickets, visit the AFFFF website.
Any great gelateria lives and thrives by its scoops. When the best ice cream is being piled high onto cones and in cups, the dessert joint serving it can be anywhere. Still, there's something particularly special about being able to lick your way through a sweet treat in a scenic spot, like strolling along by the river — and it's that experience that Rosé Gelateria has covered at its new Brisbane outpost at Portside Wharf. Rosé Gelateria debuts in the River City after setting up stores in Sanctuary Cove and Main Beach. This ice cream spot is located next to Dendy Cinemas, handily, and spans across 56 square metres of indoor seating space, as well as an al fresco seating area. Known for its rose gelato made with rosewater and topped with rose petals — hence the name — Rosé Gelateria also does Biscoff gelato using the biscuit spread, and also caramel among its 20-flavour signature lineup. The Portside shop features vegan and dairy-free options, too, and will rotate through four limited-edition flavours each month. If you have a pet that likes frosty treats, and always tries to get a lick of yours, Rosé Gelateria is doing pet-friendly gelato as well. That said, Rosé Gelateria doesn't just keep things cold and creamy. It also serves up macarons and cookies, plus juices and milkshakes. And, joining forces with Paradox Coffee Roasters, it'll brews a specialty coffee blend called Picasso Baby, too — and expect to taste dark chocolate and blackberry with your caffeine hit.
Adele Frost is the face of the 2012 Mercedes-Benz Fashion Festival. From the camera to the catwalk to the clothing rack, Ms Frost has all layers of the fashion industry covered. She's a young, fun, busy lady who calls Brisbane home and she caught up with us to chat about modelling, music and a mutual love of our beautiful Brisbane. Tell us, how did you crack the fashion/modelling/beauty/design industries at such a young age? Things just seemed to flow from my interest in fashion. I was about five when I first stepped onto the catwalk and I just loved it. The early photographs still make me laugh when I look at how seriously I took it when I was only young. I was discovered by Dally's when I was in high school in Townsville which is how I met Jodie Bache-Maclean, and she has really encouraged me in my career. I moved to Brisbane, finished high school and really began modelling then. I've always loved fashion, looking at fabrics and designing and making clothes. I'm constantly thinking about designs that I can create or how I can style my wardrobe. What does it take to become a successful model? I think you have to love travelling and enjoy the whole process. You also have to enjoy a very unstructured routine. You never know where you will be working next or how long the next assignment will be. You have to be able to go to castings and enjoy the company of other models. Casting agents, whether for fashion parades, still photo shoots or television commercials, always have a vision of what they are wanting to create. You really have to make the most of all the experiences you get along the way and often you will be asked to walk or to act out a role according to what the goal of the casting is. It can be an extremely rewarding profession. What's the best thing about living in Brisbane? Brisbane is a fantastic base to work from. Brisbane has a wonderful climate and although it is a large city, it is still very easy to get around and get to places. We are close to the coast and I love the beach. It is a very liveable city, affordable and full of wonderful fashion and designers. And, if you have to travel a lot it's a great departure point. I love the nightlife, the restaurants, the shops and the different sports you can get involved with here. We're really lucky to be able to live in a place like Brisbane which has so many offerings and is so accessible. Where are your favourite places to shop in Brisbane? I love the Valley and most of the fashion shops there as well as Myer, West End and the new Wintergarden. Who are your favourite local designers? I can't really think of any local designers that I don't like. Darb Couture and Paul Hunt design exquisite wedding and evening wear, designers like Pia du Pradal and Tengdahl design beautiful race and formal day wear. I love Akira's simple and delicate designs and then my other local favourites include George Wu, Francis Leon, Ash To Gold, Easton Pearson and Bora. We have so much choice both from our fantastic local designers and then all the high end European brands that have a presence in Brisbane. Can you tell us a bit about your new fashion label? Friends of the Heart is a directional, alternative label, designed for men. Initially it was targeted towards the music industry, being casual and quirky. We're nearly a year old now and we have focused on being in cool, interesting boutiques, rather than mainstream fashion houses. We are stocked in Dirtbox and Angus Black in Brisbane (my two favourite mens shops)! Why menswear? There seemed to be a bit of a gap in the market for menswear that was casual and cool but not mass produced. It just seemed to evolve very quickly from an initial concept. What inspires and motivates you? Art, music and fashion have always inspired me. I am my own motivation and have always got some new idea or plan to move forward with. What music pumps you up before a show? At the moment I'm loving Flight Facilities, Parachute Youth and Santigold. What can our readers expect from the Mercedes-Benz Fashion Festival this year? What are the highlights? The Mercedes-Benz Fashion Festival is, as always, a showcase for our young designers so that's always a must for anyone interested in seeing the emerging talent in Brisbane. The Treasury Casino is going to be a wonderful backdrop to the Mercedes-Benz group shows showcasing all our established and highly respected local designers. Queens Plaza, the Myer Centre and the Brisbane Arcade are all showcasing collections of their retailers at different venues throughout the city centre. Then there are the wonderful hats from The Hat Box and jewellery from our local, talented jewellery designers. Swimwear is another must-see event. I'm also looking forward to the working studio glimpses we are going to get to see in the 'Behind the Seams Tour' and of course, the very social High Teas and Cocktail events scattered through the week-long festival.
On the morning of Friday, January 8, Queensland Premier Annastacia Palaszczuk announced that the entire Greater Brisbane region — spanning the Brisbane, Logan, Ipswich, Moreton and Redlands local government areas – would go into lockdown between 6pm that evening and 6pm today, Monday, January 11. That meant a sudden change of weekend plans for residents in the area, and also left the whole region waiting to see what would follow after those three days. This morning, at her daily press conference, the Premier has announced the next steps. Firstly, the lockdown will indeed end as originally planned. "This is the best news we could've hoped for," the Premier said, announcing that there had been no new locally acquired COVID-19 cases overnight — and confirming that only one case of the new B117 variant has been reported in the community, in the hotel quarantine worker who picked it up at their job. So, once 6pm hits today, folks in Greater Brisbane can leave their homes for any reason they like. That said, until 1am on Friday, January 22, a range of other restrictions will be in place. Accordingly, life isn't returning to pre-lockdown normality just yet. The big one: both venue and gathering limits are being tightened, so you'll be spending time with fewer people whether you're heading out of the house or staying at home. Indoor businesses and venues are going back to the one person per four-square-metres rule, and outdoor businesses will once again adopt the one person per two-square-metres rule — and eating and drinking can only take place while patrons are seated. Smaller businesses, at venues of up to 200 square metres, will also be able to stick to the one person per two-square-metres rule; however, their capacity will be capped at 50 customers. https://twitter.com/AnnastaciaMP/status/1348405768630898689 Dancing is banned again, except at weddings. Folks getting hitched can have up to 100 attendees, the same limit as funerals. Indoor concert venues and theatres can operate at either 50-percent capacity or under the one person per four-square-metres rule, whichever is greater. At outdoor stadiums, they'll be able to fill to 50-percent capacity. Within Greater Brisbane homes, gathering limits are going up to 20 — so you'll be able to have your friends and family over. That cap includes whoever lives at the premises, though. And, only 20 people can gather together in public spaces as well. "The evidence tells us the lockdown has done its job," the Premier said. "Dr Young has asked for these further ten days of measures in the Greater Brisbane area. It's better to be safe than sorry, and it's better to be sure," she continued. Wearing masks will still be mandatory in some circumstances, and must be carried at all times. You'll have to wear one in indoor places (such as shopping centres, supermarkets, gyms, entertainment venues like cinemas, libraries, workplaces where people can't socially distance, places of worship, public transport, taxis and ride share vehicles) — but won't have to when outside at a safe distance from other people, and in your own cars. For more information about the status of COVID-19 in Queensland, head to the QLD COVID-19 hub and the Queensland Health website.
It's been less than three years since Toombul Shopping Centre underwent a huge change, opening a new upstairs dining and entertainment precinct filled with neon and fountains, as well as circus-themed arcade bar Archie Bros Cirque Electriq. But the northside spot's revamp has proven short-lived, after the complex was inundated with water during Brisbane's late-February/early-March floods — with developer Mirvac announcing that, in the aftermath, it won't be reopening the centre as it previously stood. Unsurprisingly, Toombul has been closed ever since that catastrophic bout of wet weather, with its future up in the air over the past few months. Now, in a statement posted on Facebook on Wednesday, May 18 — and also reportedly via letters to tenants — Mirvac has advised that the centre's won't be returning to its former business as usual. "Following careful consideration of a number of factors including the extent of damage, the risk of future flooding and the importance of certainty for our partners, we have made the difficult decision not to reinstate the centre to how it was prior to the flooding damage," said the company. "We are now assessing the future of the site recognising the importance of continued provision of retail services for this local community," the statement continues. "No decision has been made on the future plan for the site, and at this time we do not have a timeline to resolve this; however, we will keep our partners and community informed." View this post on Instagram A post shared by Toombul (@toombulshoppingcentre) Perched between DFO at the airport and Chermside, Toombul gave northsiders a shopping option that wasn't as huge and sprawling as the former, or as focused on discount and outlet wares as the later. And, it boasted its own cinema, too. The centre also attracted Brisbanites from all over town when it became the site of Brisbane's — and Australia's — first-ever Cinnabon back in 2019. Toombul's history dates back to 1967, and it was originally the largest shopping centre in the city's north before Chermside started its series of expansions over the past few decades. If you've driven past lately, the impact of this year's flooding is obvious from the outside. And if you haven't been in the vicinity lately, you likely saw the photographic evidence all over social media back when the wild weather was ravaging the city. Toombul Shopping Centre is located at 1015 Sandgate Road, Toombul. For further information about the site's future, head to Toombul's website and Facebook page.
Put down your So Fresh CD. Crack open your teenage piggy bank. Keep practicing your Usher slide glide. Because a full-blown R&B frenzy is set to sweep the nation this November as live party tour RnB Fridays returns for five mammoth shows. Descending on Brisbane Showgrounds on November 16 (yes, a Friday), the event has managed to pull a pretty serious lineup of international music legends straight from the 90s and early 2000s. Heading the bill is none other than singing, songwriting, dancing superstar Usher, in what will be his first Aussie shows since 2011. He'll be joined by hip hop queens Salt-N-Pepa, rappers T-Pain and Lil Jon, mononymous ladies Eve and Estelle, Grammy Award-winning trio Naughty By Nature, Fatman Scoop and 'Pony' Ginuwine. All of them. Together. In one show. Ticket prices are as momentous as the lineup, with each one starting at $109.90. If you fancy really splashing out, you can opt for $349.90 platinum package — it comes complete with a commemorative lanyard, express entry, front-row real estate and the chance to meet Usher himself. Image: Mushroom Creative House.
Usually when a hungry Brisbanite wants to tuck into dishes whipped up by e'cco Bistro's Philip Johnson, Lyndon Tyers at Donna Chang and Tuan Nguyen at Ngon, then sip City Winery's vino thanks to winemaker Dave Cush, multiple stops around the River City are in order. But for the month of March, a simple trip to Brisbane Powerhouse will do the trick — all thanks to Night Feast, the waterside New Farm venue's new neon-lit food market. At an event that's as much a festival as a market, the above Brissie culinary names will be joined by Lek Senee from Lek's Thai and Patricio Sarno from Mary Mae's Kitchen & Bar on the inaugural lineup, which'll debut from Wednesday, March 1–Sunday, March 26, 2023 — operating 4.30–9.30pm Wednesday–Sunday. As initially announced in 2022 among a slate of additions and changes to Brisbane Powerhouse, Night Feast will pop up twice a year after its first-ever run, with a second 2023 fest already locked in for Wednesday, October 4–Sunday, October 29, 2023. The market's just-announced March headliners join the already-revealed Martin Boetz from Longrain, as part of a full bill that's set to span Thai, Vietnamese, Japanese, Middle Eastern, Italian, Greek and modern Australian cuisine — and more. Also included: 20-plus gourmet food stalls, an open fire pit for roasting and a dedicated dessert bar, plus cocktails and a top-notch wine list to wash it all down with. [caption id="attachment_886619" align="alignnone" width="1920"] Ngon's Tuan Nguyen, by David Kelly.[/caption] Communal feasting will be one of Night Feast's big focuses — and getting the restaurants taking part in Night Feast to dish up the absolute top thing on their menus is another. "Night Feast gives visitors an opportunity to sample the best of Brisbane's gourmet food scene within an immersive, outdoor neon-noir environment," said the event's food curator Lizzie Loel. "Our handpicked restaurants have been invited to showcase their signature dishes only, meaning you can experience the city's most exclusive gastronomic delights in one location." [caption id="attachment_850754" align="alignnone" width="1920"] Atmosphere Photography[/caption] Night Feast's autumn kickoff isn't just about enjoying a bite and a sip, however. Also on the menu: installations, DJs, live music and roaming performances, plus work from visual and performance artists. That'll all take over the Powerhouse forecourt and surrounding parks, which'll be decked out with Blade Runner-meets-Queensland theming — with a dash of Cantonese culture. The entire event is aiming for a dreamlike multi-sensory experience across its own temporary village. As for the design of the site itself, that comes courtesy of Bruce McKinven, with Night Feast capitalising upon his experience at Dark Mofo. From an arts lineup also overseen by Brisbane Powerhouse Arts Program Director Brad Spolding, Amanda Parer leads the bill so far, which likely means more glowing, towering, eye-catching pieces (see: her past Brisbane works Intrude, What's That, Lost and Fantastic Planet). Night Feast's premiere overlaps with Powerhouse's also-debuting "festival of other music" ΩHM, and is set to share Australian audiovisual artist Robin Fox on its program with that other newcomer. And, Swiss site-performance designer and fog artist Tom Mùller will also bust out his best for Night Feast. [caption id="attachment_827164" align="alignnone" width="1920"] Kgbo via Wikimedia Commons[/caption] Night Feast follows Brisbane Powerhouse's new Pleasuredome, a riverside events and performance space with bars and al fresco lounges that popped up permanently in late 2022 — as well as the temporary Kaleidoscope, a 700-square-metre maze of mirrors which stopped by last year. A permanent outdoor cinema was also announced back in June 2022, initially to launch this past spring and run year-round, screening movies under the stars — and taking advantage of the fact that that's something you can do no matter the season in Brissie, even in winter. Exactly when that'll now arrive hasn't yet been revealed. Night Feast will debut at Brisbane Powerhouse, 119 Lamington Street, New Farm, from Wednesday, March 1–Sunday, March 26 — operating 4.30–9.30pm Wednesday–Sunday. For more information, head to the Brisbane Powerhouse website. Night Feast will then return again from Wednesday, October 4–Sunday, October 29 — plus twice a year after that. Top image: Bruce McKinven Design.
Brisbane cat lovers, our neighbours Sydney and Melbourne have had enough kitty cuddle time. They've been basking in the smuggery of Australia's first cat cafe, Sydney's first pop-up kitten cafe, all the kitty time. But the global trend is finally moving north. Yes, Brisbane is finally getting its own cat cafe. If you're in desperate need of some kitten hugs, this new Red Hill establishment has you covered. Aptly called the Cat Cuddle Cafe — what else? — everyone's new favourite place will take up residence on Musgrave Road. Well, it will if it meets its funding goal. Making a haven for mousers and their fans doesn't come cheap, you know. Those pledging their hard earned cash for cats will be helping create a space that humans and kittens alike will never want to leave, with donations going towards crucial stuff like leases, insurance and permits. And catnip, scratching posts, fake mice and all the treats felines can eat, we assume. Of course, as well as indoor and outdoor play areas, there'll be a menu with food (we hear cat-shaped cookies), coffee and the like — but, admit it, that's not what anyone will really be going there for. You'll also be assisting critters in need of affection and shelter, with the kitty hangout opening its doors to rescued tabbies and toms. Brisbane cat rescue Pussies Galore will be running the cafe in conjunction with the Animal Rescue Support Network, so you'll be snuggling with rescue cats from PG and other Brisbane rescue shelters. Yes, this is a cat cafe that not only showers patrons with feline fun, but makes a real difference to the animals it adores. To support the Cat Cuddle Café, visit their fundraising campaign page. View all Brisbane Cafes.
Already the home of Kabuki Teppanyaki, and enticing in travellers and locals alike, Brisbane's riverside Stamford Plaza has expanded its culinary range. Diners can now mix up their Japanese feasts with a trip to La Boca, the hotel's new Argentinian eatery that takes ample advantage of the site's prime CBD location. As well as that riverfront perch, Argentinian grilling and cooking techniques are the star of the show at La Boca Bar and Grill, which also joins sibling venues in Sydney and Adelaide. At Brisbane's outpost, those South American culinary methods are unleashed upon local Queensland produce — much of which the ends up on the parrilla grill. La Boca opened its doors over summer, and does breakfast, lunch and dinner service seven days a week — all with that Argentina-meets-Australia blend. Here, you can pair short ribs with pecan- and toffee-stuffed dessert empanadas, and sip Argentinian sangria and mango chilli margaritas. Or, opt for grilled octopus with potato salad, a half-split grilled spring chicken, and burnt Basque cheesecake with strawberry gelato. The lunch lineup heroes sweet corn and cheese empanadas, grilled chorizo in chargrilled flatbread topped with pico de gallo salsa, and wagyu rump with truffle fries. Come dinner, seafood is a hefty focus, including Moreton Bay bugs with paprika and garlic, and grilled rock lobster with butter and lime. Or, there's a citrus-heavy red emperor dish, and two barramundi options. Also a highlight: the asador menu, where you can choose your pick of meat — pork belly, dry-aged lamb shoulder, wagyu shoulder blade and grain-fed scotch fillet — to be slow-cooked over the wood fire pit. And, La Boca also does meat- and seafood-stacked platters to share (one including asador dishes and saltbush lamb sausages, the other mixing the ocean's finest in chilled and parrilla-grilled forms), serves up Australian and Argentinian wines, and features orange espresso cocktails and roasted sugarcane daiquiris among its drinks selection. Find La Boca Bar and Grill at the Stamford Plaza Brisbane, corner of Margaret and Edward streets, Brisbane — open daily from 6.30–10.30am for breakfast, 12–2pm for lunch and 6–9pm for dinner.
Spending your Saturday night in a laundromat isn't most people's idea of a good time. Understandably so, but let The Ironing Maidens convince you otherwise. You won't be doing any washing or drying from 7pm on June 16 — rather, you'll be catching an electronic music performance that's based around housework, complete with on-theme advertising samples, actual laundry sounds and lyrics that probe gender roles. The Ironing Maidens have won awards, toured local and international festivals, and generally wowed crowds by using ironing boards as instruments — and now they're hitting up the Morningside Laundromat on Wynnum Road. It's part of their latest tour, which, as you might've guessed, only involves places where you'd normally wait for your clothes to finish their spin cycle. As for their story, The Ironing Maidens main duo Patty Preece and Melania Jack have taken inspiration from British composer and electronic music pioneer Daphne Oram, the first woman to direct an electronic music studio back in the 1950s. Accordingly, you'll not only witness an inventive and unique live performance, but you'll be paying homage to a part of history you probably didn't know about.
Metro Arts have managed to squeeze a whole lot of fun into one evening, so clear your schedule and pencil Friday Night: July in. The evening includes a dance piece titled The Grieving Project. Last June a piece by the same company, Fran Barbe & Guests, caused quite a stir at Metro Arts and a second performance was added as to not disappoint eager audiences. This year, the team have created a new piece performed by Brian Lucas, Julan Renlong-Wong and Kate Lee. As you would expect, The Grieving Project centres around heartbreaking experiences of grief and loss. Other performances during the evening include Cindy Foster's Red Door and Thomas Quirk's The Theory of Everything. You will also be able to feast your eyes on the fruits of two talented artist's labour. Both artists, Tammy Payne and Emily Donaldson, are USQ postgraduate visual art students. Emily will be hosting a discussion on rural life while Tammy's sculptures will be showcased. Keep an eye on Metro Arts' Facebook page as there is even more to be announced.
