Thanks to the success of Beef, the past year has been huge for Ali Wong. It was back in April 2023 that the hit series arrived, getting audiences obsessed and sparking plenty of accolades coming Wong's way. She won Best Actress Emmy, Golden Globe, Film Independent Spirt and Screen Actors Guild awards for playing Amy Lau, who has a carpark altercation with Danny Cho (Steven Yeun, Nope) that neither can let go of — and that changes both of their lives. The last 12 months have also been massive for the American actor and comedian onstage, all thanks to her Ali Wong: Live tour. Wong has been playing to full houses in the US, and also in Paris and London — and Down Under audiences are just as keen to see her. Before general tickets even go on sale for her Australian visit, she's added extra gigs. [caption id="attachment_946690" align="alignnone" width="1920"] Andrew Cooper/Netflix © 2023[/caption] Wong will head to Australia and New Zealand in July 2024. She initially announced four dates, kicking off in Auckland, then jumping over to Melbourne. From there, she'll work her way up the east coast, next hitting up Sydney before wrapping up in Brisbane. Now, both Melbourne and Sydney have scored extra gigs thanks to the huge demand during the ticket pre-sale period. Behind the microphone, Wong's comedy career dates back almost two decades, including three Netflix stand-up specials: 2016's Baby Cobra, 2018's Hard Knock Wife and 2022's Don Wong. And, as an author, Wong also has 2019's Dear Girls: Intimate Tales, Untold Secrets & Advice for Living Your Best Life to her name. On-screen, Wong doesn't let go of grudges easily, at least in Beef. In rom-com Always Be My Maybe, she's also been romanced by Keanu Reeves. Tuca & Bertie had her voice an anthropomorphic song thrush, while Big Mouth sent her back to middle school. Beef, on which Wong was also an executive producer, earned just as much love for the show overall — including the Emmy for Outstanding Limited or Anthology Series; Golden Globe for Best Television Limited Series, Anthology Series, or Motion Picture Made for Television; Gotham Award for Breakthrough Series under 40 minutes; Film Independent Spirt Award for Best New Scripted Series; and PGA for Outstanding Producer of Limited or Anthology Series Television. [caption id="attachment_722120" align="alignnone" width="1920"] Ed Araquel / Netflix[/caption] Ali Wong: Live Tour Dates — Australia and New Zealand 2024: Monday, July 8 — The Civic, Auckland Thursday, July 11–Friday, July 12 — Palais Theatre, Melbourne Friday, July 19–Saturday, July 20 — ICC Theatre, Sydney Monday, July 22 — Brisbane Convention and Exhibition Centre, Brisbane Ali Wong is touring Down Under in July 2024, with general sales from 9am local time on Friday, March 22 — head to the tour website for further details. Top image: Andrew Cooper/Netflix © 2023.
At Boho Luxe Market (the event's term, not ours), Byron Bay comes to Brisbane. Well, the beachy New South Wales spot's general vibe does at least. Forgoing the trappings of the city for bohemian fashion, jewellery, homewares and the like is on the market's agenda, and has been since it made the jump from Melbourne to Brisbane in 2019. Clearly we responded well to three days of dreamcatchers and flower crowns — because it keeps coming back again and again, including for its second stint in 2022 right in the lead up to festive season. If that sounds like your kind of thing, then block out Friday, November 18–Sunday, November 20 in your diary for the market's Christmas event. The Boho Luxe Market will head to The Old Museum for a weekend of browsing and buying, food trucks, live music and more. A picnic spot decked out boho-style and pop-up bars are also part of the fun. Usually there's also be a dedicated vegan section, plus a kombi display and glamping providers tempting you into booking your next holiday — so fingers crossed they'll return. Entry costs $6.36 per day or $11.64 for all three. Drop by and pretend you're somewhere quiet and coastal on Friday from 5pm–9pm, Saturday from 9am–5pm, and Sunday from 9am–3pm. Images: Romana Saeheng Elope / Samee Lapham.
UPDATE, Friday, June 21, 2024: May December is available to stream via Binge, Prime Video, YouTube Movies and iTunes. A line about not having enough hot dogs might be one of its first, but May December is a movie of mirrors and butterflies. In the literal sense, director Todd Haynes wastes few chances to put either in his frames. The Velvet Goldmine, Carol and Dark Waters filmmaker doesn't shy away from symbolism, knowing two truths that stare back at his audience from his latest masterpiece: that what we see when we peer at ourselves in a looking glass isn't what the rest of the world observes, and that life's journey is always one of transformation. Inspired by the real-life Mary Kay Letourneau scandal, May December probes both of these facts as intently as anyone scrutinising their own reflection. Haynes asks viewers to do the same. Unpacking appearance and perception, and also their construction and performance, gazes from this potently thorny — and downright potent — film. That not all metamorphoses end with a beautiful flutter flickers through just as strongly. May December's basis springs from events that received ample press attention in the 90s: schoolteacher Letourneau's sexual relationship with her sixth-grade student Vili Fualaau. She was 34, he was 12. First-time screenwriter Samy Burch changes names and details in her Oscar-nominated script — for Best Original Screenplay, which is somehow the film's only nod by the Academy — but there's no doubting that it takes its cues from this case of grooming, which saw Letourneau arrested, give birth to the couple's two daughters in prison, then the pair eventually marry. 2000 TV movie All-American Girl: The Mary Kay Letourneau Story used the recreation route; however, that was never going to be a Haynes-helmed feature's approach. The comic mention of hot dogs isn't indicative of May December's overall vibe, either: this a savvily piercing film that sees the agonising impact upon the situation's victim, the story its perpetrator has spun around herself, and the relentless, ravenous way that people's lives and tragedies are consumed by the media and public. While Oscar nods mightn't have come of it, May December is also an acting masterclass by two thespians who already have one such shiny trophy on their mantles each, plus a performer who turns in a stunner of a portrayal that's his best yet. With Haynes behind the camera, this is no surprise: watching the talent before his lens, even when they're Barbie dolls in Superstar: The Karen Carpenter Story (the genuinely plastic rather than Margot Robbie kind), means bathing in pure emotion. In her fifth film for the director after Safe, Far From Heaven, I'm Not There and Wonderstruck, Julianne Moore (Sharper) perfects the clash of control and insecurity within Gracie Atherton-Yoo, the movie's Letourneau substitute. It's a magnificent effort from someone who is never anything less than that — and Natalie Portman (Thor: Love and Thunder), who plays a part so sharp that it cuts as Elizabeth Berry, an actor preparing to play Gracie in a new picture, is every bit her equal. With Charles Melton (Riverdale) as Gracie's husband Joe Yoo, there's a case of art imitating life, in a way. His character spends Elizabeth's visit and his entire time with Gracie coming second, and he's behind his co-stars in terms of fame, but it's Joe's plight that's the core of May December and also Melton's performance that hauntingly lingers. This film begins with faeces as well, which isn't emblematic of what's to come, either, but still an important inclusion. A package of it sits on the Yoo family's doorstep when Elizabeth arrives to meet them for the first time — and Gracie makes it clear that this has happened before. May December sets its narrative 23 years after Gracie and Joe were initially caught together. They were colleagues at a pet store aged 36 and 13, respectively. They now have three kids, one (Piper Curda, The Flash) at college and twins (debutant Gabriel Chung and Somewhere in Queens' Elizabeth Yu) graduating high school, and have built a life after Gracie's prison sentence. Still residing in Savannah, Georgia, as they always have, she baked cakes and he's most passionate about raising monarch butterflies. There's a wariness over Elizabeth's project among the Yoos, but reassurance that this will be a sensitive take is also part of her time with her latest subject and her spouse. Make no mistake, because Haynes and Burch don't: for the role that she's hoping will elevate her beyond the TV series that she's best-known for, Elizabeth sees Gracie and Joe as mere source material. She interviews others, such as Gracie's first husband (DW Moffett, Monarch) and her eldest son from that marriage (Cory Michael Smith, Incomplete), each conversation saying as much about the actor as the woman she's set to bring to the screen. As rigorously rendered by Portman, she also becomes enamoured with the scenario that she's unfurling. A moment where Elizabeth loses herself explaining sex scenes to school kids — and the conflict between portraying pleasure and pretending not to actually feel pleasure — is savagely revealing. As Killers of the Flower Moon also does, this deeply astute movie has much to say about how circumstances like Joe's become sensationalised news and entertainment fodder, what that betrays about society and why people lap it up; add reflecting on its own existence and purpose to May December's many profoundly intelligent layers. When mirrors appear, they're frequently used around Gracie and Elizabeth. Of course, the latter is being a mirror herself. Cinematographer Christopher Blauvelt — Kelly Reichardt's regular collaborator; see: Showing Up, First Cow, Certain Women, Night Moves and Meek's Cutoff — visually recalls Ingmar Bergman's 1966 psychological drama Persona, as the movie in general does, as the lines between its two women start to blur. May December is partly a movie about what Gracie and Elizabeth spy when they're studying what's in front of them, and how divorced from reality both are. Gracie embraces a carefully erected fantasy where there's nothing more than love to her relationship with Joe, regardless of her domination over their household and repeated dissolving into tears in their bedroom. Elizabeth only takes in how she can become Gracie to her own advantage. Although Haynes and Blauvelt ensure that Moore and Portman are everywhere, neither of their characters will or can confront themselves or their manipulations. Finally challenging everything that's been his daily existence since he was a child, and the role that he's been inhabiting whether he truly wanted to or not — or was capable of making that decision at such a young age — is the shy Joe. The only word that fits: devastation. May December knows this before Joe accepts it, which campy lines about frankfurters on bread accompanied by dramatic music — the film adapts and reorchestrates the score from 1971 Palme d'Or-winner The Go-Between, in fact — oh-so-cannily play into. With its rich and meticulous visuals, tonal seesawing that can court laughs and welcome melodrama, and evocatively grand music, Haynes' feature isn't being erratic. It's crafted with shrewd understanding that discomfort is the only way to respond to what it's depicting, and that there's no one mood that suits. So, Haynes plunges May December and its audience into the full emotional spectrum. Consider the film a cocoon where transformation takes place, to soaring results.
Whether you were one of those iso bakers tending to your sourdough starter, or simply glued to MasterChef's elimination challenges these last months, there's certainly been something comforting about spending more time in the kitchen right now. And someone who's made a career out of joyfully sharing his passion for at-home cooking is The Living Room co-host and I'm a Celebrity...Get Me Out of Here! winner for 2020, Miguel Maestre. The Murcia-born, Australian chef is well known for repping Spanish cuisine, as well as for his flamboyant presenting style. He's the author of best selling cookbooks Miguel's Tapas and Spanish Cooking, as well as being the ambassador for Stockland Shopping Centres and the owner of Maestre Enterprises — one of Australia's largest Spanish food importers. But not everything Miguel cooks is Spanish leaning. In this live-stream cooking class, he'll show you how to make an easy, midweek meal that'll take just 15 minutes to knock up at home. Miguel's Chicken San Choy Bow borrows from Hong Kong origins and is a zesty crowd-pleaser, plus he'll show you a veggie option and some handy cooking skills along the way. You'll also learn how to whip up Miguel's Fudgy Chocolate Cake with chocolate glaze, as another family favourite. Cook along with Miguel from 6pm AEST on Thursday, June 18. The online cooking class is free to watch, and you can find all the necessary ingredients here. Simply click through to the Facebook event post and click 'going' to make sure you're updated with the live-stream link on the day. And if you're keen to share your prep ahead of or during the event, use the hashtag #stocklandfood for your chance to win a gourmet hamper worth $300. Competition ends at 6pm AEST on Sunday, June 21.
Galleries spend a lot of time showcasing art from the past, but until October 11, the Gallery of Modern Art is going to be looking at the present and the future. Assembling new and recent pieces from 31 artists, their latest collection is designed to give audiences a taste of current works being made across Queensland. Vernon Ah Kee, Davida Allen, Chantal Fraser and Anita Holtsclaw all feature, as well as Madeleine Kelly, Liam O'Brien and Grant Stevens, too. If you're familiar with the local art landscape, or have just been to an exhibition in Brisbane lately, you might recognise their names — and if not, you will soon. Their creations help highlight what's going on across the state, but viewing their work is only part of the GOMA Q: Contemporary Queensland Art experience. Free talks and panels are also included the program — featuring author Benjamin Law, Opera Queensland's Lindy Hume, and Brisbane-based artists Michael Zavros and Richard Bell — because chatting about art is just as fun as looking at it. Image: Liam O'Brien, Australia b. 1987 / Domestication 2014 / High definition single channel video, 10 mins 15 sec, ed. of 5 / Courtesy Sullivan+Strumpf, Sydney.
Trump. Inequality. Charlottesville. North Korea. Taylor Swift's 'Look What You Made Me Do'. It's been a, er, testing year thus far. And if it weren't for our ability to talk about it — whether it's desperately debating asylum seeker policy in a pub corner, scrolling through Twitter for solidarity or listening to a critical analysis of covfefe on the way to work — we would probably all be hiding under makeshift bomb shelters in our kitchens by now. But when do we stop talking (and talking) about the state of the world and actually start doing something? That's what the Sydney Opera House set out to address this weekend at ANTIDOTE, a new festival that has replaced the Festival of Dangerous Ideas on their program with the intention of inspiring action. The inaugural ANTIDOTE, which ran over two days, featured a range of speakers, artists and activists whose subject matter moved, for the most part, past the visceral into the practical. They showed us that action isn't always seen through protest — that it can come through satire, by lifting yourself up with 20,000 balloons or just moaning really loudly until someone listens. While it's hard to say if the audiences at ANTIDOTE will put any of their newfound learnings into practice — except perhaps those who are bound by contract from immersive theatre game The Money — here's five things we took away from the festival. It's up to you to crawl out from your bunker and put them into action. [caption id="attachment_635687" align="alignnone" width="1920"] Prudence Upton / Sydney Opera House[/caption] IT'S ACTUALLY DIFFICULT TO SATIRISE DONALD TRUMP — THE ONION America's finest news source has been satirising US politics, everyday life and the power ranking of Mary-Kate and Ashley Olsen since 1988. They've found ways to cover presidents like George W. Bush ('Our Long National Nightmare Of Peace And Prosperity Is Finally Over') and Barack Obama ('Black Guy Asks Nation for Change') — and so, with the election of Trump last year, you'd think it would have made The Onion's job a total cakewalk. Not so. According to managing editor Marnie Shure, video director Katy Yeiser, and senior writer Dan McGraw, who appeared in conversation with The Chaser's Craig Reucassel, Trump's absurd behaviour is inherently hard to satirise because readers often can't tell the difference between satire and reality. Unlike other government figures who usually say one thing but mean another, Trump just says what he means — and there's very little you can do with that. Although they seem to have managed just fine. [caption id="attachment_635686" align="alignnone" width="1920"] Prudence Upton / Sydney Opera House[/caption] PEOPLE WANT TO HELP THE HOMELESS BUT DON'T KNOW HOW — THE MONEY This was no more apparent than at Kaleider's performance of The Money. Held in the Utzon Room — with its views that dissolve into the harbour water — the concept is this: a select number of 'players' sit around the table and decide what to do with a wad of cash. They can put it towards anything legal they can unanimously agree on, but they can't donate it to charity or split it with each other. A group of 'silent witnesses' also present; they don't have a say unless they slap some money on the table, in which case they are then embedded into the decision-making process. At a session on Sunday, discussion quickly turned to acts of non-direct charity. With only $500 on the table — unlike the jackpotted $6000 that went to the YES campaign the night before — the participants wanted to find a way to use the money that would actually make a difference in someone's life. Homelessness — unlike organisations in which members had a vested interest in — was a neutral cause that no one could find a suitable opposition to. But the main question was how. Without giving directly to a charity that would help people without a home, the players decided (after much discussion and disagreement) to put the money on a gift card, that would then be donated to a non-profit to, hopefully, provide food and goods to those who need it. [caption id="attachment_635684" align="alignnone" width="1920"] Prudence Upton / Sydney Opera House[/caption] SOMETIMES YOU HAVE TO SAY THE WORDS TO REALISE PEOPLE WERE WAITING TO SAY THE SAME THING — EVE ENSLER When Eve Ensler started first performed The Vagina Monologues in a Greenwich Village cafe in 1996, the word 'vagina' was rarely spoken out loud. Nowadays it's much less taboo. And while the playwright and activist thought her play would be redundant by now (if only), the ongoing response and shift of how society views women and their bodies is still a prime example of how art has the power to transform thinking and urge people to act. Ensler took to the stage in what can only be described as a fierce powerful takedown of the "predator-in-chief", the Australian Government's policy on asylum seekers and violence against women and girls. She urged the audience to speak out, refuse to be silenced, stop looking away and say the words that everyone's thinking — because that's how they get introduced into the conversation. She then proceeded to perform a monologue that ended in all-in audience moaning. [caption id="attachment_635721" align="alignnone" width="1920"] Letícia Almeida[/caption] TURNS OUT, HELIUM BALLOONS CAN LIFT A HUMAN — CHEROPHOBIA If you've ever watched Up, then the elation of artist Noëmi Lakmaier taking flight by way of helium balloons would not have been lost on you. Especially after the uncertainty and shared suspense of the coming-and-going audience members that visited over the nine-hour work. While her actual lift-off wasn't as dramatic as Carl and Russell's, it did offer a source of contemplation on happiness and fear for those who'd stuck around. Plus, the Concert Hall filled with 20,000 balloons was a pretty lovely sight to see. [caption id="attachment_635685" align="alignnone" width="1920"] Prudence Upton / Sydney Opera House[/caption] WE NEED TO DISMANTLE DOMINANT IDEOLOGIES — RENI EDDO-LODGE Reni Eddo-Lodge refuses to explain race to white people — which is fair enough, really. But after a blog post titled 'Why I'm No Longer Talking to White People About Race' blew up in 2014, Eddo-Lodge has become a prominent journalist and blogger on the topic of, well, just that, having recently released a book of the same name. In her conversation with Benjamin Law she spoke about whiteness as an implicit but ever-present power structure that upholds the dominant ideologies that suit white people. So how do we break the cycle of dominance? Question them. Read up on indigenous history, campaign to change the date of Australia Day — don't accept the structural systems of society just because that's the way they are. Also, read her book. Top image: Letícia Almeida.
If Four Weddings and a Funeral can come back as a television series, then it appears that another beloved rom-com from the past few decades can too. Continuing a trend that's never going to end — aka building pop culture's future out of its past — How to Lose a Guy In 10 Days is the latest flick getting the small-screen remake treatment. And we do mean small, given that streaming platform Quibi is behind the series. Founded by ex-Disney and Dreamworks bigwig Jeffrey Katzenberg, the newcomer won't launch until next year, but it's being designed as a short-form, smartphone-only service. That means content broken down into eight–to–ten minute chunks for ease of viewing when you're somewhere other than the couch. So, How to Lose a Guy In 10 Days isn't just getting a modernised do-over, but one that'll unfurl in bite-sized pieces. Few details about the rom-com remake have been announced as yet, although it'll be penned by The Mindy Project writer Guy Branum. The underlying premise has been given a bit of a makeover, focusing on an online columnist and an advertising executive who need to prove that they can be monogamous, as TVLine reports. Who'll be stepping into Matthew McConaughey and Kate Hudson's circa 2003 shoes, and whether either will pop up, will be revealed down the line. A release date hasn't been set as yet either, although Quibi is set to drop in April 2020. If and when it'll be available Down Under also hasn't been announced. Until more details hit, check out the trailer for the original How to Lose a Guy In 10 Days below: https://www.youtube.com/watch?v=EFGr2_cOOTk
Two Australian music legends. Decades of collaboration. One long-awaited album. One huge tour. That's the maths behind the Australian leg of Nick Cave and Warren Ellis' Carnage tour, which Cave first announced was in the works back in early February via his The Red Hand Files email list. Now, after already locking in dates in Hanging Rock — which have sold out, unsurprisingly — the duo have unveiled their full 2022 Aussie tour schedule. Yes, this is some news to come sail your ships around — with 15 gigs slated in five states and one territory, all from mid-November through to mid-December. The tour will kick off with a two-night stop in Adelaide, before heading to those Macedon Ranges gigs, then to Canberra, Melbourne, Perth, Brisbane, the Gold Coast, Tamworth and Newcastle. And, to cap things off, Cave and Ellis will hit up the Sydney Opera House's newly revamped Concert Hall for a two-gig big finale. [caption id="attachment_845539" align="alignnone" width="1920"] Palma Sabina[/caption] The pair are doing the rounds to support the 2021 album that shares the tour's name, which actually marks Cave and Ellis' first studio album as a duo. Bandmates across several projects since the 90s — including Nick Cave and the Bad Seeds, and Grinderman — Cave and Ellis are Aussie icons, with careers spanning back decades. Together, they also boast more than a few phenomenal film scores to their names as well, including for The Proposition, The Assassination of Jesse James by the Coward Robert Ford, The Road, West of Memphis, Far From Men, Hell or High Water and Wind River. Cave and Ellis are heading home after an American Carnage tour, and following Cave's subsequent tour with the Bad Seeds in Europe. "I can't begin to tell you how happy Warren and I are to be finally returning to Australia to perform. The wait has been way too long. See you all soon for the Carnage experience!," said Cave, announcing the news. [caption id="attachment_845538" align="alignnone" width="1920"] Laurine Payet[/caption] It's already been a big year for fans of Cave and Ellis, thanks to film This Much I Know to Be True, as directed by Chopper, The Assassination of Jesse James by the Coward Robert Ford and Killing Them Softly filmmaker Andrew Dominik. It explores Cave and Ellis' creative relationship, largely through watching them at work in stunning live scenes. Dominik also made 2016 Cave doco One More Time with Feeling, and his latest flick is available to stream now. [caption id="attachment_845537" align="alignnone" width="1920"] Laurine Payet[/caption] NICK CAVE AND WARREN ELLIS 'AUSTRALIAN CARNAGE' 2022 TOUR: Tuesday, November 22—Wednesday, November 23: Festival Theatre, Adelaide Friday, November 25—Saturday, November 26: Hanging Rock, Macedon Ranges — SOLD OUT Monday, November 28–Tuesday, November 29: Canberra Theatre, Canberra Friday, December 2: Palais Theatre, Melbourne Monday, December 5—Tuesday, December 6: Riverside Theatre, Perth Friday, December 9: Brisbane Convention and Exhibition Centre Great Hall, Brisbane Saturday, December 10: Gold Coast Convention Exhibition Centre, Gold Coast Monday, December 12: Tamworth Regional Entertainment and Conference Centre, Tamworth Wednesday, December 14: Civic Theatre, Newcastle Friday, December 16—Saturday, December 17: Sydney Opera House, Sydney Nick Cave and Warren Ellis' Australian Carnage tour will head around the country in November and December 2022. Tickets go on sale at 10am local time in each city on Friday, July 29 — for more information, head to Nick Cave's website. Top image: Megan Cullen.
Calling all Scandi cinema diehards, Nordic noir buffs, fans of the region's oft-icy climes, and lovers of mythology and folklore: the 2023 Scandinavian Film Festival has something on its lineup for you. When it gets frosty in Australia each year, this big-screen showcase celebrates titles primarily hailing from Denmark, Finland, Iceland, Norway and Sweden — and its latest lineup is full of must-see highlights. Screening from Wednesday, July 19–Wednesday, August 9 at Palace James St, Palace Barracks in Brisbane, the fest's latest program will kick off with the Australian premiere of Let the River Flow, which won the Audience Award at this year's Göteborg Film Festival. Based on a true tale, it tells of a young woman who unintentionally becomes involved in a protest against a dam, with the new structure set to possibly flood Indigenous Sámi land. The standouts keep coming, such as Godland from Icelandic filmmaker Hlynur Pálmason (A White, White Day), which gets the festival's centrepiece slot — and Fallen Leaves, the latest from Finnish great Aki Kaurismäki's (The Other Side of Hope). Both hit the Scandi Film Festival after bowing locally at other events around the country. Also boasting a high-profile name is Burn All My Letters, which follows the consequences of a love affair, and stars Barbarian and John Wick: Chapter 4's Bill Skarsgård. Or, there's Swedish thriller Shadow Island, Darkland sequel Darkland: The Return and psychological drama Copenhagen Does Not Exist for devotees of Nordic cinema's dark side. If that's your favourite way to get a Scandi film fix, you'll also be in your element with Scandi Screams, the fest's six-movie retrospective. That's where that focus on myths and eerie tales comes in, and of course Let the Right One In is on the lineup. So is Ari Aster's Midsommar, the Oscar-nominated Border, Mads Mikkelsen in Valhalla Rising, twisted Christmas flick Rare Exports and the fantasy-heavy Troll Hunter. Back to the event's slate of recent releases, comedy lovers can get excited about Iceland's dinner party-set Wild Game, Denmark's Fathers & Mothers and The Land of Short Sentences, the new film in The Grump franchise, and absurdist-leaning period piece Empire. Also on the lineup: Unruly, another 2023 Göteborg Film Festival award-winner, this time for Best Nordic Film; documentary The King, about Swedish King Carl XVI Gustaf; Munch, a dramatisation of the Norwegian artist's life; coming-of-age drama Norwegian Dream; One Day All This Will Be Yours, about a Swedish cartoonist and her siblings dividing up the family farmland; and polyamory love story Four Little Adults.
Why just eat one regular old sweet treat when you can feast your way through a glorious hybrid of two beloved desserts? That's long been Gelato Messina's unspoken motto. So, last year, the chain delivered a tastebud-tempting creation that took its delicious take on the trusty Viennetta and mixed it with its version of Golden Gaytimes. The result: the Have a Gay Old Messinetta tub, or the Gayinnetta as Messina has also dubbed it. And, in great news for your tastebuds this winter — because yes, you can still eat gelato when it's frosty outside — this limited-edition treat is making a comeback. If you've tried a scoop of the brand's popular Have a Gay Old Time flavour already but didn't tuck into any Gayinnetta last time around, just imagine that flavour turned into Viennetta. This dessert combines layers of caramel and milk gelato, then covers it with chocolate-covered biscuit crumbs, and finally tops it all with ripples of vanilla and caramel chantilly cream. And yes, the end result looks like the dessert you know and love, but in a caramel colour for a change. If you're keen to get yourself a Gayinnetta — which'll cost you $40 — they're available to preorder online on Monday, May 30, for pick up between Friday, June 3–Sunday, August 5 from all stores. And, because Messina's specials always prove popular, the brand is now staggering the on-sale times. Accordingly, folks in Queensland and the ACT are able to purchase at 9am, Victorians at 9.30am, and New South Wales customers split across three times depending on the store (with pies from Circular Quay, Surry Hills, Bondi, Randwick and Miranda on sale at 10am; Brighton Le Sands, Tramsheds, Parramatta and Darlinghurst at 10.30am; and Darling Square, Newtown, Rosebery and Penrith at 11am). Gelato Messina's Have a Gay Old Messinetta tubs will be available to order on Monday, May 30, for pick up between Friday, June 3–Sunday, August 5 from all stores. Head to the Messina website for further details.
Here's a fun cheese fact: scientists recently discovered that eating fistfuls of your favourite fromage can induce a euphoric effect (similar to that produced by taking morphine). And far be it from us to argue with the smart guys in white coats — we've been cheese addicts since day dot. Which is why we're giddy with excitement over this tasty morsel of news: a new cheese festival is taking over Newstead House on Sunday, October 1. From 10am to 5pm, enjoy an eye-watering selection of cheese, charcuterie and condiments at the stunning, heritage listed property. If cheese isn't your steeze, then there will be beer and wine masterclasses with which to while the afternoon away. Plus, there's a lineup of live music and entertainment to help keep you out of that (inevitable) cheese coma. Entry is free, with all of the above edibles available to purchase on the day.
It's not every day that a veteran of Andy Warhol's Factory comes to Brisbane. Or a contemporary of Patti Smith and Debbie Harry. Or New York's queen of the underground. Penny Arcade earns all those titles, and she's here to tell us about it for WTF 2016. Actually, her latest stand-up show touches upon the stupidity of the modern age, as intertwined with pop culture soundscapes. However, with a performer this passionate and satire this sharp, you won't get her exuberant insights without a peek at her dynamic and diverse past.
No big deal, but just a 90-minute drive from Brisbane is where you'll find the most extensive area of subtropical rainforest in the world. Okay, actually it's a huge deal. Springbrook National Park is just part of the massive Gondwana Rainforests of Australia, which extends down to Newcastle, and you'll want to spend at least a day there. To be honest, you'll want to spend an entire day at the stunning Natural Bridge alone, where you'll find a rock arch and waterfall over a creek that's unlike anything you've ever seen before. We could keep listing Springbrook's epic natural features, such as waterfalls, lookouts, swimming spots and walking trails, but that's the thing about National Parks, they just have so many. If Parks and Recreation's Leslie Knope was to visit, she'd fall in love instantly. Just remember to bring a hamper full of goodies for mid-hike snacking. Four of the park's picnic areas have barbecues, too. Image: Jason Clark / Flickr.
They're the chefs of tomorrow — and you can eat their meals today. Everyone loves jumping on a good thing before it blows up to epic proportions, and that's what Good Food Month's annual Young Chefs Lunch at ARIA is all about. The July 23 luncheon will showcase the culinary talent of the future and be a much finer midday meal than your average weekday grab-and-go. It's an oldie but a goodie, as far as GFM's regular events are concerned, but is 100 percent focused on young kitchen geniuses. The Urban Group's Josh Raine, Esquire's Callum Decosta, Gerard's Bistro's Alex Gregg and ARIA's own Jeong Insik will whip up a four-course meal for you to enjoy. On the menu, you can expect fried prawn heads, wagyu short rib and hibiscus cured cobia, along with a lemon myrtle, pineapple and macadamia curry combo that sounds strange yet particularly appetising. The lunch will cost you a pretty penny, but it is one of those dining experiences that will be oh so worth it.
Whether it's half a capsicum or a few slightly withered mushrooms, we're probably all guilty of throwing away perfectly good food. But collectively, food waste costs Australians up to $10 billion each year. To put that in perspective, about one third of what is produced ends up in landfill. Given 2 million people still rely on food relief, this is pretty baffling. Think.Eat.Save. will see Oz Harvest team up with the United Nations Environment Program to tackle the problem and advocate more sustainable solutions. On July 21, some of the nation's top chefs, politicians and celebrities will be donning aprons and dishing up a delicious free meal to thousands of members of the public. Made from surplus food, it should inspire you to switch on socially and get creative with those odds and ends at the back of the fridge. With an increasing global population and the effects of climate change expected to reduce agricultural yield by up to 5 percent in some areas, it's time to start thinking collectively and enhance efficiency. Check the website to find out where your city's free food hotspot will be.
UPDATE, January 16, 2023: The Menu is now streaming via Disney+, Google Play, YouTube Movies, iTunes and Prime Video. Whichever new Charlie and the Chocolate Factory adaptations hit screens in the future — beyond the already-slated Timothée Chalamet-starring origin story and Netflix's animated plans to whatever else might pop up — no one need cast Ralph Fiennes as Willy Wonka. The Menu has already done so, and fantastically, albeit not in name but in tour-guiding, court-holding, string-pulling and monologue-delivering spirit. In this slickly appetising culinary thriller, the ever-versatile No Time to Die, The King's Man and The Forgiven star plays Julian Slowik, the head chef at the most exclusive of exclusive restaurants: the fictional Hawthorne, which adorns its own private island, is pickier than a fussy eater about its guest list, and comes with a cult-esque crew of kitchen and hospitality staff. And at the eatery's latest sought-after sitting, Slowik takes his patrons through an unforgettable edible adventure, unfurling surprises with every meticulously selected, prepared, served and introduced degustation course. Getting "yes chef" bellowed his way by Slowik's underlings on command, Fiennes is a sinister delight in this vicious and delicious flick. With his character terrorising staff and customers alike, but similarly trapped with his employees in the hospo grind, Fiennes is also visibly having a ball in an entertainingly slippery role. He plays the part with the instant presence to make a room of well-paying patrons snap to attention just because he's there, and his facial expressions — his eyes in particular — are a masterclass in passive malevolence. There's a cruel streak in Slowik, as there is in the movie, but The Menu is a black, bleak, vengeful comedy as well. Director Mark Mylod (What's Your Number?) and writers Seth Reiss and Will Tracy (The Onion) know the best thing to eat, aka the rich, and turn their fine-dining factory into a savage, savvy and scathingly amusing satire about coveting $1250-a-head meals but letting the workers behind them slice, steam, stir and sweat through upscale kitchen drudgery. Babbling snootily about mouth-feel before even getting to Hawthorne by boat, Tyler (Nicholas Hoult, The Great) doesn't spare a passing thought for the restaurant's workers. A self-confessed foodie who can't abide by the eatery's no-photography rule for a single course, he's in fanboy heaven after finally scoring a booking — and doesn't his companion Margot (Anya Taylor-Joy, Amsterdam) know it. She's less enthused, and her lack of fawning over her surroundings, Slowik, each plate and the theatre of it all rankles her date. She's the least-excited diner of the evening's entire list, in fact, which also spans status-chasing finance bros (The Terminal List's Arturo Castro, High School Musical: The Musical: The Series' Mark St Cyr and The Now's Rob Yang), a cashed-up couple (Mass' Reed Birney and Julia's Judith Light) who attend regularly, an arrogant food critic (Janet McTeer, Ozark) and her editor (Paul Adelstein, The Greatest Beer Run Ever), and a movie star (John Leguizamo, Encanto) with his assistant (Aimee Carrero, Spirited). Mylod and Tracy share Succession on their recent resumes — the former directing 13 episodes, the latter writing two — which has them prepped for exactly this kind of dressing down; if you're going to boil down the one percent to size, there's no better cooking school. That background shows not just in the cleaver-sharp script or dedicated attention to glossy detail, but in the commitment to bite hard into a spate of targets. Where 2022 TV sensation The Bear carved up toxic kitchen life by displaying its chaos to a so-stressful-and-accurate-it-feels-like-you're-there degree, The Menu shreds and skewers by going after money and the performative culinary antics it can bring. That's part of what makes Fiennes' role so compelling, and his portrayal with it: the film's audience can see the pull that Slowik has over his staff and customers, and the screenplay spells out his professional misdeeds, but they also know what enables such behaviour. As breadless bread courses come Tyler, Margot and company's way, plus other just-as-precisely curated dishes — the feature is structured around Slowik's titular array — Charlie and the Chocolate Factory proves just one easy influence for The Menu. The Game, David Fincher's twisty quarter-century-old thriller, is another, with Slowik and his offsiders, warden-like restaurant manager Elsa (Hong Chau, Homecoming) included, pushing and prodding Hawthorne's latest intake unbeknownst to them. Yet another source of flavour springs from 1962 surrealist gem The Exterminating Angel, about guests at a lavish party who aren't permitted to leave. There's nothing subtle in The Menu's borrowings and nods, or about The Menu overall, but that doesn't make its class warfare-fuelled cinematic feast any less satisfying. In the hospitality realm, this cutting morsel is diligent in bringing together recognisable ingredients, too; satires, even delectably brutal ones, can't be vague. The Menu's audience can give some of their thanks to Ethan Tobman's (Pam & Tommy) production design and Lindsey Moran's (Animal Kingdom) art direction, providing Hawthorne with the style and sheen of Magnus Nilsson's shuttered Fäviken in Sweden, Ferran Adrià's El Bulli in Spain and René Redzepi's Danish drawcard Noma. From San Francisco's Atelier Crenn, Michelin-starred chef Dominique Crenn acted as the movie's chief technical consultant, overseeing dishes cooked by her IRL culinary partner Juan Contreras. Like The Bear, this vision of making and plating cuisine feels so authentic that you can imagine it appearing on Chef's Table — and, continuing the flick's credentials, that show's creator David Gelb is The Menu's second unit director. All the technical proficiency anyone can amass means little if the end result isn't mouthwatering, though, but that's a problem The Menu doesn't have. Also, an extravagant meal can wow the tastebuds but dull the joy if it doesn't feel like an experience, which isn't a struggle The Menu faces, either. As tense as a pressure cooker, as smooth as a squirt of the finest olive oil and bubbling with high-quality wares — Taylor-Joy and Chau join Fiennes among the cast's standouts — Mylod's film perfects a necessary balancing act as well. Amid silky lensing by cinematographer Peter Deming (Twin Peaks season three), rhythmic splicing by editor Christopher Tellefsen (The Many Saints of Newark) and a nerve-rattling score by composer Colin Stetson (Color Out of Space), The Menu knows the difference between the artistry that restaurants like Hawthorne champion and cultivate, and the woes, disparities and oppressions of the culinary world. One it still appreciates, the other it eviscerates, and battle between the two it scorches and sears, right down to the blunt but gratifying ending.
Back in August, to encourage Australians to roll up their sleeves, Hawke's Brewing Co handed out free beers. If you got the jab, you could put your hand up to get a slab. Yes, it was that simple. Now, the Marrickville craft brewer has gone big with its latest show of support for Australia's COVID-19 vaccination campaign. When you deck out the exterior of your property with a ten-metre-tall mural of Bob Hawke holding a schooner, wearing a mask and donning a "race you to the pub" t-shirt, the message is loud and clear. The towering likeness of the former Australian Prime Minister, and the brewery's namesake, was painted by renowned mural artist Scott Marsh — who has previously given Sydney a large-scale portrait of AFL footballer Adam Goodes, and whipped up others of everyone from George Michael to Danny Lim. For Hawke's, he's painted Bob Hawke in the past, too. This time, though, Hawke has had the vax and he's standing beneath the words "every jab gets us closer to the pub". Look at the PM's arm and you'll actually see a telltale bandaid. It features a QR code as well — and if you scan it with your phone, you'll be directed to a website that'll tell you where you can find your nearest COVID-19 vaccination clinic. Also, that beer glass Hawke is holding? It features percentages on the side, and Marsh is going to top it up as the nation gets closer to the 80-percent fully vaccinated mark, aka the threshold that'll see a heap of restrictions loosen. "It's been encouraging to see jabs on the rise. And now, with more vaccines becoming readily available, it's time to find another gear", said Hawke's co-founder Nathan Lennon. "The sooner we hit 80 percent, the sooner vulnerable businesses can get back on their feet, and the sooner we can all get back to living our lives — less lockdowns, more freedoms and yes, freshly poured beers at our favourite venues. Hopefully just in time for summer." Hawke's is also using the mural to help another good cause, with folks who interact with the artwork via the brewery's social media unlocking $10,000 in donations to hospitality relief fund Tip Jar. If you leave a comment on Instagram, tag a mate you'd love to have your first post-lockdown brew with, tag the venue you'd like to go to and use the #raceyoutothepub hashtag, you'll unlock a $1 donation. If you tag Hawke's as well, that'll go up to $2. Or, you can buy a "race you to the pub" t-shirt via the beer company's website, and $5 from your purchase will go to Tip Jar as well. You can see Hawke's Brewing Co's Bob Hawke mural at 8-12 Sydney Street, Marrickville. To interact with Hawke's Brewing Co's Bob Hawke mural on social media to help unlock donations for hospitality relief fund Tip Jar, head to the brewery's Instagram page.
As it continues in a push to produce more inclusive exercise gear, Lululemon has this week launched a new range of workout hijabs across selected international stores. The performance and lifestyle hijabs come in two styles available to buy now across New Zealand and Australia, with a third set to launch later this year. Each hijab is made using the buttery soft, sweat-wicking fabric Lululemon is famous for and offers a series of adjustable fits suited to the gym, a home workout or just those humid days of summer. The pin-free Performance Hijab ($55 AUD/$65 NZD) comes in both black and blue, and features an adjustable drawstring so it stays fitted into place while the user is working out — perfect for runners and HIIT lovers. The more traditional Scarf-Style Hijab ($49 AUD/$55 NZD) comes in soft jersey fabric and can be worn tied, twisted or tucked depending on preference. This one might be more suited to lower intensity styles, like pilates and walks. Lastly, the OTM Pull On Hijab ($49 AUD/$55 NZD) which is set to launch later this year, also has an over the head design and can be worn wrapped around the shoulders or tucked into the front of the shirt. Luluelmon certainly isn't the first activewear company to produce a hijab suited to exercise: Adidas has an option available to purchase online with its famous three stripe logo and Nike also has a monochromatic range. Under Armour also has an option with built-in headphone access. It would be great to see more brands follow suit, including locally made and designed options. The Lululemon performance hijab range launched Monday, June 6 and can be found now in select stores across Australia and New Zealand. For more information, head to the website.
By this point in 2020, you probably feel like you've spent most of your year at home — and either watching or cooking something while you've been there. Thanks to both country-wide stay-at-home requirements and city-specific lockdowns, that's how the past six months have played out. And, as a result, you likely feel as if you've seen every cooking show and made every recipe there is, too. Enter Raph's Mean Cuisine, the YouTube culinary series hosted by Melbourne restaurateur Raph Rashid, who the city's residents will know from Beatbox Kitchen, All Day Donuts and Juanita Peaches. In bite-sized episodes clocking in at under 12 minutes, the show adopts a very nostalgic approach to helping you up your kitchen game — because if there's one thing we're all experiencing this year, it's a yearning for a time before the pandemic. Specifically, Rashid is focusing on 80s cooking classics, with each instalment of his seven-part first season showcasing a dish that's bound to bring back memories. They're simple, easy recipes, too, which you'll be able to recreate at home without any trouble. As Rashid explains, "I just wanted to inspire people to cook in real kitchens, in sharehouses. And I just love cooking with friends. It's kinda what life's all about". Accordingly, he teams up with a different guest in each episode, and together they whip up the cuisine in the spotlight in Rashid's home kitchen. And, as well as recipes, every episode includes tips and hacks as well. On the menu: apricot chicken made with sommelier Matt Skinner, chow mein made with artist Esther Olsson's help and curried sausages with assistance from 1800-Lasagne's Joey Kellock. Six episodes are available at present, also covering Mars bar slice, chicken kievs and tacos, as cooked with florist Hattie Molloy, chef Mike Hoyle and artist Nadia Hernandez. Fancy trying your hand at a lamb roast as well? In the show's finale, that's on offer. Dropping at 6pm on Tuesday, September 8, it'll see Rashid join forces with pro skater Nick Boserio and Melbourne Food and Wine Festival Creative Director Pat Nourse to revive an 80s (and Sunday) staple. Check out Raph's Mean Cuisine's first episode, focusing on apricot chicken, below: https://www.youtube.com/watch?v=OVHsUwQAlhk The first six episodes of Raph's Mean Cuisine are available to view on YouTube, with the seventh — the season finale — dropping at 6pm on Tuesday, September 8.
When BŌS asks you to join its club, here's what it means: picking a dry-aged cut of meat from its cabinet, purchasing and reserving it, then tucking into it via the restaurant's 'Cleaver Club' whenever you're onsite. If that sounds like a swanky experience, it is, and that's what Brisbane's newest dining option has in store all round. You'd expect exactly that from a venue by Good Chef Bad Chef and Richo's Bar Snacks chef Adrian Richardson, plus ex-Cha Cha Char restaurateur Chris Higgins. Now open on Queen Street opposite Customs House, in Otto Ristorante's old Dexus Tower digs, the 120-seater BŌS gives the River City a luxe go-to with river views. Think: green hues and a plush fitout, as well as rounded edges, warm light, plenty of linen, and polished marble and brass, all courtesy of local interior design outfit Alkot Studio. Seating diners at tables and banquettes, or in the restaurant's al fresco seating, BŌS also clearly goes heavy on steak. It takes its name from the Latin word for beef, after all, which is indeed reflective of its menu. Here, you'll also find steak tartare, eight cuts from the grill included a bacon-wrapped fillet mignon, and two giant 1.2–1.5-kilogram options to share all on offer. That said, diners can also choose from oysters three ways, chargrilled Fremantle octopus, house-smoked salmon, sand crab lasagne, crackling-wrapped pork loin and duck breast with black garlic as part of BŌS' embrace of different types of proteins. The culinary theme, other than meat: modern Mediterranean, as also seen in the lineup of handmade small goods like salamis, bresaola and pastrami; the southern rock lobster with hand-cut mafaldine pasta; and the hand-stretched buffalo mozzarella. And, BŌS' sides range covers creamy mashed potatoes, wagyu-fat roasted spuds and a selection of other vegetables, while the dessert options include vanilla bean crème brûlée, Basque cheesecake, strawberries and cream, cheeses, ricotta doughnuts and dark chocolate brownies. As first announced in early November, BŌS sees Richardson and Higgins team up with lawyer Liam McMahon, with Richardson also taking cues from La Luna, his bistro in Carlton in Melbourne since 1998. The drinks list is just as much of a highlight as the meat-centric menu, thanks to restaurant manager and sommelier Romain Maunier (Montrachet, La Cache a Vin). BŌS' vino choices favour drops from high-end producers in Australia, France and Italy. If you prefer cocktails, the espresso martinis and affogatos fall into the 'liquid dessert' category; the full cocktail and spirits offerings fills seven pages; and there's a global gin selection, Bond-style martinis, share jugs of sangria and three kinds of spritzes. Come January 2023, BŌS will also boast a dedicated champagne and cocktail terrace bar — called The Aviary Terrace Bar — for summer sips and taking advantage of Brisbane's usually sultry weather, which'll pair full bottle service with city views.
If there's one consistent complaint amongst both filmgoers and critics these days, it's that movies are far too long. The data, however, does not support the case and, if anything, the opposite may be true. At an average of 2 hours 10 minutes, today's big budget offerings are no longer in length than the movies of the 1960s, and it was only during the 80s and 90s that run-times actually dropped back some (and, even then, only by around ten minutes). Instead, what may be at play is that while film lengths haven't changed, the art of storytelling has, resulting in a succession of threadbare plots no longer capable of filling the space provided. But then comes along a film like The Dark Tower, clocking in at a far more appealing 95 minutes. Given it's also based on the famed eight-book series by Stephen King – and built around a world as richly detailed, expansive and diverse as only a series of that length can create – you'd expect the inverse to be true, in that there'd just be too much story to fit in. As it happens, you'd be wrong. Somehow the creative forces behind this hotly-anticipated film have managed to take a sprawling, steam-punk-western-sci-fi-fantasy-adventure and sap it of almost all semblance of story. It's the cinematic version of being jack of all trades, master of none, jumping so regularly between worlds and times and characters that none has the opportunity to take hold. Just think how the Harry Potter universe – similarly grounded in the tale of an ordinary yet extraordinary young boy thrust into an unseen war in an unknown world – might have collapsed upon itself had it received the same treatment. The young boy in this instance is 11-year-old Jake (Tom Taylor), a troubled, earth-dwelling soul whose constant nightmarish visions turn out to be inklings of a nascent psychic power called 'the shine' (remember, this is a Stephen King story). Jake's abilities make him a critical component to the storied warriors on both sides of a centuries-old conflict waged between the light and the dark. On one side stands Roland Deschain (Idris Elba), a mystical gunslinger with a heavy-handed cowboy aesthetic. Against him stands the dark sorcerer Walter (Matthew McConaughey), whose dapper black ensemble makes him seem less wizard and more court-side seats at a Wizards game. Like Obi-Wan to Luke Skywalker, Roland takes Jake under his wing and begins to teach him both the ways of his psychic abilities and how to wield the ancient and more elegant weapons of a bygone age. Actually, yes…it's really like Star Wars. Together they must confront the forces of evil to protect the all important tower, lest theirs and many other worlds fall into ruin. Performance wise, The Dark Tower relies entirely upon Elba and McConaughey to keep its head above water. Neither are given a great deal of material worthy of their talents, but find enough soul in Roland and playful villainy in Walter to keep audiences engaged. Interestingly, for a story about a young boy immersed in strange and distant worlds, the film's best moments arise when the opposite occurs and Roland finds himself on earth. Regrettably, though, The Dark Tower focuses too much on Jake – an entirely dull and annoying character whose presence induces that familiar dragging feeling despite the film's shorter run time. As a consequence, The Dark Tower represents a sad conclusion to the decade-long attempt to see it made; a bland and lifeless recreation of a world that was anything but. The series may yet have life in it, but it'll take a monumental effort to bring it back from where it currently sits. https://www.youtube.com/watch?v=GjwfqXTebIY
Forget about decking the halls with boughs of holly. At A Very Vegan Christmas, you'll be piling up your plates with mounds of vegetables. Held at Windsor's The Green Edge, it's a three-course festive feast with a cruelty-free focus — aka the type of seasonal meal you won't find anywhere else. On the menu: no animal products, a gluten-free option (if you need it), gifts, Christmas-themed drinks and an all-round jolly and merry time. And tasty dishes shared with fellow herbivores, too. No one will be fighting over turkey legs here. This year, The Green Edge isn't just dedicating one evening to their festive deliciousness, but two, with sittings available at 5.30pm and 7.30pm on both December 22 and 23. Dinner costs $49 per person, and bring your own booze if you plan on doing some extra celebrating. Plus, if you want to spread the love to animals in need while you're there, a tree will be set up for donations to Deathrow Unchained Animal Rescue.
With all of its crushing, heartbreaking weight, grief is rarely far from cinema screens. Still, even in the most thoughtful and personal film, it's an emotion that can be difficult to convey. There's such an immense difference between watching characters going through the process of mourning and actually coping with intense sorrow yourself that, when a movie gets it wrong, it's noticeable. When a movie gets it right, however, it hits with the force of a sledgehammer. Foxtrot is one of those elusive pictures: inventive, immersive and absorbing from start to finish, and so accurate in its portrayal of loss that the story feels as though it has been ripped from reality. Although inspired by writer-director Samuel Maoz's own experience in a tangential way and confronting the very real situation in Israel, it's in fact a work of fiction. It's also an astonishing piece of cinema. When a knock at their Tel Aviv door interrupts an otherwise ordinary day, Michael (Lior Ashkenazi) and Dafna Feldmann (Sarah Adler) automatically expect the worst. With their son Jonathan (Yonaton Shiray) currently completing his compulsory military service, they've been dreading this moment — and when officials deliver the news that no parent ever wants to hear, their world falls apart. The Feldmanns' shock is only the beginning of Foxtrot's story, with Maoz exploring the situation across three separate parts. After first riding the wave of grief, the film jumps backwards to spend time with Jonathan as he conducts border patrols at a remote desert outpost, before returning to the family's apartment some time latter. True of this movie perhaps more than most, where Foxtrot heads is best discovered by watching. The film's title refers to a dance as well as a military codeword, and as appropriate as the latter obviously is, it's the former that proves an apt description of this fluid foray into devastating territory. Like the fleetest of footsteps, every move Maoz makes shapes the movie's overall rhythm and keeps viewers enthralled, with actual dance sequences, surreal interludes, and eye-catching animation all part of the show. They mightn't sound like standard ways to explore bureaucracy, mourning and the many difficulties of living in a state of perpetual conflict — or to make plain the film's clear anger about life in modern-day Israel — but, in an extraordinary feat of cinematic choreography, absolutely nothing is wasted or unnecessary. The same description applies to Foxtrot's trio of central performances, for what's a dance without skilled performers moving to a beat? When Michael is riddled with deep-seeded fury, Israeli veteran Ashkenazi makes every glare in the character's eyes as explosive as his actual outbursts. When Dafna is so overcome with sadness that she can barely even speak, French talent Adler expresses a world of hurt in even the slightest of gestures. And, while newcomer Shiray could've just played Jonathan as a regular youth in a tricky situation, his portrayal is every bit as affecting and textured as the work of his older co-stars. Painting a portrait of a young man grappling with forces beyond his control and troubles of his own, Shiray serves up a disarmingly naturalistic turn that's crucial to the movie's shattering impact. Indeed, Foxtrot asks the audience to stare at its main cast harder than most films; to feel their aching hearts, to dive into their despairing minds, and to experience their unshakeable sorrow. Maoz doesn't just call upon his actors to attract attention, though, but ensures that every meticulous shot reflects the characters' internal states. Through camera placement, composition, colouring and every other visual tool in the filmmaker's arsenal, the movie's images sear themselves into viewers' brains as well. While this is only Maoz's second picture, that's his modus operandi — intimacy, intricacy, heightened emotions, awe-inspiring images and topical issues, all intertwined. It has been nearly a decade since he drove a tank through the international cinema scene with his gripping debut Lebanon, which was set during the country's 1982 war and confined its view of the conflict to the inside of a tank. But this exceptional follow-up was well worth the wait. https://www.youtube.com/watch?v=K6o5WPcCgT0
It's all in the name. The sheer amount of food on offer at Eat Street Markets is astonishing. Hand over your $2.50 to get in, and then scuttle around the food stalls trying to weigh up the virtue of Pizzeria 4007's spicy salami pizza versus Japanese pizza, all while telling yourself it's totally fine to have churros for dinner because you're an adult and can make decisions for yourself. There are also plenty of retail stores and shops to keep you occupied, but let's be real, you're here for the treats. Come with a group of mates because there are plenty of food options to suit every want and need. Though the market can be crowded, the atmosphere is simply alive and buzzing, and the air filled with tempting aromas wafting from the stalls. The only real issue here is deciding where to begin, and maybe when to stop too.
When Toy Story hit cinema screens back in 1995, the Oscar-winning movie made history as the first entirely computer-generated feature-length film. The huge Pixar hit also made audiences everywhere fall hard for a bunch of loveable playthings, because you're never too old to find a friend wherever you need it. It's completely okay if you're feeling a little wistful and teary just thinking about it. Nine years after the last Toy Story movie, the animation studio is counting on that very sentiment — and that viewers everywhere just aren't ready to farewell these animated pals. While 2010's Toy Story 3 was pitched as the final flick in the series, this film franchise could reach to infinity and beyond. For now, it's just unveiling its next chapter. Releasing on the big screen in June, Toy Story 4 sees the return of Woody, Buzz Lightyear and the gang (and the return of Tom Hanks, Tim Allen and company as voice talent). Given that Andy, the protagonist from the original three flicks, has given away all of this toys, the group are now the proud property of Bonnie — and a new adventure awaits, as does a new homemade buddy called Forky (Tony Hale). Keegan-Michael Key, Jordan Peele, Christina Hendricks and none other than Keanu Reeves also join the voice cast — the latter playing a daredevil character called Duke Kaboom, and likely saying "whoa!" more than once. Check out the full trailer below, and prepare to get mighty nostalgic: https://www.youtube.com/watch?v=wmiIUN-7qhE Toy Story 4 releases in Australian cinemas on June 20, 2019.
If you're a science-fiction fan — and a lover of 2008's Cloverfield and its 2016 follow-up 10 Cloverfield Lane, specifically — then you might want to cancel your plans for tonight. With barely a few hours notice, Netflix is now streaming the third film in the franchise. Yes, today. No, that's not a typo. Previously called God Particle, it's now going by the name The Cloverfield Paradox, and it's now available worldwide (yes, even on Australian Netflix) via the streaming platform the moment the New England Patriots and the Philadelphia Eagles walk off the field. Haven't even heard of the flick, even though it stars Black Mirror's' Gugu Mbatha-Raw, The IT Crowd's Chris O'Dowd, Inglourious Basterds' Daniel Brühl, Selma's David Oyelowo, Crouching Tiger, Hidden Dragon's Zhang Ziyi and Aussie actress Elizabeth Debicki? That's okay — the first trailer for the movie only aired during the game, bearing the words "only on Netflix tonight" at the end. The news that it'd be available via Netflix rather than in cinemas is a recent development, too. Initially, it was set to release in theatres last year, before being moved to February 1 this year and then later this year. In fact, up until a few minutes ago, we still had the film in our review schedule for April. https://www.youtube.com/watch?v=8brYvhEg5Aw&feature=youtu.be In taking on a star-filled, decent-budget movie that was originally made to be viewed in cinemas, then releasing it for all the world to see with very little warning, Netflix is in uncharted territory. If this was another sci-fi saga, we'd say they're boldly going where no one has gone before. It's great news for film buffs eager to watch something when and where they want — and not be at the mercy of different release dates around the world — but it's also indicative of a new trend. Paramount, the studio originally behind The Cloverfield Paradox, did something similar with fellow sci-fi title Annihilation, the latest effort from Ex Machina's Alex Garland. As The Hollywood Reporter noted in December last year, it decided to find another avenue for the film after worrying it was "too intellectual" and "too complicated" for viewers. If you think that sounds a little patronising, you're not alone. The Atlantic ran through some of the worries behind the strategy, but, in short, it could be a sign of not-so-great things to come. At a time when cinemas are filled with endless Star Wars instalments and multiple superhero cinematic universes — not that there's anything wrong with that, either — movies like The Cloverfield Paradox and Annihilation are becoming increasingly rare. Not just sci-fi flicks, but anything that doesn't fit into an existing franchise, remake/reimagine/reboot a recognisable property or star The Rock (or, sometimes, all of the above). And while they're frequently the films that do extremely well at the box office, audiences do want to see other things too. We don't just want our cinematic candy — bright, loud, comfortable and familiar — but fare that's are different, intriguing, unusual and unexpected as well. Of course, the Cloverfield franchise has a history of surprise reveals, keeping things close to its chest and doing things differently. The first film, a found-footage monster effort, gave very little away before the movie hit cinemas. The second, which focused on Mary Elizabeth Winstead in a bunker with a possibly hostile John Goodman, only released its first trailer and confirmed that the movie even existed a month before it was released. Netflix's plan of attack with The Cloverfield Paradox makes that seem positively slow. But, when you're settling down to watch the flick from today onwards, here's hoping that you'll still be able to see movies like this on the big screen in the future. The Cloverfield Paradox is now streaming on Netflix here.
Queenslanders, get ready to flash your dazzling smiles in more places — including indoors. When the state hits the 80-percent single-vaccinated mark among eligible residents, mask rules will change, with covering your face no longer required inside in public spaces. Even better: that single-jab threshold is set to be hit either today, Tuesday, November 9, or tomorrow, Wednesday, November 10. A statement from Queensland Premier Annastacia Palaszczuk announcing the news noted that Queensland was at 79.6 percent late yesterday, Monday, November 8 — so yes, we really are that close. Wearing masks has been a regular part of life in Queensland throughout the pandemic, with the requirements changing with frequency in the state's southeast — since the end of June in particular, thanks to multiple brief lockdowns and several stages of restrictions. Then, in mid-October, the Premier revealed Queensland's roadmap towards reopening its borders, with various travel rules set to ease at the 70-percent and 80-percent double-vaccinated thresholds. Now, ditching masks indoors at the 80-percent single-vaxxed mark is kicking in first. As a result, in the coming days, masks will no longer be required inside at cafes, pubs, clubs, hairdressers, workplaces and schools, in a change from the current requirement to keep covering up indoors in public unless you're sitting down, entering or exiting hospitality venues, or eating or drinking. BREAKING: Masks will no longer be required when 80% of eligible Queenslanders have received at least one dose of a COVID-19 vaccine 😷😁 That means no masks indoors including schools, cafés, pubs, clubs, hairdressers and workplaces. pic.twitter.com/NM1MHQMn2g — Annastacia Palaszczuk (@AnnastaciaMP) November 8, 2021 That said, Australia still has a standing mask mandate for flights and airports, so you'll need to keep masking up there. Also, masks will remain strongly recommended if you're on public transport, and also if you can't socially distance — either indoors or outside. "This is another small step back towards life as normal," said the Premier. "The more of us who are vaccinated, the faster we return to life the way it used to be. That means life without the need to wear masks except at airports and on planes." For more information about the status of COVID-19 in Queensland, head to the QLD COVID-19 hub and the Queensland Health website.
This winter, you won't be chasing the sun and soaking in a European summer. But, thanks to eased domestic border restrictions and the trans-Tasman bubble, you can spend the chilliest part of the year surrounded by snow. Of course, whether you're planning to ski, snowboard or just build a snowman, you'll need to rug up — and whatever is currently in your wardrobe mightn't do. Each year — except 2020, for obvious reasons — Aldi hosts a big sale on snow gear, offering good quality gear at almost ridiculously low price points. It's back in 2021, so mark Saturday, May 22 in your diary. That's when you can head to your nearest Aldi supermarket to pick up everything from snow jackets and boots to face masks and beanies. Available at stores across the nation, and made to withstand extreme weather conditions, 2021's range of gear includes six different varieties of snow jackets, which start at $39.99 for something light and go up to $119.99 for windproof and waterproof numbers; four types of snow pants, including one style with adjustable leg and waist cuffs for $99.99; and ski fleece sets, featuring a hoodie and a pair of pants, for $19.99. Boots for both kids and adults start at $19.99, helmets will cost you between $19.99–$24.99, and you'll be spending between $4.99–$34.99 for masks, beanies, neck warmers, cabin socks, gloves and balaclavas. Kids clothing is part of the deal, too, if you'll be travelling with younger skiers — ranging from $19.99–$34.99. Once you're all kitted out, you're certain to stay toasty if you're making the trip to Perisher Valley, Thredbo, Falls Creek, Hotham or anywhere else local where snowy peaks are a feature. If you're hopping across the ditch instead, you'll find plenty of items to stop you getting frosty up at New Zealand's ski fields.
Australia loves music festivals all year round, but this sunny country flatout adores them in summer. So, plenty of them pop up. And, a whole heap of them arrive at the same time, as one year ends and the next begins. Also, they all usually have a swag of acts in common. Accordingly, if you're in Brisbane and you've been noticing the lineups for Beyond The Valley and Field Day elsewhere around the nation, and then you saw that Wildlands is returning, you might've put two and two together. That maths would've been correct in a number of cases, too — including RÜFÜS DU SOL, Central Cee and Peggy Gou. All three artists are headed to all Brisbane for Wildlands, alongside A$AP Ferg, The Jungle Giants and G Flip. [caption id="attachment_913128" align="alignnone" width="1920"] Fifth Legend via Wikimedia Commons.[/caption] Also on Wildlands' bill: Sub Focus doing his live show CIRCULAR SOUND, and everyone from Destroy Lonely, LUUDE, Jayda G, Romy and COBRAH to Ewan Mcvicar, Taylah Elaine, Conducta b2b Notion, dameeeela and STÜM. It's been four years since Brisbane first welcomed Wildlands to the city, with the teams behind Victoria's Beyond The Valley and Perth's Origin Fields fests giving the Sunshine State a big new summer party. Fast-forward to 2023, and the event returns again, heading to Brisbane Showgrounds on the biggest night there is for celebrations: New Year's Eve. WILDLANDS 2023–24 LINEUP: RÜFÜS DU SOL Central Cee Peggy Gou A$AP FERG The Jungle Giants G Flip Becca Hatch Forest Claudette Sub Focus presents CIRCULAR SOUND Destroy Lonely LUUDE Jayda G Romy Ewan McVicar Conducta b2b Notion Taylah Elaine STÜM COBRAH Boo Seeka Blanke dameeeela Miss Kaninna Anna Lunoe Wildlands images: Jordan Munn / Mitch Lowe.
12 days. 28 shows. 132 performances. That's what's on offer at this year's huge Bleach* Festival — the event's biggest lineup yet, and all the proof you need that there's more to the Gold Coast than the trio of sun, surf and sand. That said, when Bleach* returns from Wednesday, April 17 to Sunday, April 28, the fest's 2019 program doesn't forget the Goldie's biggest attraction. Instead of simply sunbathing and splashing around at the beach, attendees can watch a tidal-influenced contemporary dance piece on the shore thanks to Dancenorth's Tectonic or peer up at The Cleaners' performance installation, which takes place seven metres above the ground. At the festival's beachside hub at Burleigh, there'll also be live music, a pub choir session and a bar on the sand. Or, you can listen to the sounds of a hand-operated, multi-octave fire organ. It's free, and it really is driven by a furnace. With festivities taking place all across the coast, the list of shows goes on — whether you want to see a dark staging of Verdi's Requiem, enjoy the mesmerising sights of Limbo Unhinged, catch a grindhouse cabaret about this sprawling country of ours in Terror Australis, or watch street dancers face off in Between Tiny Cities. You can also go for a swim as part of Landing, where folks will take part in a continuous watery relay that covers the distance between Manus Island and Australia, or sit in your car for Throttle, aka a live-action drive-in. And the visual arts spread also delivers too, with an exhibition dedicated to surfers who make art (and surf culture in general) an obvious standout. Image: Scott Belzner
Neo. John Wick. Johnny Utah. Ted "Theodore" Logan. Across Keanu Reeves' almost four-decade acing career, the inimitable star has played many iconic parts — but only one thrust him to stardom as a time-travelling high-school slacker who had to round up famous figures from the past to pass his history report and save the future of humanity. As a result, the Bill & Ted movies have always held a soft spot in Keanu fans' hearts. Since first hitting screens in 1989 and 1991, the franchise has long been the subject of follow-up rumours, too. And now, just when the world particularly needs a reminder about being excellent to each other, the series is returning with its long-awaited third instalment. Nearly 30 years after Reeves last rocked out, grappled with fate and used a telephone box as a mode of transport in Bill & Ted's Bogus Journey, he's back doing the same thing. So is Alex Winter as Bill S. Preston, Esquire, Ted's best buddy, San Dimas High classmate and fellow founder of Wyld Stallyns, aka the garage band that'll change life as we know it and inspire a utopian society — at least according to Rufus (the late George Carlin) in film that started it all, Bill & Ted's Excellent Adventure. But as both the first teaser and the just-dropped full trailer for Bill & Ted Face the Music shows, that plan hasn't quite panned out as yet for the franchise's central duo. A quarter-century ago, they played a concert in front of the entire world. One month ago, they played a gig in California for 40 people — "most of whom where there for $2 taco night", they're told. After being reprimanded by the folks from the future for their lack of progress — when you're supposed to write the song that unites the globe and rescues reality, 25 years without any progress isn't going to go by unnoticed — Bill and Ted decide to head forward in time to a point when they've already penned the tune in question. Once they're there, they figure they can just steal the track from themselves. Plenty of hijinks await, naturally, including singing at weddings, playing air guitar with the Grim Reaper (William Sadler) and coming face to face with beefed-up versions of themselves. Oh, and then there's Ted's daughter Billie Logan (Bombshell's Brigette Lundy-Paine) and Bill's daughter Thea Preston (Ready or Not's Samara Weaving), who follow in their dads' footsteps and get in on all the time-travelling fun. If the first teaser was enough to make you exclaim "party on, dudes!", Keanu-style, then this longer trailer will evoke more of the same. Bill & Ted Face the Music is clearly taking more than a few queues from its predecessors, too — as well as needing to create a song in 78 minutes that'll save the world and bring harmony to the whole universe, Bill, Ted, Billie and Thea also enlist some well-known personalities from the past to help. As for what happens next, how often someone will say "whoa!", and what the rest of the cast — which includes Kid Cudi, Kristen Schaal, Anthony Carrigan, Erinn Hayes, Jayma Mays, Jillian Bell, Holland Taylor, Beck Bennett, Hal Landon Jr and Amy Stoch — gets up to, that'll all be revealed when the film hits Australian cinemas on Thursday, August 27. Until then, check out the full Bill & Ted Face the Music trailer below: https://www.youtube.com/watch?v=9gnTuWEKSXw&feature=youtu.be Bill & Ted Face the Music is scheduled to release in Australian cinemas on August 27.
Brisbanites, prepare to get hopelessly devoted — again — to Rydell High, summer lovers reuniting at school, leather jackets and Pink Ladies. Because giving Grease a prequel streaming series in 2023 wasn't enough, the 50s-set musical is returning to its original home, with Australia's brand-new multimillion-dollar theatre production of the five-decade-old show set to be the one that Brissie audiences want from December 2024. Grease is shaping up to be the River City's big electrifying summer hit, zipping into the Queensland capital's QPAC like lightening. This will be the fourth stop on the show's current Aussie tour, with the production playing Melbourne until mid-March, then heading to Sydney and Perth before arriving in Brisbane. Everyone knows Grease's plot by now, given how popular the 1978 movie adaptation of the musical rom-com still is, especially Down Under. It is about an Australian transfer student, after all, who falls in love with an American high schooler in California. After it sped from the stage to become a silver-screen classic, it spawned a 1982 Michelle Pfeiffer (Ant-Man and the Wasp: Quantumania)-starring sequel, too, then last year's Paramount+ show Grease: Rise of the Pink Ladies. Cast-wise, exactly who'll be slipping into John Travolta (Paradise City) and the late, great Olivia Newton-John's (The Very Excellent Mr Crocodile Dundee) leathers as Danny Zuko and Sandy Olsson in Brisbane hasn't been announced, and neither has the rest of the talent taking to the stage. Down south, Joseph Spanti (Friends! The Musical Parody, Cruel Intentions: The 90s Musical) and Annelise Hall (The Marvellous Elephant Man, Aspects of Love) have been leading the show, while Patti Newton has been playing Miss Lynch, Jay Laga'aia has been featuring as Vince Fontaine and Marcia Hines has been popping up as Teen Angel. An exact opening date in Brisbane also hasn't been revealed as yet. Whoever plays T-Birds and Pink Ladies in Brissie will obviously be belting out all the famous tunes — including the titular 'Grease' and fellow earworms 'Summer Nights', 'Sandy', 'Hopelessly Devoted to You', 'You're The One That I Want', 'Greased Lightnin' and 'Beauty School Dropout'. Check out the trailers for both Grease the film and the new Aussie musical below: GREASE 2024 AUSTRALIAN TOUR: Until Saturday, March 16, 2024 — Her Majesty's Theatre, Melbourne From Sunday, March 24, 2024 — Capitol Theatre, Sydney From Sunday, June 30, 2024 — Crown Theatre, Perth From December 2024 — QPAC, Brisbane Grease is currently touring Australia, and will arrive in Brisbane from December 2024. For more information or to sign up for the ticket waitlist, head to the musical's website. Images: Jeff Busby.
It's safe to say that Australia's COVID-19 vaccination rollout hasn't been all smooth sailing. Nor has it come without its (unfair) share of highly divided opinions. But, we can all agree that getting back to a world where we're all able to do the things we love would be very nice, indeed. For many, the arts industry is one of the biggest things we've sorely been missing in the last 18 months, and it's also one of the sectors that has been hit the hardest by the pandemic. This was the catalyst for the Melbourne Symphony Orchestra's compelling new ad campaign aimed at overcoming vaccine hesitancy in Australia. The Performance of a Lifetime was created with the help of a diverse cast of local artists and arts organisations in order to encourage audiences to get on board and get vaccinated when they're eligible. Its message? The sooner people play their part and get their jab — aka the performance of a lifetime — the sooner we can all get back to doing what we love. Best of all, it ditches any alarmist chat in favour of clear, straightforward messaging and a hopeful outlook. Musical comedy trio Tripod, who appeared in the ad, summarised the sentiment nicely in a media statement: "The sooner everyone mucks in and gets the jab, the sooner the arts community can get back to what we do best — providing a focal point for communities to gather, so we can all share our joy at being alive on this big, stupid planet." The two-minute-long ad features a rollcall of other familiar faces from Melbourne's music, theatre, dance and performance communities, including iconic entertainer Rhonda Burchmore OAM, composer and soprano Deborah Cheetham AO, and actress Virginia Gay. You'll also spy appearances from members of the Melbourne Symphony Orchestra, Melbourne Theatre Company, The Australian Ballet and national Indigenous opera company Short Black Opera. As comedian and songwriter Tim Minchin said in a statement, "Get vaccinated Aussies…as soon as you possibly can. Let's show this fucking bug the door." You can check out the full 'Performance of a Lifetime' ad video here on YouTube.
In the opening seconds of Ema, on a seemingly ordinary night in the Chilean port city of Valparaíso, a traffic light flickers with flames. The inky evening streets are silent and still otherwise, save for the film's eponymous protagonist (Mariana Di Girólamo, Much Ado About Nothing) — but Pablo Larraín (Jackie) well and truly starts his eighth feature as he intends to continue. Ema peers on from just a few paces away, her platinum blonde hair slicked behind a protective visor, a flamethrower strapped to her back and a nozzle in her hand. She's ready and eager to set her world alight. She's positively bursting to torch everything that's holding her back, in fact. Figuratively more than literally, she won't stop until she's watched the status quo burn. Anchoring a movie about trauma, power, family, restriction and freedom, she'll swiftly prove a blazing force, as well as an unforgettable central figure in one of Larraín's very best movies so far. Before 2021 comes to an end, the Chilean filmmaker will have given the world Spencer, a new biopic about Princess Diana featuring Kristen Stewart as the royal figure. Also on his hit list this year: Lisey's Story, a Julianne Moore-starring TV adaptation of a Stephen King book that has been scripted for the screen by the author himself. But with the release of the phenomenal piece of cinema that is Ema, he's already gifting viewers something exceptional — and something that'll be hard to top. A new project by Larraín is always cause for excitement, and this drama about a reggaeton dancer's crumbling marriage, personal and professional curiosities, and determined crusade to become a mother rewards that enthusiasm spectacularly. That it stands out amongst the director's already impressive resume is no small feat given he's the filmmaker behind stirring political drama No, exacting religious investigation The Club and poetic biopic Neruda, too. For the first time in his career, Larraín peers at life in his homeland today, rather than in the past — and, in the smouldering interrogation that results, he may as well be holding the flamethrower himself. Ema is filled with gleaming, dazzling and glowing sights like the image it first splashes onto the screen, with Larraín's now six-time cinematographer Sergio Armstrong (Tony Manero, Post Mortem) lensing an exquisite-looking picture. When its lead is first seen dancing for the company overseen by her choreographer partner Gastón (Gael García Bernal, Mozart in the Jungle), she stands before a giant blue fireball. It's a projection on a screen, but even just five minutes into the movie, it comes as no surprise when the eye-catching backdrop soon turns vibrant hues of red, orange and pink. Little else about Ema is that predictable, though, including its persistent penchant for glaring at its namesake as intently as it can. Faces and bodies fill the feature's frames, a comment that's true of most movies; however, in the probing patience it directs its protagonist's way, the intensity of its lingering shots that continually place her at the centre of the image and the kinetic fluidity of its dance sequences, this feature brilliantly, blisteringly and evocatively surveys and stares. There's much to take in, all sparked by Ema's struggles after an attempt at motherhood goes awry. With Gastón, she adopted a child — an older boy, rather than a baby — but something other than domestic bliss eventuated. Following a devastating incident and the just-as-stressful decision to relinquish the child back to the state's custody, Ema is scrambling to cope. But, in a script by Larraín, Guillermo Calderón (The Club, Neruda) and Alejandro Moreno, this isn't a situation she's simply willing to accept. Social services won't give her another chance, or even let her see the boy she still calls her son. Things with Gastón have changed irrevocably, too. To combat both, to rally against the oppressive rules and expectations thrust her way, and to reclaim her sense of self emotionally and in her career, Ema makes a series of bold decisions that reshape and reignite her existence. Unspooling its narrative like a mystery to be pieced together one enigmatic and melodramatic moment at a time, Ema is many things. Most potently, it's a portrait of a woman who is willing to make whatever move she needs to, both on the dance floor and in life in general, to rally against an unforgiving world, grasp her idea of true liberty and seize exactly what she wants. Impeccably cast as the unflinching dancer, and acting with internalised cool, control and command, the magnetic Di Girólamo exudes perseverance from her pores, as well as allure — two traits that couldn't be more crucial to Ema's plans. Whether she's showing off her best reggaeton moves against a vivid backdrop, staring pensively straight at the camera or being soaked in neon light, the film's star is hypnotic. Like the brightest of flames, she's impossible to look away from. One of Larraín's regular players, Bernal also leaves an imprint, perfecting a thorny role that ties into the film's interrogation of Chile's class and cultural divides. That said, so much of his performance involves responding to Di Girólamo that everything about Gastón would be completely different without her presence. Larraín has always had a knack for casting (see: each and every one of his movies listed above). His skill as both a visual- and emotion-driven filmmaker shines here as well, and that too isn't new. The experience of watching Ema almost feels like dancing through it alongside its titular figure, because that's how mesmerising each stunning image proves, especially when paired with an intoxicating soundtrack that sets the beat and tone all at once. Nothing about this movie fades quickly; not its ideas, inimitable protagonist, or rousing exploration of trauma, shock and their impact. Little feels like anything else in Larraín's filmography, and yet it's always still evident that he's behind the camera. Add it alongside Gaspar Noé's Climax in the list of dynamic dance movies that romp, swirl and gyrate to their own electrifying rhythm. That comparison can't paint the full picture, though, because a cinematic light this strong and scalding sparks in nobody's ashes. https://www.youtube.com/watch?v=COrqRKMZ2KM
As attempts to combat COVID-19 ramp up around the globe, venues and organisations everywhere are temporarily shutting down. New York's Metropolitan Opera is one of them; however, it's not letting its fans spend their self-isolating days without their beloved artform, announcing nightly live-streamed opera performances from its collection. From Monday, March 16 US time (Tuesday, March 17, Down Under), the NY institution is streaming a different opera each evening. Called Nightly Met Opera Streams, the program kicked off with high-profile shows such as Bizet's Carmen, Puccini's La Boheme, Verdi's Il Trovatore and La Traviata, Donizetti's La Fille du Régiment and Lucia di Lammermoor, and Tchaikovsky's Eugene Onegin — streaming each for 23 hours from 7.30pm New York time each night. Other highlights included, Nico Muhly's Marnie, Verdi's Aida and Borodin's Prince Igor. On Monday, May 4, Mozart's Le Nozze di Figaro is streaming, followed by Thomas's Hamlet on May 5, Saariaho's L'Amour de Loin on May 6 and Strauss's Capriccio, plus a double bill on Sunday, May 10 featuring Mascagni's Cavalleria Rusticana and Leoncavallo's Pagliacci. And, if you missed Puccini's celebrated La Boheme, you can catch it again on Friday, May 8. https://youtu.be/afhAqMeeQJk Even better — Nightly Met Opera Streams is free, so you can enjoy world-class opera recorded live (and streamed in HD) without either paying a cent or leaving your couch. Nightly Met Opera Streams commence on Tuesday, March 17, Australian and New Zealand time, with a new show live-streamed every day and available for 23 hours afterwards. For further details, visit the Met Opera website. Top image: Bengt Nyman via Wikimedia Commons. Updated May 5.
Sydney Sweeney is ready for her closeup. Playwright-turned-filmmaker Tina Satter obliges. A household name of late due to her exceptional work in both Euphoria and The White Lotus, Sweeney has earned the camera's attention for over a decade; however, she's never been peered at with the unflinching intensity of Satter's debut feature Reality. For much of this short, sharp and stunning docudrama, the film's star lingers within the frame. Plenty of the movie's 83-minute running time devotes its focus to her face, staring intimately and scrutinising what it sees. Within Reality's stranger-than-fiction narrative, that imagery spies a US Air Force veteran and National Security Agency translator in her mid-twenties, on what she thought was an ordinary Saturday. It's June 3, 2017, with the picture's protagonist returning from buying groceries to find FBI agents awaiting at her rented Augusta, Georgia home, then accusing her of "the possible mishandling of classified information". Reality spots a woman facing grave charges, a suspect under interrogation and a whistleblower whose fate is already known to the world. It provides a thriller of a procedural with agents, questions, allegations and arrests; an informer saga that cuts to the heart of 21st-century American politics, and its specific chaos since 2016; and an impossible-to-shake tragedy about how authority savagely responds to being held to account. Bringing her stage production Is This a Room: Reality Winner Verbatim Transcription to the screen after it wowed off-Broadway and then Broadway, Satter dedicates Reality's bulk to that one day and those anxious minutes, unfurling in close to real time — but, pivotally, it kicks off three weeks earlier with its namesake at work while Fox News plays around her office. Why would someone leak to the media a restricted NSA report about Russian interference in getting Donald Trump elected? Before it recreates the words genuinely spoken between its eponymous figure and law enforcement, Reality sees the answer as well. Reality Winner boasted a moniker that no one would forget long before the events that she'd make international headlines for, and have inspired a play and now a film. Still, she couldn't have suspected, nor her father who gave it to her, that so many folks would learn who she was and what she's called — or why they'd do so. Satter's movie is in dialogue with its subject's distinctive name. It surveys Reality and reality by using reality, and it observes no winners. There's also no escaping the fact that reality is both precarious and subjective when it comes to Winner's deeds and others like them: Trump has been indicted for mishandling classified documents himself, with boxes of them found in his Mar-a-Lago home, but the likelihood of his penalty eclipsing the longest-ever sentence given by a US federal court for releasing government information is miniscule. Everything is average, standard and nondescript when Winner (Sweeney, also a Once Upon a Time in Hollywood and The Handmaid's Tale alum) pulls up outside of her house to discover an audience. Satter scripts with James Paul Dallas (Halston's archival producer), enlisting Paul Yee (Joy Ride) as Reality's cinematographer, plus Jennifer Vecchiarello (Thor: Love and Thunder) and Ron Dulin (Resurrection) as editors — and, before agents Garrick (Josh Hamilton, The Walking Dead) and Taylor (Marchánt Davis, A Journal for Jordan) start talking, the scene that the film spins, sees and splices couldn't appear more commonplace. The daytime sunlight streaming down doesn't brighten. Winner's brick abode could sit on any block almost anywhere. She's sans makeup, wearing a white shirt and cutoffs that she wouldn't have thought twice about. And, once the chatting begins, peppered as it is with routine small talk, it too is mundane. Is Winner thirsty? What's the best way to handle her rescue dog? Will her cat bolt if the door is left open? Is there somewhere private, away from the other agents executing search warrants for her house, car and phone, where the trio can head to? These details comprise much of the early conversation, as laced with ums, aahs and awkward pauses. With no disrespect to the best screenwriters — the best at procedurals, too — every word and gap in Reality could've only sprung from real life. And there are purposeful holes, thanks to part of the chat remaining redacted in the publicly released transcripts that Satter works with. Her inventive and perceptive solution: glitching in and out, having the people affected disappear and reappear, and reminding audiences oh-so-savvily that every single take on reality is always just that, a take, and should always be inspected and unpacked. With talk echoing — especially in a room that Winner doesn't usually use, describes as "weird" and "creepy", and looks as close as a space in someone's home can to a prison cell — Reality steps through why the agents are there, what they're chasing, their suspect's tale and her reaction. As crucial as words are to the film, and the exact words uttered off-screen at that, they only tell part of the story. They explain that Winner can speak Farsi, Pashto and Dari; aspires to be deployed to Afghanistan; trains in CrossFit and teaches yoga; and owns guns, including a pink AR-15. They establish Garrick as playing the nice guy among the FBI cohort, and Taylor as affable but sterner. They eventually lay out what Winner is accused of doing, and how. Satter witnesses what isn't spoken, though, such as the rigid physicality that sits in stark contrast to the agents' warmer tone — and the displays of force that are everywhere, simply because the FBI is everywhere, when Winner is permitted to squeeze into her kitchen to put her perishables away. As every meticulously calculated stylistic choice ramps up the stress, Nathan Micay's (Industry) jittery score among them — and as Sweeney delivers a phenomenal masterclass in microexpressions that's a career-best performance to-date — Reality spots a gut-punch of an inescapable truth as well. We hope, think and are led to believe, aided by movies and TV shows, that significant instances and incidents feel significant; and yet big moments aren't actually always big moments, even when whistleblowing, revealing state secrets and the legal response are involved. Indeed, the movie's ripped-from-reality look and dialogue, plus its central naturalistic performance, are all calibrated to reinforce that sometimes life changes drastically when nothing huge initially seems to. Winner's existence was forever altered by the scenes that Satter displays, but Reality knows that no one was shouting and screaming that that was the case as it occurred. More than that, and with gripping chills and dripping dread, it puts viewers in Winner's shoes as her world turns — and ours — but the world keeps turning.
When Bong Joon-ho makes a new movie, the world takes notice. It has never paid quite as much attention as it has to Parasite, though. Since premiering at the 2019 Cannes Film Festival, the twisty Korean thriller has picked up the Palme d'Or, the Sydney Film Festival Prize, a Golden Globe, plenty more awards and nominations, rave reviews and an enormous cult following. And rightly so. It's best movie of the past year — a call we don't make lightly. It seems that no one can get enough of this dark and devious film, its class war between rich and struggling families, and the scathing mayhem that follows. Case in point: more than six months after the film first released in Australian cinemas, it's still showing on big screens around the country. And in the near future, Parasite will be flickering across small screens, too — not just via DVD or streaming, but adapted into a new limited TV series for HBO. As revealed by The Hollywood Reporter, the US network is set to join forces with Bong to turn Parasite into a television show, winning the rights over Netflix. Bong will adapt and executive produce alongside Adam McKay — the director of Anchorman: The Legend of Ron Burgundy, its sequel and a heap of other Will Ferrell-starring comedies, who then made the jump to more political and topical fare with The Big Short, Vice and TV's Golden Globe-winning Succession. The final deal on HBO's iteration of Parasite hasn't been done as yet, so there's no word on whether it'll be an English-language remake or a Korean-language follow-up to the film. Casting and timing haven't been revealed either. Parasite marks the second of Bong's stellar flicks to earn a small-screen version, with an American TV show-based Snowpiercer due to hit screens this year — although Bong himself isn't involved with that adaptation. Need a reminder of Parasite's greatness? Check out the film's trailer below or go see it in cinemas. https://www.youtube.com/watch?v=SEUXfv87Wpk Via The Hollywood Reporter.
The chef behind of Brisbane's favourite Japanese eateries is opening an izakaya at one of the River City's top new events for 2023. The figure: Taro Akimoto from Taro's Ramen, one of Brissie's best spots to get slurping. The new venture: a pop-up at Brisbane Powerhouse. And the event: Night Feast, the neon-lit night food market that returns for a month of delicious dishes in October. Akimoto is joining forces with Sapporo for Sapporo Izakaya by Taro, one of the new additions to Night Feast's second season from Wednesday, October 4–Sunday, October 29. The chef responsible for Taro's Ramen's four outposts will be in charge of the menu, while Sapporo ambassador and beer sensei Shinichiro Shimo will pair his dishes with brews, all in a space that's been designed and crafted to bring a classic Japanese restaurant experience to New Farm's riverside. That's just one of Night Feast's upcoming October highlights. Coming back for season two in 2023 was always in the works, with the event announced in 2022 as a twice-yearly affair. It debuted in March to great success — more than 125,000 people ate and drank their way through the night market's first-ever season, with 67,258 wontons, 28,352 skewers and 6306 oysters devoured in the process — and now aims to beat that with its winning blend of food, booze and art. One key difference, of course, is celebrating spring instead of autumn. Eateries Donna Chang, Gerard's Bistro, E'cco Bistro, Dalton Catering, Saison Salumi, LouisB, Lek's Thai, Mary Mae's, Hoy Pinoy, Wonderbao, Anchelee and Bugsters don't care about the change of season, locking in their second round at Night Feast after also serving up bites in March. This time, they'll be joined on the food lineup by Essa, Nota, Southside, Bar Alto, The Green and Nosferatu Gin (who'll also be doing dessert), as well as MAYA and La Mano. Exactly what each eatery will be dishing up hasn't been revealed as yet, but duck, waffles and birria tacos are being teased, along with a mezze spread. Communal dining is one of Night Feast's big focuses — including in the returning garden lounge — plus having the restaurants taking part in Night Feast to dish up the absolute top thing on their menus. In March, that meant tucking into every spot's signature options, just by the river in New Farm. Entertainment-wise, attendees can look forward to For Whom the Bell Tolls, Bridie Hooper's mix of circus and the sounds of, yes, a bell; a wandering serenade by The Huxleys, who are also on Brisbane Powerhouse's LGBTQIA+ MELT Festival's lineup for spring; and Multitudes by Tin and Ed, aka ten lit-up giants that'll tower over the precinct (and, thematically, offer a fitting successor to Amanda Parer's Fantastic Planet in March). Live tunes will provide by a soundtrack by a roster of talents that includes Hol Hibbo, Aunty Stan, Benny Chiu, Dameeeela, Josh Armour, Neesha Alexander and more — and QUIVR DJs will bring the beats. Images: Pixel Frame / Markus Ravik / Lachlan Douglas.
Every year, the folks at Bacchus Brewing Co. brew up something special for Christmas. That'd be their choc cherry stout Bo Jangles, aka the ideal beverage for feeling festive. 'Tis the season for drinking and feeling merry, and all that. And each year, the folks at The Scratch serve up this Yuletide blend — this year is no different. In fact, they'll have 100 litres flowing through their taps, with the concoction in question featuring quite the mix of six- and 18-month barrel-aged elements, as well as raspberry and spiced rum flavours. The word you're looking for is yum.
Eating gelato is great, but what if you learnt how to make your own? Every Monday night from 5.30-7pm the new La Macelleria Gelateria in Newstead hosts workshops in the Art of Gelato with a Bolognese man. The two owners, both named Matteo, both from Bologna, have the gelato magic inside them that will transport you to the Italian summer of '12. Roll up your sleeves, listen in and become your own gelato-maestro. Best of all, you get to take home the fruits of your labour — gelato for the week!
UPDATE, November 25, 2021: Due to the weather forecast, BrisStyle Twilight Christmas Market has been postponed from Saturday, November 27 to Friday, December 3. This article has been updated to reflect that change. You might have thought King George Square looked pretty fine during the day and maybe a tad finer at night, but it's at twilight City Hall really shows off its colours. And what better backdrop when you're shopping the evening away — especially when the King George is filled with some of Brisbane's best designers and makers, and you're looking for Christmas presents, The festive offshoot of the regular Brisbane Twilight Market, this event will show off a sizeable array of stalls — more than 80, in fact — all staffed by some pretty nifty and talented local artists. Expect an eclectic selection of items, so prepare to browse and buy. You'll be perusing everything from handmade clothing, accessories and leather goods to paper goods, homewares, art and ceramics (and more). And seasonal gifts, obviously. This market is all about sound, smell and sales — so live music will provide a soundtrack to the evening, and expect to be hit with that spring flowerbed smell that always lingers when there's a soap stall around. Food trucks are also on the agenda, with the market running from 4–9pm on Friday, December 3. So take along some cash and stock up on all things crafty. [caption id="attachment_666947" align="aligncenter" width="1920"] BrisStyle[/caption] Top image: Brisbane City Council.
If you like cake and you live in Brisbane, you likely know Alphabet Cafe. Its range of treats — doughnuts, cookies, muffins, slices, brownies and cherry cheesecake brioche all included — first popped up in Brissie's best cafes for years, and then started tempting tastebuds to the brand's very own spot on West End's Boundary Street, too. That's all well and tasty, but now you've got another reason to tuck into these delicious desserts and pastries: to help a worthy cause. Joining the list of businesses and events throwing some love towards folks affected by Brissie's floods, Alphabet Cafe is hosting a Farmer Flood Relief Bake Sale on Friday, March 11, kicking off at 7am. We all know how bake sales work, so you'll be buying and eating up a cake, sourdough and pastry-filled storm to help Loop Growers in Samford and Neighbourhood Growers in Oxley. The two Brissie urban farms have been flooded in the catastrophic weather, and Alphabet is directing all proceeds from the sale to them. Also lending their support: Coffee Supreme, Grown, Lucky Duck, Mongrel, Pasta Club, Sprout and Vvaldmeer. That's your sweet-treat brekkie, morning tea or lunch taken care of for one day — all while doing an immensely great deed. Images: Savannah van der Niet.
We download movies onto tiny laptop screens and watch them hunched over in our beds, spilling Red Bull on the keyboard when Ryan Gosling says sexy things like 'Hey' and switching over to check Gmail when he's not onscreen. It's sad, it's solitary, and the suspension of disbelief is, at most, fleeting. What happened to the glory days of yore, when moviegoing was an event? When you were truly transported? Sensing the aching pit in your soul, on December 11-14, World Movies is bringing its Secret Cinema event to a mystery location in Brisbane, in association with the inaugural Brisbane Asia Pacific Film Festival. You don't know what film you'll be seeing, and the location is revealed by text the day of the screening. Secret Cinema pushes a traditional medium into a new level of experiential entertainment. Live performance as well as themed food and drinks tie in with the world of the film. Examples of performative screenings from overseas have included London's 2010 version which re-created LA's Chinatown in 2019 for Bladerunner (two actors dangled from the ceiling during the climactic 'tears in rain' scene) and a 1950s Algerian casbah for The Battle of Algiers. In Sydney, Secret Cinema moviegoers were conveyed by ferry to Goat Island and subjected to a series of 'survival games' before seeing Japan's cult classic Battle Royale, forerunner of The Hunger Games. That event sold out in 15 minutes and drew a crowd of hundreds. Even bigger things were planned for Sydney's most recent event, though it ultimately had to be cancelled after issues with the venue, meaning this Brisbane incarnation marks a bit of a comeback for the WMSC team. What type of venue theming will be going on in Brisbane? This one's a classic: Roaring Twenties. Go back to the decadent and dramatic days of the pre-stock market crash 1920s. Tickets to World Movies Secret Cinema are $55 from qtix, but thanks to World Movies, we have one double pass to give away. To be in the running, subscribe to the Concrete Playground newsletter (if you haven't already), then email us with your name and address at win.brisbane@concreteplayground.com.au.
After announcing its return back in June, the resurrected Brisbane International Film festival has revealed its 2017 program, the fest's first in four years. Filling the major film festival space left by the now-shuttered Brisbane Asia Pacific Film Festival — which initially replaced BIFF back in 2014 — the revived BIFF will bring 51 features, nine shorts and three other compilation screenings to Palace Cinemas' two Brisbane sites between August 17 and September 3. The returning 16-day event, funded by Screen Queensland and run by Palace, kicks off its new beginning with the biggest film on the international festival circuit so far this year: Cannes Film Festival Palme d'Or winner The Square. And while the fest starts global, it ends local. Aussie documentary The Go-Betweens: Right Here closes out the program with a loving tribute to a Brissie band so iconic, the city named a bridge after them. In between, cinephiles can expect two world premieres, one international premiere, six Australian premieres and a range of noteworthy picks from other international and local festivals. Broken Ghost, the latest film by Aussie Summer Coda director Richard Gray, will make its worldwide debut, as will Australian-made, French and Cambodian-shot documentary Life Is a Very Strange Thing. In the Aussie premiere camp sits three titles from BIFF's four-feature Baltic spotlight, plus Kazakh film Returnee, Vietnam's The Way Station and doco The Last Dali Lama? Elsewhere, viewers can work through Russian director Andrey Zvyagintsev's body of work, including this year's Cannes jury prize winner Loveless. Also on the bill are showcase sessions of highly anticipated titles, such Berlinale and Sydney Film Festival winner On Body and Soul, the late Abbas Kiarostami's final effort 24 Frames and legendary director Agnès Varda's Faces Places. Helping round out the 2017 selection are the high-profile likes of Ryan Gosling and Michael Fassbender in the partly SXSW-set Song to Song, adorable claymation My Life as a Zucchini, rap drama Patti Cake$ starring Australian Danielle Macdonald, British farce The Party and Todd Haynes' Wonderstruck, to name a few. Throw in Aussie efforts Ali's Wedding, Australia Day and That's Not Me, gorgeous Studio Ghibli-like Japanese animation In This Corner of the World, Takashi Miike's 100th film Blade of the Immortal, and New Zealand documentary My Year With Helen — and yep, BIFF is back.
When decorations surround you everywhere you look, carols (and Mariah Carey and Wham!) are the standard soundtrack no matter where you happen to be and tinsel keeps glittering in your line of sight, festive season can feel like an all-encompassing maze of merriment. Head to South Bank from mid-December 2024 and you'll experience that sensation at its most literal. In an all-ages-friendly addition to Brisbane CBD's usual end-of-year shenanigans, the riverside precinct is hosting a Christmas maze, where you'll get wandering and get into the spirit of the season all at once. It's beginning to look a lot like Christmas around town already, but that'll ramp up from Friday, November 22 through till the end of January 2025. Brisbane City's festive fun for this year also features a free light and sound experience at Queen's Wharf, markets, an openair cinema by the water, carols, parades, tiny doors and more, mixing new ways to get jolly with old favourites. With the maze, a variety of experiences will be on offer right up until Friday, January 31, 2025 in South Bank Piazza, changing depending on whether you have kids in tow or are excited about kidulting. While that's a fresh addition to the lineup of Christmas events, South Bank will also welcome back its popular openair Christmas cinema from Saturday, December 14–Sunday, December 22, and its Christmas markets on Little Stanley Street from Friday, December 13–Sunday, December 22. Across Saturday, December 14–Sunday, December 22, the nightly parade will mosey down Little Stanley Street, too, and carols will be sung on South Bank's Riverside Green. Festive-themed performers are set to do the rounds of the precinct as well, photos will be available with Santa and Mrs Claus — by the beach — and there'll also be Christmas workshops for both kids and adults (think: making cookies, wreaths and decorations, for starters). This year's Christmas in Brisbane celebrations will kick off at Roma Street Parkland, however, with the return of The Enchanted Garden with its lights, lasers and soundscape. Before November is out, King George Square's Christmas tree will also be lit. Then, once December kicks in, it's time for the Lord Mayor's Christmas Carols at Riverstage — with a satellite event at Victoria Park / Barrambin — and lights decking out City Hall. The BrisStyle twilight Christmas market is also back. Queen Street Mall's portion of the lineup includes pop-up performances, Uptown's windows will get a makeover for the occasion and, as for the tiny doors, they're all handmade and will be scattered throughout the city from Sunday, December 1–Tuesday, December 24, ready for you to find and marvel at their cuteness. For its first year in existence, Queen's Wharf's contribution to the joy comes courtesy of Sono Lumo — Festive Nights of Sound & Light. Expect an audiovisual show to dazzle the city at dusk across ten nights between Wednesday, December 4–Sunday, December 15 (except for Monday, December 9–Tuesday, December 10), accompanied by DJs and live performances.
Stretch out your after-work stresses, or sip them away? It's an age-old problem, and one hardly helped by the fact that both make you feel great. Doing one and then the other is certainly a solution — but doing both at the same time is better. Behold: beer yoga. Yes, The Flying Cock is getting in on the blissful boozing trend (or, finding a way to make drinking even more delightful, you could argue). Whether you're a yoga fanatic who also likes a tipple or vice versa, you won't find a better way to indulge your two loves, or clear your mind. Tickets cost $20 — and yes, that includes a brew, of course, as well as a mat if you need one. Booking ahead is recommended, partially because it's bound to be popular, and partially because your future self will thank you. Sure, you mightn't think you need this at the beginning of the week, but as it comes to a close, you know you will.
When a composer pens music, it's the tune that they want the world to enjoy, not the marks on a page scribbling it into existence. When a conductor oversees an orchestra, the performance echoing rather than their own with baton in hand and arms waving is their gift. In Maestro, Bradley Cooper (Guardians of the Galaxy Vol. 3) is seen as Leonard Bernstein in both modes. His portrayal, especially in an unbroken take as the American great conducts Mahler's Resurrection Symphony at England's Ely Cathedral in 1973, is so richly textured and deeply complex that it's the career-best kind of astonishing. But Cooper as this movie's helmer, co-writer and one of its producers wants Maestro's audience to revel in the end result, not just in his exceptional on-screen contribution to bringing this virtuoso feature to fruition. And if he wants the love showered anyone's way first, it's towards Carey Mulligan (Saltburn), who the second-time director (and second-time director of a music-fuelled film, since his debut behind the lens was A Star Is Born) gives top billing for stepping so astoundingly into Felicia Montealegre Bernstein's shoes. Symphonies should erupt for Mulligan's awards-worthy turn, which deserves to claim her third Oscar nomination (after 2010's for An Education and 2021's for Promising Young Woman) at a minimum. As the Costa Rican actor — a talent herself, of the stage and small screen — hers is similarly a never-better performance. It's a chalk-and-cheese partner to Cooper's, too; his is all about playing someone whose entire reason for earning a biopic is his effort and what it wrought, while she makes everything from the screwball-esque early sparks of connection to soul-aching pain feel natural. When she says "you don't even know how much you need me, do you?", the words melt, and the moment with it. When she beams by Cooper's side during a TV interview about his achievements, the practicalities of spending your life with someone have rarely felt as giddying. When Maestro's main pair quarrel on Thanksgiving, away from their family and as the parade trots along outside the window, each word is a cut. Every scene with Mulligan lays its emotions bare so thoroughly, yet never forcefully or showily, that she virtually spirits the audience into Felicia's footwear with her. No matter who else receives Leonard's affections — clarinettist David Oppenheimer (Matt Bomer, Magic Mike's Last Dance) is one of the first — Maestro sees its story as a duet between him and Felicia, its key stars singing their parts accordingly. The crooning isn't literal, but the marital melodrama double act is perfectly attuned. The Bernsteins were harmonious in their love for each other, yet often in different ditties, bands and genres otherwise, which Cooper and Mulligan ensure hums as the baseline across the entire movie. Their relationship is as much the narrative's throughline as music, plus the clashing constantly pulsing inside Leonard. Indeed, the conflicts and contradictions that comprise a man who needs to be introverted to compose but extroverted to conduct — who can light up a room and descend into his own dark recesses — are all the more palpable and resonant because they're reflected through Felicia. Maestro examines not merely what it meant to be one Bernstein, but two. Cooper's screenplay with Spotlight, The Post and First Man's Josh Singer isn't a strict birth-to-death tale, ignoring Leonard's childhood. It starts with another television chat as an elderly man at the piano, smoking and swooning about Felicia, before zipping back to when perhaps his existence truly began: November 14, 1943. On that day, the then-assistant conductor discovered he'd be guiding the New York Philharmonic for the first time that evening. Charted from the call that got the 25-year-old Leonard out of bed, and initially framed against a black rectangle with a white border — the light endeavouring to sneak in from behind a blind — this sequence, the film's second, says everything about Cooper's approach. The elated Leonard runs from his room to Carnegie Hall's balcony as if only a corridor links them, a technique to be repeated aesthetically and emotionally. Maestro skips from beat to beat like there's no pause in-between, and like it can't get from instant to instant fast enough. Some biopics serve up a slice of life as a symbol for the whole, such as fellow 2023–24 awards contender Ferrari. Maestro hands around several plates, each dishing up a vignette that helps paint its overall portrait. As it leaps across five decades, it flits from heady thrills, buzzing parties and professional heights to complicated choices, heartbreak and loss. So swirls Leonard and Felicia meeting at his sister Shirley's (Sarah Silverman, The Bob's Burgers Movie) cocktail soiree, him marvelling at her acting, her questioning advice given to him to change his name and attitude, wedded bliss, domestic disharmony, children (Asteroid City's Maya Hawke plays their eldest Jamie), affairs, rumours, arguments, illness, hard conversations and tougher realisations. So dances a sweepingly dynamic feature that takes the concept of basing its style on its subject, and using that style to do its subject's intricacies justice, to its core. With its jumps from black and white to colour as well, and between the 1.33:1 and 1.85:1 aspect rations — A Star Is Born returnee Matthew Libatique's 35-millimetre-shot cinematography is ravishing — Cooper's handling of Maestro in look, format, air and atmosphere isn't new. But it couldn't feel more fitting for someone who put his all into track after track, composition after composition and conducting performance after conducting performance, each of which said something about Leonard. Cooper lets the maestro's music do ample talking, his soundtrack filled with it. Cue the symphonic suite from On the Waterfront; pieces from Fancy Free, On the Town, Trouble in Tahiti and Mass; and the prologue to West Side Story. Each is deployed precisely and powerfully, whether in turning courtship into a fantasy ballet that also demonstrates the push and pull of Leonard's bisexuality, or getting tension dancing when romantic discontent can only lead to confrontation. That said, some of the movie's best music moments are set to other tunes, and not just Mozart and Mahler's works that Leonard led orchestras to perform. (Yes, this is 2023's second film Down Under to unpack a baton-wielding figure who adores the Austro-Bohemian icon, after Tár; that picture's fictional Lydia was a Bernstein protégée, it advised.) Shirley Ellis' 'The Clapping Song' bounces with bittersweetness, with the inherently upbeat track arriving when there's little to be cheerful about in the Bernstein household except appreciating what time you can with those you cherish. With Tears for Fears' 'Shout' late in the piece, catharsis and release thumps as heavily as the song itself. Donning his filmmaker's cap, Cooper arranges every inch of Maestro this meticulously, and with a monumentally moving and meaningful viewing experience in mind. Martin Scorsese (Killers of the Flower Moon) and Steven Spielberg (The Fabelmans) produce the film after each originally planning to helm it — and holding its own with the idea of a Scorsese- or Spielberg-directed Leonard Bernstein movie is another of Maestro's resounding triumphs. Maestro screens in cinemas from Thursday, December 7 and streams via Netflix from Wednesday, December 20.
Write a Brisbane-set book. Score a hit on the page. Then, see your words take to the stage, then the screen. That's how life went for Trent Dalton with Boy Swallows Universe. Next, going as far as treading the boards for now, that's also his path with Love Stories. Queensland Performing Arts Centre and Brisbane Festival have just announced that another of Dalton's books is getting a stage adaptation. As the play version of Boy Swallows Universe did, Love Stories will premiere at Brisbane Festival, with Tim McGarry penning the script and Dalton contributing additional writing. Fiona Franzmann will also contribute, while Sam Strong is directing. If much of this combination sounds familiar, Strong and McGarry also brought Eli Bell's antics to the theatre when it hit QPAC first. Their stage adaptation of Boy Swallows Universe wasn't just a smash — it's still the venue's bestselling drama ever. [caption id="attachment_944825" align="alignnone" width="1920"] Trent Dalton, Fiona Franzmann, Sam Strong and Tim McGarry. Image: Lyndon Mechielsen.[/caption] Fans won't have to wait long to see the end result for Love Stories, with the production set to have its world premiere in spring 2024, playing QPAC's Playhouse from Tuesday, September 10–Sunday, September 29. As for who'll be bringing it to life onstage, Jason Klarwein plays a writer and husband, while Michala Banas is his wife. They're both based on married couple Dalton and Franzmann. Also in the cast: Rashidi Edwards as Jean-Benoit, a Belgian busker who is also the show's narrator. Kimie Tsukakoshi, Jeanette Cronin, Mathew Cooper, Bryan Probets and Harry Tseng round out the acting talent from there, as joined by dancers Jacob Watton and Hsin-Ju Ely. The production will set its scene from the corner of Brisbane's Adelaide and Albert streets — and if you've read the book, you'll know why. Dalton wrote the 2022 Indie Book Awards Book of the Year-winner by heading to a corner in Brisbane's CBD, Olivetti typewriter in hand, and asking folks walking by for their tales. His question: "can you please tell me a love story?". Accordingly, this is another love letter to Brisbane, as Boy Swallows Universe is. This time, however, it tells true tales about romance and life. The aim is for it to be joyous but poignant, humorous but dramatic, and to be sentimental about Brisbane while telling a range of diverse love stories. [caption id="attachment_944824" align="alignnone" width="1920"] Trent Dalton and Franzmann. Image: Lyndon Mechielsen.[/caption] "It's a rare and wondrous thrill to see one's words brought to life in the boundless universe of Australian theatre. It's an even greater thrill to see the love stories of so many not-so-ordinary real-life Queenslanders given such reverence and weight," said Dalton. "I've already had the great honour of informing many of the storytellers who so kindly told their stories to me on that corner that their words will now be retold in the most thrilling theatrical way by the most gifted team of creatives. These beautiful people who come from every corner of Queensland are just as excited as I am." [caption id="attachment_935699" align="alignnone" width="1920"] Trent Dalton, Simon Baker, Phoebe Tonkin, Felix Cameron, Lee Tiger Halley, Bryan Brown and Travis Fimmel at the premiere of Boy Swallows Universe. Image: Jono Searle/Getty Images for Netflix.[/caption] "Love Stories the show will be filled with everything that people adore about the book (and Trent's work) — beautifully specific Brisbane stories that speak universal truths, undeniably unforgettable people, and stories that sometimes break our hearts but always fill them," added Strong. "In translating Love Stories into the theatre, we're also building on the original. Trent and Fiona's own love story, which interweaves through the book, has been expanded by them for the stage show. In addition, we're including some of the incredible love stories that have been shared since the book was published." There's no sneak peek available for Love Stories yet — images, trailer or otherwise — but check out the trailers for both the stage and versions of Boy Swallows Universe in the interim: Love Stories will play the QPAC Playhouse, South Brisbane, from Tuesday, September 10–Sunday, September 29, 2024 as part of Brisbane Festival. Head to the venue's website for tickets and further details. Images: Netflix / Lyndon Mechielsen.
Whether you're getting comfortable in your own tub, settling into a spa or hitting up some hot springs, there's something particularly soothing about sitting in a body of steaming water. It's the type of pastime that delivers a pool full of bliss no matter the weather — but, just as the frostiest time of the year has rolled around, Queensland's far north now has a new place to go and soak away your worries. Talaroo Hot Springs has just opened in Mount Surprise, which is located in the Shire of Etheridge — in a region also known as the Savannah Gulf. It's further north than Townsville, but not quite as far up as Cairns. If you need more specifics, it's about a four-and-a-half-hour drive from the latter. You'll be heading inland here, though, and not along the coast. Once you've made the trek, warm water awaits. The site takes advantage of the location's natural geological features, which includes mounded terraces and, obviously, hot springs. This part of the country has been linked to the Ewamian people, its Traditional Owners, for thousands of years — and, in its pools, the surface water temperature reaches up to 68 degrees Celsius. Visitors have two options: take a tour of the hot springs, which includes a dip, or hop into one of the venue's manmade soaking pools that are filled with geothermal waters. If you opt for the former, you'll be taken around by an expert guide, you'll walk across the boardwalk surrounding the springs, and you'll go for a soak. If the latter appeals, you can book in a private 40-minute session for up to four people, and enjoy both the warm water and the scenery in the process. Also part of Talaroo Hot Springs: a camping ground and caravan park, so you have somewhere to stay; a yarning circle hosted around the fire pit each evening by Ewamian locals; and plenty of self-guided activities such as walks to the nearby Einasleigh River, and spotting both wildlife and birds. The springs just opened back in June, after a five-year push to bring the site to fruition. "Since the Native Title determination in 2013 we have been working towards creating tourism, economic development and employment opportunities and that plan is now reaching fruition at Talaroo," said Sharon Prior, General Manager of Ewamian Aboriginal Corporation. Talaroo Hot Springs is located at Gulf Development Road (Savannah Way), Mount Surprise, Queensland. For further information, head to the venue's website.
Another year, another Archibald Prize forced to adapt to these pandemic-afflicted times. After the 2020 award was delayed due to COVID-19, this year's gong was handed out as normal — but now the Art Gallery of NSW exhibition that always follows has been impacted by Greater Sydney's current lockdown. So, the folks at AGNSW have released a virtual version of the popular showcase, which means both at-home Sydneysiders and folks around the rest of the country can view 2021's top portraits from their couch. The 360-degree experience lets you tour the exhibition at your own pace, and see its works as they appear within the gallery space. You can learn more about the pieces along the way as well, thanks to clickable hotspots that provide information about each artwork. Every year for the past century, the Archibald Prize has recognised exceptional works of portraiture by Australian artists. In 2021, from a field of 52 finalists, the coveted award has gone to Melbourne-based artist Peter Wegner for Portrait of Guy Warren at 100. A unanimous decision by this year's judges, Wegner's portrait of the centenarian and fellow artist obviously won the gong in a fitting year. "Guy Warren turned 100 in April — he was born the same year the Archibald Prize was first awarded in 1921," Wegner said. "This is not why I painted Guy, but the coincidence is nicely timed." Wegner's win came after an equal number of works from both male and female artists made the finalists list for the first time in Archibald history — all of which you can now scope out from home, alongside entries and winners for the Wynne and Sir John Sulman prizes, too. Across the three prizes, 2144 entries were received this year, which is the second-highest number ever after 2020. And, the three prizes received the highest-ever number of entries from Indigenous artists. If you don't agree with the judges, you can also cast your own vote for the People's Choice Award before 5pm on Sunday, August 29. [caption id="attachment_814784" align="aligncenter" width="1920"] Archibald Prize 2021. Peter Wegner, 'Portrait of Guy Warren at 100'. Oil on canvas, 120.5 x 151.5 cm. © the artist. Photo: AGNSW, Felicity Jenkins. Sitter: Guy Warren.[/caption] Top image: Archibald Prize 2021 finalist. Kirsty Neilson, 'Making noise'. Oil on linen, 50.1 x 60.1 cm, © the artist. Photo: AGNSW, Felicity Jenkins.
