An honest man follows his ambitions, but finds trouble at every turn. We’ve seen this story done before and done well; however, films as gloomy and gripping as A Most Violent Year don’t come around that often. It’s not necessarily the chaos and corruption the movie tells of that gets under your skin, though there’s plenty of that. What makes this tense, moody thriller so insidious and effective is the way it states the costs and consequences without offering an alternative. Adapt or perish, it says. That’s just life, it tells us. When we first meet that well-intentioned businessman, Abel Morales (Oscar Isaac), he’s running — and doesn’t stop throughout the film. Yes, he’s frequently standing still, but he’s never really relaxed or comfortable. He’s continually chasing the next step in his carefully controlled climb from poor immigrant to heating oil mogul, and the movie loves nothing more than to watch his struggle. Understanding why Morales itches to keep moving is simple, despite everything — his wife, Anna (Jessica Chastain), his fancy home and his growing oil company — seeming the picture of happiness. Thugs keep hijacking his trucks, threatening his staff and prowling around his house. The assistant district attorney (David Oyelowo) has targeted him in an investigation into the industry. If a property deal crucial to expanding his empire falls through, he could lose everything. Writer/director J.C. Chandor previously made Margin Call and All Is Lost, which gives an indication of the uneasiness on display. Yet again, his characters walk the fine line between success and failure, trapped in a horror story about survival in capitalist times. The American Dream is mentioned, and that’s certainly what the movie contemplates, though it’s rarely so blunt about it. Instead, it is telling that the story is set in New York in 1981 — reportedly the city’s most crime-ridden year on record, hence the title. That Selma cinematographer Bradford Young chooses to make everything from subway cars to suburban homes look shadowy and inescapable is just as revealing. Chandor has always benefited from clever casting, but in A Most Violent Year he has hit the jackpot. Isaac is exceptional as someone trying not to drown — metaphorically, not literally, here — in stormy waters. Everyone who rightfully loved him in Balibo, Drive and Inside Llewyn Davis will only do so all over again. Morales is the type of conflicted role only he could’ve done justice to. He’s constantly composing himself for the next drama — whether discussing tactics with his attorney (Albert Brooks), or begrudgingly asking a competitor (Alessandro Nivola) for help. And then there’s his battle with Anna, as formidably played as the gangster’s daughter she is by the equally outstanding Chastain. If ever there was a depiction of marriage to test the “behind every great man, there’s a great woman” adage, it’s this one (matching stylish period outfits included). It may take time getting there, building patiently and unnervingly, but when A Most Violent Year ends, it’s like the slap in the face you knew was coming yet couldn’t duck to avoid. Another famous saying springs to mind: be careful what you wish for. Viewers wanting a complex and compelling film needn’t fear, but anyone wanting life to be full of unambiguously happy endings just might.
If nothing says warm weather to you quite like dancing in a crowd, here's something else for your calendar: the Brisbane debut of Boiler Room. The event is no stranger to Sydney and Melbourne, but hasn't made its way to the Queensland capital until now. The word that you're looking for? Finally. There's no lineup as yet, but there is a date and venue. Mark your diaries: Boiler Room Brisbane will premiere from 2–10pm on Saturday, November 16, 2024 at Brisbane Showgrounds. It's taken 14 years for the London-born club culture-loving outfit to hit the River City, but being able to hit up its dance floors in Brissie is a firm case of better late than never. View this post on Instagram A post shared by Boiler Room (@boilerroomtv) While who'll be on the decks won't be revealed until Tuesday, September 3, 2024, expect "some of Australia's most-exciting selectors alongside renowned international heavy hitters", according to organisers. The Brisbane date sits between Boiler Room's return to Melbourne in late October and its latest Sydney gig in early December. Both have already sold out. If you're wondering what the local bill might look like, Melbourne punters have 2lubly, CRUSH3d, Crybaby, DJ Heartstring, Foura, OK Williams and Samba Boys to look forward to. Sydneysiders will be making shapes to Anna Lunoe, Arthi, Bad Boombox, Club Angel, Dr Rubinstein, FUKHED, I. Jordan, IMOGEN, Mincy, Mischluft, Moktar, Nina Las Vegas and Skin On Skin. And yes, it's been a big few weeks for festival announcements, no matter what type of music you're into. In a year that's been tough for the industry (see: the lack of Splendour in the Grass, Groovin the Moo, Spilt Milk and Harvest Rock, for instance), Wildlands, Good Things and Bluesfest have all dropped lineups recently, as have Meredith, Always Live, Lost Paradise and Beyond The Valley Boiler Room will make its Brisbane debut at Brisbane Showgrounds, 600 Gregory Terrace, Bowen Hills, on Saturday, November 16, 2024 — with tickets on sale from 5pm on Thursday, September 5, 2024. Head to the event's website for more details. Top image: Jordan Munns.
If the pandemic hadn't hit, Sydneysiders would've been able to peer at more than 150 items from Tutankhamun's tomb this year, all without leaving town. So would've Australians visiting the Harbour City, too, because Tutankhamun: Treasures of the Golden Pharaoh was due to display at Sydney's Australian Museum in 2021 — until the events of the past 15 months or so happened. While the King Tut showcase was sadly cancelled — with that news coming through back in March — the Australian Museum will still be diving into Egyptian history in the near future. Come summer 2023, the venue will play host to Ramses the Great and the Gold of the Pharaohs. This time, there'll be more than 180 rare artefacts on display, all connected to a different pharaoh, including animal mummies, royal masks, amulets and other golden treasures from the ruler's tomb. Focusing on Egypt's third pharaoh from its nineteenth dynasty — a ruler also known as Ramses II, who reigned from 1279–1213 BCE — this showcase is set to be big. It'll be the largest collection of Ramses II items to ever leave Egypt, in fact, and will also mark the first time in more than three decades that items connected with the pharaoh have left their home country. So, as well as experiencing a slice of history, you'll be able to take a peek at objects that no one has seen outside of Egypt for 30-plus years. Created by World Heritage Exhibitions and supported by Egypt's Ministry of Tourism and Antiquities, Ramses the Great and the Gold of the Pharaohs will also let attendees enter the ruler's temples — virtually, via the first walkthrough of its kind. And you'll be able to watch the first full-length documentary that's ever been made about Ramses II's tomb, too. [caption id="attachment_816405" align="aligncenter" width="1920"] Grey Nurse Shark at Magic Point off Sydney, Eric Schlogel[/caption] The exhibition will receive funding from New South Wales' 2021–22 budget, as part of $40 million that's being committed to get major cultural exhibitions from around the world to come to the state in the next four years. Also nabbing financial support from the state government, and also coming to the Australian Museum: Sharks, which the site is developing itself. As the name makes plain, it's all about the aquatic animals, and it's set to display at the venue from winter 2022 until summer 2023. "This funding will also help the Australian Museum to premier and globally tour one of the largest, most ambitious glimpses into sharks that any museum has ever produced," said Director and CEO of the Australian Museum Kim McKay AO. "The Australian and Pacific relationship with sharks is completely unique — we know them, we understand them, we live with them every day, and we're going to share this with the world." Ramses the Great and the Gold of the Pharaohs will display at the Australian Museum, 1 William Street, Sydney, in the summer of 2023 — with exact dates and details yet to be announced. Sharks will display at the venue from winter 2022–summer 2023, with further details still to be announced. We'll update you with more information about both exhibitions when it is announced.
Wearable art meets wearable music with this trendy idea from New York company Parte LLC. Playbutton is an mp3 player embedded in a badge, each one storing pre-recorded content like an album or mix-tape. Album artwork is printed on the badge, making your music taste an integral part of your fashion statement. Sure, you can't change the sequence of the music or download new content, but that's pretty much the entire idea. It's only fitting to hark back to older forms of music consumption (like listening to an entire album, rather than buying individual songs) when teaming it up with a retro-style fashion accessory. Each Playbutton weighs just 0.8 grams, making it 175 times smaller than a traditional iPod; and bands like Mount Eerie, Bubbles and Opening Ceremony are already on board. In fact all proceeds from the sales of Open Ceremony's Playbutton go to Musicians on Call, a non-profit in New York that brings live and recorded music to hospital patients who are unable to leave their beds. [Via NOTCOT]
There aren't a whole bunch of things that can beat a day in the sun with a drink in your hand. Recognising the need to slake that thirst, Canadian Club is bringing their Racquet Club back for the summer, dosing out refreshing Canadian Club, dry and lime by the water with a screen showing the tennis. The Racquet Club celebrates Australia's biggest annual summer sporting fixture, the Australian Open. After keeping punters hydrated in Melbourne last year, the pop-up will this year extend to Sydney and Brisbane as well. The club will set up at Brisbane's Sandstone Point Hotel by the water for a whole month, from December 27 to January 30. The pop-up bar will carry Canadian Club on tap and a whole slew of Canadian Club cocktails (the grapefruit Summer Spritz is our favourite), and will be decked out in all the tennis memorabilia that they can find. Plus, when the Open starts on January 16, there'll be a big screen showing every game, loud and live. Sports, beach and Canadian Club? See you there.
It's time to mark your calendars for the National Cherry Festival, the ultimate celebration of all things cherry. This annual event is set to take place in Young, NSW (the cherry capital of Australia!) from Friday, December 1 to Sunday, December 3. In case you've never been, the National Cherry Festival is a three-day extravaganza that brings together cherry growers and enthusiasts from all over Australia. Get ready to indulge in delicious cherry treats, including fresh cherries, cherry pies, cherry ice cream and more. You can also enjoy cooking demonstrations, cherry-picking competitions, live music performances, and even a seed-spitting competition. For those looking for a more relaxing experience, there will be a Cherry Blossom Walk, showcasing the stunning cherry blossoms that bloom during summer in Young. It's also a chance to meet and learn from local artisans showcasing their products and crafts, the history of the region, the cherry-growing process, and the impact of cherries on the local economy. Since Young is a four-hour drive out of Sydney, be sure to book local accommodation in advance and get the full weekender experience to celebrate of the sweetest summer fruits. For more information on the festival and how to enjoy it, visit the website. We advise against wearing white clothing.
If you woke up this morning and got yourself a hankering for one of the best TV shows ever made, here's some good news: a big-screen prequel to The Sopranos is on its way. Fourteen years after HBO's hit mobster drama cut to black, creator David Chase has penned The Many Saints of Newark, which jumps back to Tony Soprano's formative years in the 60s and 70s. And, because family was always a huge part of the influential drama, the film's central role is played by Michael Gandolfini (The Deuce, Cherry) — son of the late, great James Gandolfini. The Many Saints of Newark hops into Soprano's story when he's a teen in the titular New Jersey city — a place under the sway of the DiMeo crime family, struggling with race relations and about to be caught up in the race riots of 1967. Young Anthony plans to go to college, but he also has a strong relationship with his uncle Dickie Moltisanti (Alessandro Nivola, The Art of Self-Defense). Fans of The Sopranos will recognise the name, with Dickie the father of series regular Christopher Moltisanti. As the just-dropped first trailer for The Many Saints of Newark shows, Anthony's connection to his uncle will have a huge impact on his life — and on his path to becoming the ziti-loving, panic attack-suffering, hot-tempered mob boss that The Sopranos followed for six seasons between 1999–2007. Leaving a significant imprint on the film: the casting of the younger Gandolfini. Even from just this initial sneak peek, it's impossible to imagine this movie being made without him stepping into his dad's shoes. Whether director Alan Taylor, a veteran of The Sopranos, gives Journey's 'Don't Stop Believing' a whirl in the feature is yet to be seen. It doesn't pop up in the trailer, though. Of course, when the film releases in cinemas in September, The Sopranos aficionados can definitely look forward to spending time with a few familiar characters other than Young Anthony — including Corey Stoll (The Report) as Uncle Junior, Vera Farmiga (The Conjuring: The Devil Made Me Do It) as Anthony's mother Livia, and Billy Magnussen (Made for Love) and John Magaro (First Cow) as his future righthand men Paulie Walnuts and Silvio Dante. Leslie Odom Jr (One Night in Miami) and Jon Bernthal (Those Who Wish Me Dead) also co-star, while seeing Ray Liotta (Marriage Story) jump back into the gangster genre immediately conjures up memories of Goodfellas — the Martin Scorsese classic that also charted the rise of a young man within the mob. Check out the trailer below: The Many Saints of Newark releases in Australian cinemas on September 23.
If Justin Gignac's success in selling garbage as art is anything to go by, doing something (and doing it well) because others thought you couldn't, actually works. Gignac's New York City Garbage is just that, except packaged nicely in transparent cubes and sold as art. Selling between $50 online and $100 at selected stores in the U.S, the handpicked NYC Garbage has owners in 29 countries, according to Gignac's website. The New York City-based artist and entrepreneur has been selling garbage since 2001 and has said he wanted to prove packaging could sell anything. Gignac has also sold commemorative editions of NYC Garbage cubes including St. Patrick's Day in Ireland and President Obama's inauguration. It sounds ridiculous but you’ve got to love a guy who can make a profit out of garbage at a time where newspaper sales are declining. Image: nycgarbage.com
Residents of Auckland, Adelaide, Wellington, Perth, Melbourne and Brisbane, rejoice — you're living in some of the world's most liveable cities. Thanks to lockdowns and other pandemic restrictions, life in both Australia and New Zealand has been far from normal over the past year and a half; however, six Down Under spots have ranked in the top ten in The Economist Intelligence Unit's Global 2021 Liveability Index. Auckland took out first place, unseating Vienna, which nabbed the top spot for three years between 2018–20. Adelaide came in third, Wellington placed equal fourth and Perth ranked sixth. Also, Melbourne tied for eighth — after coming in second in 2019, and topping the list between 2010–2017 — while Brisbane closed out the top ten. The six Australian and NZ cities were joined by Osaka, which ranked second; Tokyo, which tied for fourth with Wellington; and Switzerland's Zurich and Geneva, which came in at seventh and equal eighth respectively. The annual index ranks 140 cities on stability, healthcare, education, infrastructure, culture and environment, giving each city a rating out of 100. Auckland achieved a score of 96.0 overall — and, at the other end of the list, Damascus in Syria scored 26.5, ranking in 140th spot. It'll come as no surprise that the overall liveability score dropped seven points compared to before the pandemic — or that cities fared better if they had implemented strong border closures, been able to handle the health crisis and/or rolled out vaccines quickly in response to COVID-19. According to the EIU, Auckland soared to the top thanks to "the city's ability to contain the coronavirus pandemic faster and thus lift restrictions earlier, unlike others around the world." The dominance of Australian and NZ cities also came about because "tight border controls have allowed residents to live relatively normal lives." Just missing the top ten: Sydney, which came in 11th. It had ranked third back in 2019. That's hardly a big slide, though, with Vienna now sitting 12th — and the EIU noting that Frankfurt, Hamburg and Dusseldorf, all in Germany, have had the biggest falls among all 140 cities. To read the full Global 2021 Liveability Index, head to the Economist Intelligence Unit's website.
In general the 21st century has been kind and developed many great things for the common human. For example, online shopping, Nespresso machines and e-readers. However, something that has also become prevalent in this time, is that everyone’s sense of self worth and importance has grown drastically. Which in itself, is not a bad thing, it just depends on the creative outlet this sense gets pushed in to. Instead of focusing on online endeavours and a thriving Facebook account, the What Do You Collect initiative, in conjunction with the Queensland Museum, has created the perfect way to celebrate your individuality in style. Entitled simply as a Pop Up Museum, this workshop involves spending six consecutive Saturday’s working with two professionals to create your own mini retrospective, which will then be showcased at the Home Festival. Producer Pip Kelly and artist Simone Eisler, will share their combined knowledge and help you discover and celebrate your inner personality – which is far better way to spend time than counting Facebook ‘Likes’. Get involved and share your collection today!
You're at the Ekka, you've hit the rides, you've seen some animals and you've also popped a ball in a clown's mouth. We all know what comes next: strawberry sundaes and show bags. Here's a life-changing hack: pick up a Bertie Beetle bag given that it's basically compulsory, open it up right there and pop that honeycomb-filled chocolate in your sundae. Yes, you'll thank us. Fancy that combo without going to the Ekka — and a levelled-up version of the classic strawberry sundae, too? Three South Bank eateries are serving up their own take on the beloved dessert, dubbed Ekka nostalgia sundaes, until Sunday, August 14. You'll need to head to Ole Restaurant, Vici Italian and Mucho Mexicano Southbank, which is where Alemre Hospitality Group is dishing up the new menu item — which was created by Group Pastry Chef Lisa Bovil. The sundae will set you back $15, and includes strawberry ice cream, honeycomb, meringue, a Bertie Beetle, strawberry sauce and whipped cream. [caption id="attachment_842637" align="alignnone" width="1920"] Kgbo via Wikimedia Commons[/caption]
New year, new murder in the building — in the fictional Arconia in New York, that is. That's what's in store for fans of Only Murders in the Building, the true-crime comedy that proved one of 2021's surprises and delights. Knowing they're onto a good thing, Hulu in the US quickly renewed the hit series, and now it's coming back in June with another killing to solve. If you missed the first season in 2021, it takes a great idea and turns it into an amusing murder-mystery gem. If you've ever listened to a true-crime podcast, decided that you'd make a great Serial host yourself and started wondering how you'd ever follow in Sarah Koenig's footsteps, then Only Murders in the Building is definitely the series for you. The show focuses three New Yorkers who basically follow that same process. Here, actor Charles-Haden Savage (Steve Martin, It's Complicated), theatre producer Oliver Putnam (Martin Short, Schmigadoon!) and the much-younger Mabel Mora (Selena Gomez, The Dead Don't Die) are all obsessed with a podcast hosted by the fictional Cinda Canning (Tina Fey, Girls5eva). They find themselves unexpectedly bonding over it, in fact. And, when someone turns up dead in their building, they decide that they can sleuth their way through the case by getting talking themselves. [caption id="attachment_824354" align="alignnone" width="1920"] Craig Blankenhorn/Hulu[/caption] That's how the first season panned out. Think Knives Out, but a sitcom and also a little goofier. Now, as the just-dropped first trailer for the show's second season shows, Charles-Haden, Oliver and Mabel are weathering the fallout from the last batch of episodes — namely, season one's big finale — and they have another murder to investigate (and another podcast season to chat about it on, obviously). Complicating their efforts this time around are a trio of factors: their public implication in the death in question; the fact that there's now a competing podcast about them and this new murder; the suspicions of their neighbours, who think they're guilty. Exactly how that'll play out won't be known until Tuesday, June 28, when Only Murders in the Building returns — but, whatever happens, both Cara Delevingne and Amy Schumer will be involved, with the pair joining the cast as guest stars. Check out the trailer for Only Murders in the Building season two below: Only Murders in the Building's second season will start streaming Down Under via Star on Disney+ on Tuesday, June 28. Read our full review of the show's first season. Images: Craig Blankenhorn/Hulu.
When Sky Deck was first announced, the soaring platform at the $3.6-billion Queen's Wharf precinct promised Brisbanites and tourists alike more than just a new place to peer down on the River City. The idea was always that it'd provide a sky-high spot to grab a bite, drink and take in stunning views in tandem, including at multiple venues. Queen's Wharf opened at the end of August 2024, and launched with not only Sky Deck sitting 100 metres above the CBD, but with resident openair bar Cicada Blu and all-day dining haven Babblers welcoming in patrons heading up. The final Sky Deck piece: signature restaurant Aloria, which will open its doors on Wednesday, October 30. Centre stage at Cicada Blu on the lofty deck, cocktails are a drawcard, At Babblers on Sky Deck's eastern side, casual meals and coffee are on the menu. Aloria is located on Sky Deck's western end — with dry-aged steak and seafood among its specialties, European and Australian influences flavouring the cuisine, Australian ingredients in the spotlight, and the open kitchen pumping out woodfired and grilled dishes. Standout menu options include dry-aged beef bistecca as a main, or roast coral trout with almond cream if you'd prefer the ocean's finest. Opt for seafood to start and you'll also be picking between kingfish crudo with pickled rhubarb and buttermilk, plus Fraser Island spanner crab crumpet with finger lime and brown butter — or caviar. Returning to Brisbane, Michelin-trained Chef Shayne Mansfield oversees all three venues, with Aloria favouring simplicity and elegance in its dishes — as well as sustainability and a minimal-waste ethos. "Aloria's smoked carrot tartare involves smoking the body of the carrot to create the tartare filling, followed by the sauce from the carrot skin. The green tops are then cooked to form a cracker, with the dish completed by cooking red capsicums over charcoal to produce a sauce. The whole dish is prepared without any food waste, which is something we are immensely proud of," explains Mansfield. "The Aloria experience isn't just about the food, though. From our considered arrival via an exclusive entrance to unparalleled views from the mountains to the bay and extensive beverage pairings, Aloria offers an elevated and unique dining experience that I cannot wait to share with Brisbane." Another highlight: a dedicated martini menu that spans classics and inventive variations (think the marguerite, martine, martigny, martina, martineau and the Bradford à la martini). One more reason to grab a glass: a hefty range of wine, with a list curated by Aloria Head Sommelier Damian Danaher that spans 12 pages — which is why it has been dubbed a 'cellar in the sky' — and vintages from Château Lafite Rothschild among the sips. Overall, Sky Deck features a 250-metre rooftop runway with a glass-floor viewing platform, plus 360-degree views out over the Brisbane CBD, Brisbane River, Mt Coot-tha and Moreton Bay. While Aloria will serve lunch and dinner five days a week, Sky Deck itself is open all day and night, every day and night. Find Queen's Wharf Sky Deck at Level 23, 33 William Street, Brisbane, with Aloria opening on Wednesday, October 30, 2024 — and operating from 12pm–late Wednesday–Sunday. Head to the Queen's Wharf website for more details.
Unlike the movie, we'll keep this short and to the point. A Million Ways To Die In The West is not a good film. Not unless, that is, you're a 15-year-old boy, in which case, it's the best goddam movie you've ever goddam seen! Consider the ingredients. This is 116 minutes of hot girls talking about sex and their 'great tits', fart sound effects aplenty, semen finding its way onto faces, characters swearing like it's going out of style and Neil Patrick Harris's character emptying his gastro-afflicted bowels into a stranger's hat for a full 45 seconds, before then farting some more and repeating the deed into another man's hat. Soiler Alert: he then kicks it over so that you get to see the liquid faeces in all its comedic glory. The man behind it all is Family Guy creator Seth MacFarlane, whose voice is the median strip between Brian and Peter Griffin, and whose last (and first) film Ted was a surprise hit. Here, he's upped his involvement. A lot. MacFarlane wrote, directed, produced and starred in A Million Ways To Die in the West, and to say he's overreaching is beyond generous. This is pure self-indulgence, particularly given the extraordinary amount of screen time he occupies despite having a top-shelf cast around him (Liam Neeson, Charlize Theron, Giovanni Ribisi, Sarah Silverman, Amanda Seyfried and, of course, Doogie). The most frustrating thing is that scattered throughout the film are pockets of oustanding comedy. Early on, MacFarlane and Ribisi 'assume the position' and pretend to fight during a bar brawl so as to discourage anyone else from coming their way in what is a terrific moment, and a recurring gag about nobody smiling in the newly invented 'photo' experience is as amusing as it is astute. The problem is, these moments are so scarce than can be counted on one hand. Like, a leprous hand...with two fingers, and maybe a thumb stub. There's no denying MacFarlane's talents, but here they were stretched beyond their means. The supporting cast does its best to do exactly that, but can do only so much with so little screen time and a script that requires more cursing than acting. Again, this is not a good film. Save your money — even if you're a 15-year-old boy. https://youtube.com/watch?v=2sOa-2EhbTU
Excellent movie, apt title. Since premiering at the 2022 South by Southwest Film Festival, Everything Everywhere All At Once has lived up to its name. The Michelle Yeoh-starring action-comedy was a global hit in cinemas. It was a well-deserved audience favourite, too. And, it's utterly beloved by awards bodies. The latest accolades showering it with affection? The 2023 Oscars, which has just given the film a year-best haul of 11 nominations. Everything Everywhere All At Once scored Academy Award nods for almost everything it could, in fact, in a year that broke the record for the most Asian acting nominees ever. Yeoh pops up for Best Actress and made history doing so, as the first nominee in the category who identifies as Asian. Her co-stars Ke Huy Quan and Stephanie Hsu were also recognised, in the Best Supporting Actor and Best Supporting Actress fields respectively. And, for the Brendan Fraser-led drama The Whale, Hong Chau also received a nomination in the latter category. Similarly making history: the infectious song 'Naatu Naatu' from explosive action-musical RRR, which became the first tune from an Indian feature to get recognition in the field. Yes, that's a baffling statistic given India's prolific film industry. While Everything Everywhere All At Once leads the contenders overall, it has plenty of company. German war drama All Quiet on the Western Front and Irish comedy The Banshees of Inisherin each picked up nine nominations, while the Australian-made Elvis nabbed eight, Steven Spielberg's The Fabelmans scored seven, the Cate Blanchett-led Tár and high-flying Tom Cruise vehicle Top Gun: Maverick received six each, and Marvel sequel Black Panther: Wakanda Forever collected five. Naturally, Blanchett received her eighth Oscar nomination for Tár. No, fellow Australian Baz Luhrmann wasn't nominated for Best Director for Elvis. But many of the Elvis Presley biopic's nods were for behind-the-scenes categories, which means nominations for the likes of cinematographer Mandy Walker, plus costume and production designer Catherine Martin. Among the other highlights, Normal People favourite Paul Mescal received his first Oscar nomination for father-daughter drama Aftersun; the always-excellent Brian Tyree Henry earned some love for his thoughtful turn in Causeway; Andrea Riseborough capitalised upon celebrity support to score a look-in for To Leslie; and movies with scene-stealing donkeys had the Academy braying with love, thanks to The Banshees of Inisherin's nominations and a Best International Feature Film nod for EO. Also, gorgeous Irish drama The Quiet Girl was recognised in the same field, and wonderful documentary Fire of Love is among the doco contenders. And, the new Oscar-nominee with the best name? It's Best Animated Short competitor My Year of Dicks. That said, the Academy couldn't find room for far too many other exceptional films — and the people behind them — in 2023's batch of nominees. That includes completely leaving out phenomenal South Korean thriller Decision to Leave in all fields, deciding that female filmmakers weren't worthy of any Best Director nominations this year, ignoring Viola Davis for The Woman King and Danielle Deadwyler for Till (and Black actors in the lead acting categories overall), overlooking Moonage Daydream for Best Documentary, and only giving RRR that one nod for Best Song. The Oscars will announce this year's winners on Monday, March 13, Australian and New Zealand time, with Jimmy Kimmel hosting. Here's the full list of nominations: OSCAR NOMINEES 2023 BEST MOTION PICTURE All Quiet on the Western Front Avatar: The Way of Water The Banshees of Inisherin Elvis Everything Everywhere All At Once The Fabelmans Tár Top Gun: Maverick Triangle of Sadness Women Talking BEST DIRECTOR Martin McDonagh, The Banshees of Inisherin Daniel Kwan and Daniel Scheinert, Everything Everywhere All At Once Steven Spielberg, The Fabelmans Todd Field, Tár Ruben Östlund, Triangle of Sadness PERFORMANCE BY AN ACTRESS IN A LEADING ROLE Cate Blanchett, Tár Ana de Armas, Blonde Andrea Riseborough, To Leslie Michelle Williams, The Fabelmans Michelle Yeoh, Everything Everywhere All At Once PERFORMANCE BY AN ACTOR IN A LEADING ROLE Austin Butler, Elvis Colin Farrell, The Banshees of Inisherin Brendan Fraser, The Whale Paul Mescal, Aftersun Bill Nighy, Living PERFORMANCE BY AN ACTRESS IN A SUPPORTING ROLE Angela Bassett, Black Panther: Wakanda Forever Hong Chau, The Whale Kerry Condon, The Banshees of Inisherin Jamie Lee Curtis, Everything Everywhere All At Once Stephanie Hsu, Everything Everywhere All At Once PERFORMANCE BY AN ACTOR IN A SUPPORTING ROLE Brendan Gleeson, The Banshees of Inisherin Brian Tyree Henry, Causeway Judd Hirsch, The Fabelmans Barry Keoghan, The Banshees of Inisherin Ke Huy Quan, Everything Everywhere All At Once BEST ORIGINAL SCREENPLAY The Banshees of Inisherin, Martin McDonagh Everything Everywhere All At Once, Daniel Kwan and Daniel Scheinert The Fabelmans, Steven Spielberg and Tony Kushner Tár, Todd Field Triangle of Sadness, Ruben Östlund BEST ADAPTED SCREENPLAY All Quiet on the Western Front, Edward Berger, Lesley Paterson and Ian Stokell Glass Onion: A Knives Out Mystery, Rian Johnson Living — Written by Kazuo Ishiguro Top Gun: Maverick, screenplay by Ehren Kruger and Eric Warren Singer and Christopher McQuarrie; story by Peter Craig and Justin Marks Women Talking, Sarah Polley BEST INTERNATIONAL FEATURE FILM All Quiet on the Western Front Argentina, 1985 Close EO The Quiet Girl BEST ANIMATED FEATURE Guillermo del Toro's Pinocchio Marcel the Shell With Shoes On Puss in Boots: The Last Wish The Sea Beast Turning Red BEST DOCUMENTARY FEATURE All That Breathes All the Beauty and the Bloodshed Fire of Love A House Made of Splinters Navalny BEST ORIGINAL SCORE All Quiet on the Western Front, Volker Bertelmann Babylon, Justin Hurwitz The Banshees of Inisherin, Carter Burwell Everything Everywhere All At Once, Son Lux The Fabelmans, John Williams BEST ORIGINAL SONG 'Applause', Tell It Like a Woman (Diane Warren) 'Hold My Hand', Top Gun: Maverick (Lady Gaga and BloodPop) 'Lift Me Up', Black Panther: Wakanda Forever (music by Tems, Rihanna, Ryan Coogler and Ludwig Goransson; lyrics by Tems and Ryan Coogler) 'Naatu Naatu', RRR (music by MM Keeravaani, lyrics by Chandrabose) 'This Is a Life', Everything Everywhere All At Once (music by Ryan Lott, David Byrne and Mitski, lyrics by Ryan Lott and David Byrne) BEST CINEMATOGRAPHY All Quiet on the Western Front, James Friend Bardo, False Chronicle of a Handful of Truths, Darius Khondji Elvis, Mandy Walker Empire of Light, Roger Deakins Tár, Florian Hoffmeister BEST FILM EDITING The Banshees of Inisherin, Mikkel EG Nielsen Elvis, Matt Villa and Jonathan Redmond Everything Everywhere All At Once, Paul Rogers Tár, Monika Willi Top Gun: Maverick, Eddie Hamilton BEST PRODUCTION DESIGN All Quiet on the Western Front, Christian M. Goldbeck and Ernestine Hipper Avatar: The Way of Water, Dylan Cole, Ben Procter and Vanessa Cole Babylon, Florencia Martin and Anthony Carlino Elvis, Catherine Martin, Karen Murphy and Bev Dunn The Fabelmans, Rick Carter and Karen O'Hara BEST VISUAL EFFECTS All Quiet on the Western Front, Frank Petzold, Viktor Müller, Markus Frank and Kamil Jafar Avatar: The Way of Water, Joe Letteri, Richard Baneham, Eric Saindon and Daniel Barrett The Batman, Dan Lemmon, Russell Earl, Anders Langlands and Dominic Tuohy Black Panther: Wakanda Forever, Geoffrey Baumann, Craig Hammack, R Christopher White and Dan Sudick Top Gun: Maverick, Ryan Tudhope, Seth Hill, Bryan Litson and Scott R Fisher BEST COSTUME DESIGN Babylon, Mary Zophres Black Panther: Wakanda Forever, Ruth Carter Elvis, Catherine Martin Everything Everywhere All At Once, Shirley Kurata Mrs Harris Goes to Paris, Jenny Beavan BEST MAKEUP AND HAIRSTYLING All Quiet on the Western Front, Heike Merker and Linda Eisenhamerová The Batman, Naomi Donne, Mike Marino and Mike Fontaine Black Panther: Wakanda Forever, Camille Friend and Joel Harlow Elvis, Mark Coulier, Jason Baird and Aldo Signoretti The Whale, Adrien Morot, Judy Chin and Anne Marie Bradley BEST SOUND All Quiet on the Western Front, Viktor Prásil, Frank Kruse, Markus Stemler, Lars Ginzel and Stefan Korte Avatar: The Way of Water, Julian Howarth, Gwendolyn Yates Whittle, Dick Bernstein, Christopher Boyes, Gary Summers and Michael Hedges The Batman, Stuart Wilson, William Files, Douglas Murray and Andy Nelson Elvis, David Lee, Wayne Pashley, Andy Nelson and Michael Keller Top Gun: Maverick, Mark Weingarten, James H. Mather, Al Nelson, Chris Burdon and Mark Taylor BEST DOCUMENTARY SHORT SUBJECT The Elephant Whisperers Haulout How Do You Measure a Year? The Martha Mitchell Effect Stranger at the Gate BEST ANIMATED SHORT FILM The Boy, the Mole, the Fox and the Horse The Flying Sailor Ice Merchants My Year of Dicks An Ostrich Told Me the World Is Fake and I Think I Believe It BEST LIVE ACTION SHORT FILM An Irish Goodbye Ivalu Le Pupille Night Ride The Red Suitcase
Start the Lunar New Year as you intend to continue it: with a bottomless feast of dumplings and unlimited cocktails. Throw in non-stop Tsingtao beers as well and you'll definitely be welcoming the Year of the Rabbit in style. That's something we all want every time any calendar resets, and it's on the agenda at Emporium's Piano Bar. Throwing a big Lunar New Year party, the South Bank venue is putting on non-stop drinks and bites for two hours. Even better: it's hosting two sittings, from 2–4pm and 5.30–7.30pm on Sunday, January 22, because this annual event always proves popular. While you're eating and drinking at this all-you-can-consume feast at the ground-floor venue, you'll be in Piano Bar's mighty decadent surroundings, beneath its eye-catching chandelier and being entertained by a dragon dance performance. On the full menu, which costs $80 per person: two hours of dim sum, including dumplings, pork buns, vegetable gyzoa, spring rolls and siu mei; drinks including Tsingtao lager, cocktails, and non-alcoholic beverages; and fortune cookies.
One great thing about the scorching Queensland summer is the music festival season. It is the time where Brisbane’s music lovers come out of winter hibernation and get ready to party – this year is going to be no exception. Parklife is the first warm weather music festival to hit Brisbane stages. The touring dance festival hits all major cities, with Brisbane set to dance the night away this Saturday. The line-up includes killer acts like The Presets (pictured), Passion Pit, Robyn and Chairlift, with a host of other international and national acts in support. Break out your summer clothes and your dancing shoes, summer music is here at last.
Long before cozzie livs entered Australia's vocabulary, the Sunnybank Food Trail was serving up bargains. The one-day culinary event previously included a $2 price in its moniker, because that's how much everything that you could eat cost per plate. That gold-coin amount isn't stuck to as firmly these days, but it's still a cheap feast, including when the self-guided foodie adventure returns in 2024. This year marks the tenth iteration of this beloved excuse to hit up its namesake Brisbane suburb's shopping hubs, then delight in dining in quite the affordable fashion. Pre-pandemic, around 22,000 people showed up annually to satisfy their tastebuds, so expect to have plenty of cost-of-living-conscious company from 2–8pm on Saturday, July 13. [caption id="attachment_962394" align="alignnone" width="1920"] Zennieshia[/caption] While 2023 saw the Sunnybank Food Trail was make its long-awaited return, hosting its first event since 2019 following a break for COVID-19 reasons, 2024's run will be all about celebrating turning ten with discounted bites. Some of this year's dishes will still cost $2, while others will set you back $3 or $5. Either way, that's a whole heap of your change being put to excellent (and tasty) use. As in previous years, both Sunnybank Plaza and Sunny Park will play host to the trail. How does it work? Attendees walk between a heap of local cafes and restaurants, all at their own pace. The range of eateries taking part is usually hefty — in 2018, more than 45 places served up dishes. [caption id="attachment_962390" align="alignnone" width="1920"] Zennieshia[/caption] Covering everything from deep-fried dumplings, noodles and curries to hot cakes, cream buns and bubble tea, every participating joint will feature a range of authentic Asian cuisines. You'll feast on Chinese, Japanese, Hong Kong-style, Vietnamese, Korean, Malaysian and Taiwanese food — and, with such an array of steaming soups and sizzling stir-fries on offer, we don't recommend eating lunch or dinner first. In fact, you'd best arrive feeling as hungry as possible. Snacking on signature dishes is the main course — or several — but there's also plenty of non-edible appetisers, too. Enjoy live music, watch traditional lion dancers, and and check out the roaming entertainment as you feast and wander, adding the perfect garnish to every meal by setting the mood. [caption id="attachment_962391" align="alignnone" width="1920"] Zennieshia[/caption] [caption id="attachment_962392" align="alignnone" width="1920"] Zennieshia[/caption] [caption id="attachment_962393" align="alignnone" width="1920"] Zennieshia[/caption] Sunnybank Food Trail will pop up at Sunnybank Plaza and Sunny Park from 12–8pm on Saturday, July 13 — head to the Experience Sunnybank website for further details. Top image: Zennieshia.
When the Gallery of Modern Art hosts the Brisbane International Film Festival for the second time this October, it's shaping up to be spectacular spectacular. Announcing the event's first titles for 2019, GOMA has revealed that it'll be focusing on the work of Baz Luhrmann, who is one of this year's festival patrons alongside four-time Oscar-winning costume and production designer Catherine Martin. Together, the duo has worked on all of Luhrmann's on-screen projects, from early films such as Strictly Ballroom and Moulin Rouge! through to his Netflix TV series The Get Down. Those two flicks will get a big-screen showing at this year's festival, while BIFF will also program a number of movies by other filmmakers that Luhrmann loves — such as Francis Ford Coppola's Apocalypse Now: Final Cut (which is also showing in cinemas at the moment), Federico Fellini's 8½ and a recently restored version of Sergei Bondarchuk's seven-hour adaptation of War and Peace. Brisbane cinephiles can also look forward to opening night's Judy & Punch, starring Mia Wasikowska and Damien Herriman; Pedro Almodovar's Cannes Best Actor-winning Pain and Glory, featuring a sublime performance by Antonio Banderas; Jim Jarmusch's zombie comedy The Dead Don't Die, which boasts everyone from Bill Murray to Adam Driver to Iggy Pop among its cast; and seeing Tilda Swinton act opposite her talented daughter Honor Swinton Byrne in The Souvenir. https://www.youtube.com/watch?v=brxU_Qi1eOM While the rest of the 100-plus film lineup won't be unveiled until Thursday, August 22, BIFF will also span workshops, conversation sessions, panels, events with food and live music, as well as the festival's new Short Film Awards and an exhibition at GOMA called Setting the Stage. If you're wondering just where you'll be watching its program of features, shorts and documentaries, the fest's venues have been announced as well. In addition to GOMA's own Australian Cinematheque, the fest will screen at Dendy Cinemas Coorparoo, The Elizabeth Picture Theatre, New Farm Cinemas, Reading Cinemas Newmarket and the State Library of Queensland The 2019 Brisbane International Film Festival runs from Thursday, October 3 to Sunday, October 13 at a variety of Brisbane venues. The full program will release on Thursday, August 22 — head to the festival website for further details.
Since March this year, Australians have been told to do several things over and over again: social distance, wash our hands and maintain other hygiene measures, stay at home as much as possible, and get tested if we feel the onset of even the mildest COVID-19 symptoms. Accordingly, we've all become well acquainted with Zoom calls, different types of sanitiser and bumping elbows, as well as the sight of our own four walls. And, we've become accustomed to seeking medical advice for the slightest of coughs, fevers, sore or scratchy throats, shortness of breath, and the loss of smell or taste. Where the latter is concerned, the Queensland Government has announced a new pilot program to make COVID-19 testing easier and more accessible — by allowing pharmacies to conduct the tests. If you lined up at a pop-up clinic last month after the state's most recent community coronavirus cases, or even just drove past one and saw the long queues, you'll know there's clearly a demand for added testing capacity. https://www.facebook.com/annastaciamp/photos/a.523591701005345/3410948968936256/?type=3&theater While the exact stores are yet to be announced, community chemists across the state will be able to take part in the trial over the next few months. Yes, that means that you'll be able to get tested when you're stopping by your local store for other pharmaceutical products. Some chemists already administer flu shots as winter approaches, so conducting COVID-19 tests isn't much of a leap. As Queensland Deputy Premier and Minister for Health and Minister for Ambulance Services Steven Miles explained, "each year there are over 458 million patient visits to community pharmacies — approximately 8.8 million per week". The aim is to make testing as widely available as possible, of course, including in regional and remote pharmacies. When it is up and running — with a specific date yet to be announced — the pilot program will operate alongside Queensland's existing testing centres and fever clinics. And, anyone with possible coronavirus symptoms can still contact their local GP about testing as well. For more information about Queensland's trial of COVID-19 testing in pharmacies, read the State Government's announcement — we'll update you with more details when they come to hand.
What's better than one weekly food market in the heart of Brisbane? Two, of course — and, to spread the love, this one is over the other side of the inner city. For a few years now, in great news for anyone who works at the Spring Hill and Fortitude Valley end of the CBD, Cathedral Square Markets has been popping up on Thursdays to give Brisbanites another chance to grab a tasty lunch, some top fresh produce and all kinds of other bites to take home. A weekly Thursday affair, the markets run from 8am–2pm. Because it's organised by the same folks behind the Wednesday markets at Reddacliff Place, you know what you're in for — just on a different day. As well as farm-fresh fruit and vegetables, artisanal breads and baked goods, and local seafood and meats, you'll find a range of stalls selling meals you can eat while you're there. That's handy —because we all know that it's best not to shop for food on an empty stomach. 2023's vendors include Carlos Tacos, Bapboi slinging Korean barbecue eats, Lamb Marinade with its slow-cooked meats and waffles via Whisk and Flip. And if you're usually in another part of town but you want to drop by before work or during your break, that's obviously on the agenda as well.
Whether you're a big nature nerd or err on the indifferent side to the science of it all, chances are you've seen at least some of Sir David Attenborough's Blue Planet. The BBC nature documentary series — narrated by the man himself and accompanied by an epic score from Hans Zimmer — first aired back in 2001, and its follow-up second season, Blue Planet II, was released just last year. But the bits you've seen on TV or YouTube are sure to be belittled when the BBC brings the live show to Australia this April. Like the performances of Harry Potter and Star Wars we've seen in recent months, Blue Planet II Live in Concert will see the documentary screened in all its glory accompanied by a live orchestra. And it's a big score. The music for Blue Earth II was composed by none other than Hans Zimmer (responsible for epics like The Lion King, Gladiator, The Dark Knight Rises and Inception) alongside Jacob Shea and David Fleming. In Australia, the score will be performed by three of the country's leading orchestras and, in lieu of Attenborough, Ab Fab's Joanna Lumley will be narrating in real time. The show will travel around Australia in March 2019, visiting Melbourne, Brisbane and Sydney for just three shows all up. Tickets go on October 15. In the meantime, you can watch ehe first season of Blue Planet on Netflix. BLUE PLANET II LIVE IN CONCERT TOUR DATES March 8, 2019— Sydney Theatre, International Convention Centre, Sydney (with the Sydney Symphony Orchestra) March 9, 2019 — Plenary, Melbourne Convention and Exhibition Centre (with the Melbourne Symphony Orchestra) March 11, 2019 — Great Hall, Convention and Exhibition Centre (with the Queensland Symphony Orchestra) Blue Planet II Live in Concert will tour Australia from May 8–11, 2019. Presale tickets will go on sale on Monday, October 15. For more info, visit blueplanet2live.com.au. Image: Hugh Miller, copyright BBC NHU (2016).
Add another huge festival to your calendar, and thank Norwegian DJ Kygo in the process. Not only is the 'Stole the Show', 'Here for You', 'Stay' and 'It Ain't Me' talent one of the headliners at Palm Tree Music Festival when it makes its Australian debut in 2023 — the former bedroom producer is also behind the whole shindig, creating it with his manager Myles Shear. Until now, the fest has played The Hamptons, New York, Cabo, Mexico and Croatia, and proven a hit in the process. Next year, it'll add a trip Down Under to its itinerary for the first time ever, rolling into Sydney, Brisbane and Melbourne in mid-March. While Kygo brings the fest some sizeable star power, he's not its only high-profile DJ doing the honours for the event's maiden Aussie run. Also hitting the decks is Tiësto, aka one of the biggest names in electronic music in the world for the past couple of decades. From initially getting mainstream attention back in 2000 with his remix of Delerium's 'Silence' through to his 2020 hit 'The Business' and 2022's Charlie XCX collaboration 'Hot In It' — and plenty in-between — the Dutch DJ will have quite the back catalogue of tracks to mix into his set. With its holiday-friendly name, it should come as no surprise that Palm Tree Music Festival takes inspiration from Kygo's stints touring the world. Expect a cruisy vibe set to EDM's greatest and latest, too. Also joining the bill so far, heading to Showgrounds Dome in Sydney, Brisbane's Riverstage and Melbourne Showgrounds: Lost Frequencies, Sam Feldt and Frank Walker. A lineup of local talent will be announced at a later date. View this post on Instagram A post shared by Palm Tree Music Festival (@palmtreefestival) PALM TREE MUSIC FESTIVAL 2023 AUSTRALIAN LINEUP: Tiësto Kygo Lost Frequencies Sam Feldt Frank Walker PALM TREE MUSIC FESTIVAL 2023 AUSTRALIAN DATES: Friday, March 10 — Showgrounds Dome, Sydney Saturday, March 11 — Riverstage, Brisbane Sunday, March 12 — Melbourne Showgrounds Palm Tree Music Festival heads to Australia in March 2023. Tickets presales start at 11am AEDT on Friday, October 14, with general sales from 10am AEDT on Thursday, October 20. For more information, head to the festival promoter's website. Top image: Ss279 via Wikimedia Commons.
The 80s were a booming time for teen movies, but one film from the era will always stand out from the crowd. Like protagonist, like picture, clearly. Ferris Bueller (Matthew Broderick) might be the most popular student at his suburban Chicago high school, but he's not one for blending in — even when he's skipping school with his anxiety-riddled best friend Cameron (Alan Ruck) and laidback girlfriend Sloane (Mia Sara), all while their principal is on their tail. Almost 35 years since it first reached cinemas, Ferris Bueller's Day Off has become not just a classic but an iconic flick — and, no matter how many times you rewatch it, it's easy to see why. Written and directed by the great John Hughes (Sixteen Candles, The Breakfast Club), it's as amusing as it is entertaining. And yes, it'll have you wanting to sing 'Twist and Shout' in a parade.
2023 marks eight years since one of the greatest living American directors last released a film. While he did direct an episode of Tokyo Vice's first season in 2022, Michael Mann hasn't had a movie flicker across the big screen since 2015's Blackhat. Thankfully, that's changing with a picture that also gives the world Adam Driver as a race car driver-turned-sports car entrepreneur: Ferrari. Mann adds Ferrari to a resume that also includes 80s masterpiece Thief, The Last of the Mohicans and Heat in the 90s, plus Collateral, Miami Vice and more. For Driver, the film proves another case of living up to his name on-screen. He's played a bus driver in Paterson, and piloted a spaceship in the Star Wars sequel trilogy as well as 65. So, zipping through the Italian streets here fits easily. As both Ferrari's first teaser trailer and just-dropped new full sneak peek show, Driver is behind the wheel in a film that focuses on its namesake when he's an ex-racer. As adapted from Brock Yates' book Enzo Ferrari: The Man, The Cars, The Races, The Machine, Mann's movie hones in on specific chapter of Enzo Ferrari's life: 1957, as potential bankruptcy looms over his factory, his marriage is struggling after a heartbreaking loss and his drivers approach the Mille Miglia race. Accordingly, Ferrari promises to peer behind the Formula 1 facade, into Enzo's relationship with his wife Laura (Penélope Cruz, Official Competition), the death of their boy Dino, and the son Piero with Lina Lardi (Shailene Woodley, Robots) that he doesn't want to acknowledge. If you know your racing history, you'll also know that 1957's Mille Miglia — which spanned 1000 miles across Italy — was its last due to multiple deaths during the event. So, that race won't be an insignificant part of the film. Set to release at Christmas in the US and on January 4, 2024 Down Under, Ferrari also stars Patrick Dempsey (Disenchanted), Jack O'Connell (Lady Chatterley's Lover), Sarah Gadon (Black Bear) and Gabriel Leone (Dom). Check out the trailer for Ferrari below: Ferrari releases in cinemas Down Under on January 4, 2024. Images: Lorenzo Sisti / Eros Hoagland.
If you've ever listened to a true-crime podcast, decided that you'd make a great Serial host yourself and started wondering how you'd ever follow in Sarah Koenig's footsteps, then you should be watching Only Murders in the Building. The Disney+ series follows three New Yorkers who basically follow that same process. Here, actor Charles-Haden Savage (Steve Martin, It's Complicated), theatre producer Oliver Putnam (Martin Short, Schmigadoon!) and the much-younger Mabel Mora (Selena Gomez, The Dead Don't Die) are all obsessed with a podcast hosted by the fictional Cinda Canning (Tina Fey, Girls5eva). They find themselves bonding over it, in fact. And, when someone turns up dead in their building, they decide that they can sleuth their way through the case by getting talking themselves. First hitting streaming last month, and now dropping new episodes week-by-week, the series has been unfurling its first season in a very entertaining fashion. It's exceptionally well-cast, and makes makes the most of its main trio's mismatched vibe. It's filled with hearty affection for everything it jokes about, resulting in an upbeat satire of true-crime obsessions, podcasting's pervasiveness and the intersection of the two. It adores its single-setting Agatha Christie-lite setup, it's always empathetic, and it also loves peppering in highly recognisable co-stars and guest stars such as Fey, Nathan Lane (Penny Dreadful: City of Angels), Amy Ryan (Late Night) and even Sting. With the latter, it isn't above making puns about not standing so close to him, or just serving up jokes on that level in general. Yes, it's a delight. And, although it's only five episodes in so far, Only Murders in the Building has just been renewed for a second season. So, if you'd like more of a show that's basically Knives Out, but a sitcom and also a little goofier, you're in luck. Expect another round of murder and podcasting. Expect another suspicious death in the show's Arconia building, too, given the series' title. That's great news for viewers, but probably not for the apartment block's residents — other than Martin, Short and Gomez's characters, that is. Exactly what the next season will cover and when it'll arrive hasn't yet been revealed; however, co-creator and executive producer John Hoffman said that "to carry on our show's wild ride of mystery-comedy-empathy is too exciting for words." Streaming as part of Disney+'s new Star expansion, which launched in Australia back in February this year, Only Murders in the Building enjoyed Star's most-watched premiere among its original series. So, it clearly already (and deservedly) has plenty of fans, all ready not just for the next five episodes of season one, but for another season afterwards. Check out the trailer for Only Murders in the Building below: The first five episodes of Only Murders in the Building's first season are available to stream now via Star on Disney+, with new episodes dropping weekly. Read our full review. The show will return for a second season, but exactly when that'll be hasn't yet been announced. Images: Craig Blankenhorn/Hulu.
"On a bitter, cold Christmas eve, one dark soul is selected for redemption by the ghosts of Christmas past, present and yet to come". So starts the narration for the trailer for new festive flick Spirited — and so starts another new take on A Christmas Carol, too. But this adaptation and updating of Charles Dickens' well-known tale has a few things that most others don't, plus a twist. First, there's tunes, because this movie is a musical, complete with plenty of big song-and-dance scenes in the just-dropped sneak peek. Also, it features Will Ferrell (The Shrink Next Door) and Ryan Reynolds (The Adam Project) leading the show. (Yes, you now have another Ferrell movie to add to your Elf-led festive binge.) Reynolds yet again plays 'ordinary guy that something unusual happens to'. Actually, he plays Clint Briggs — but thanks to films like Free Guy and The Change-Up, he has slipped into this kind of part before. Here, he's the "level-20 pain in the Dickens" who is selected by the Ghost of Christmas Present (Ferrell) to get a haunting visit, to hopefully spark him to reform his ways. As brought to the screen and stage countless times, transforming from curmudgeonly to compassionate is the aim of this spirited intervention, which also features Octavia Spencer (The Witches) as Clint's boss — and someone that the Ghost of Christmas Present is quite fond of. The twist with Spirited, other than the songs? The film unfurls A Christmas Carol's narrative from the perspective of the ghosts. Writer/director Sean Anders and his co-scribe John Morris say "bah humbug!" to the regular version of the story, clearly, with the pair reteaming after Instant Family, the Daddy's Home movies and Horrible Bosses 2 — and reuniting with Ferrell after Daddy's Home franchise as well. Apple TV+ will stream the end result, releasing Spirited on Friday, November 18, and adding it to the 'films based on A Christmas Carol' subgenre alongside everything from Ghosts of Girlfriends Past and Scrooged. Check out the trailer for Spirited below: Spirited will be available to stream via Apple TV+ from Friday, November 18.
Thanks to airport reads and movies based on them, everyone has heard of The Da Vinci Code. Leonardo da Vinci's Codex Atlanticus is the true stunner, though. The 12-volume set is filled with the artist and inventor's drawings and writings, detailing his thoughts and featuring his sketches on a wide array of topics. It dates back to the 15th and 16th centuries. It's priceless. Original pages from it are also on their way to Australia. From Saturday, March 16, Australia's first permanent digital-only art gallery The Lume will exhibit Leonardo da Vinci — 500 Years of Genius, the Melbourne venue's major 2024 exhibition. In its immersive fashion — because creating walkthrough art experiences is its approach — the site is paying tribute to the Italian Renaissance master. Most of the showcase will involve towering versions of artworks such as the Mona Lisa on the walls, plus pieces from his contemporaries as well; however, Codex Atlanticus will be a big feature, too. This is the first time that sheets from Codex Atlanticus will be on display in Australia. Since 1637, it has called Milan's Biblioteca Ambrosiana home. It's thanks to a relationship between the latter and Grande Experiences, which is behind The Lume and also Rome's Museo Leonardo da Vinci, that some of its pages can head this way. The Codex Atlanticus features entries from da Vinci from between 1478–1519, dating up to the year of his death. In his handwriting — in Italian, of course — and as sketched by his fingers, everything from flying machines and architecture to engineering and hydraulic systems are covered. [caption id="attachment_943630" align="alignnone" width="1920"] Biblioteca Ambrosiana[/caption] "These pages from the Codex Atlanticus represent not just a collection of sketches and writings but a gateway into the brilliance of Leonardo da Vinci's mind," said The Lume founder Bruce Peterson. "Their arrival in Australia is profound, allowing visitors to explore Leonardo in a once-in-a-generation opportunity." Leonardo da Vinci — 500 Years of Genius is clearly more than the world's most-famous enigmatic smile beaming down, then. The gallery is calling it its "most ambitious, immersive and breathtaking yet", which is quite the claim for a collection that follows a van Gogh celebration, a focus on Monet and his peers and the First Nations-centric Connection. The Last Supper will also enjoy the spotlight in a big way, while the Mona Lisa will link in with the segment of the exhibition that's all about French optical engineer Pascal Cotte, who invented a multispectral camera and has peeled back the artwork's layers using his research. Accordingly, get excited about Mona Lisa Revealed, which will include an exact 360-degree replica — the only one in the world — as created thanks to Cotte's 240,000,000-pixel multispectral camera. Also among Leonardo da Vinci — 500 Years of Genius' highlights: 50 of da Vinci's "machine inventions", which will be on loan from the Museo Leonardo da Vinci in Rome. This part of the exhibition will hero recreations made in Italy from the artist and inventor's sketches, and also using the materials and techniques he would've at the time. The exhibition will step through da Vinci's life, as well, including journeying through Florence's streets, Venice's canals and Milan — as brought to attendees via sight, sound, scent, touch and taste. That said, Leonardo da Vinci — 500 Years of Genius isn't solely about its namesake's well-known works, with the 3000-square-metre multi-sensory gallery also exploring his inspirations and those creating their own masterpieces at the same time. Botticelli's The Birth of Venus, Michelangelo's Sistine Chapel ceiling and works by Caravaggio will feature, for instance. In Queensland, at HOTA, Home of the Arts, Grande Experiences's Italian Renaissance Alive will also take a broader look at the period — but anyone wanting a glimpse of Codex Atlanticus will need to head to Melbourne. Leonardo da Vinci — 500 Years of Genius opens at The Lume, Melbourne Convention and Exhibition Centre, 5 Convention Centre Place, South Wharf, Melbourne, from Saturday, March 16, 2024 — head to the venue's website for tickets and further information.
If spending more time indoors this winter has you craving all things sweet and comforting, that's understandable. As the world keeps reacting to the COVID-19 pandemic more than a year later, pining for sugar and whatever makes your tastebuds happy is a completely natural response. Enter San Churro's new range of winter snack packs, which are all about pairing its eponymous dish with other dessert favourites. Last year, the nationwide chain has launched a retro-influenced range of churro snack packs. This year, it's adapting the concept to include tried-and-tested sweet treats. So, each kit combines churros — aka long, thin, fried-dough pastries — with something else that'll get your mouth watering. Think: apple pies and s'mores. Each pack comes with mini churros, whichever other dessert is in the spotlight, and your choice of drizzled white, dark or milk chocolate. The apple pie version also includes vanilla ice cream, while the s'mores kit has both cookie butter s'mores and toasted marshmallows. There's a third variety, focusing on jam doughnuts, too — but, given their similarity to churros, they come solo, in balls, then topped with strawberry coulis, vanilla custard and strawberries. The new packs are available in-store now, including for takeaway; however, they're just part of the chain's new winter menu. It's also serving up hot chocolate bombs, but you have to consume them onsite — so, for now, Sydneysiders and Melburnians can't enjoy them during lockdown. What's a hot chocolate bomb? It's a ball of chocolate that comes filled with marshmallows, mini Oreos, or cocoa cereal and Milo. Again, you can choose between white, dark or milk chocolate — and then you pour hot milk over the top and get sipping. San Churro operates 13 stores in New South Wales, nine in Victoria and ten in Queensland, as well as 14 in Western Australia and three in South Australia. San Churro's new winter snack packs are available now. For further information, visit the chain's website.
Australia's theatre scene hasn't had much to smile about in 2020; however, before the year is out, some venues around the country will kick back into gear with a little help from their friends. Well, with Friends! The Musical Parody to be specific — with the comedic, song-filled satire of everyone's favourite 90s sitcom touring the country in November and December. Scheduled to kick off in Melbourne before being there for audiences in Brisbane, Perth, Adelaide and Sydney, Friends! The Musical Parody will spend time with Ross, Rachel, Chandler, Monica, Joey and Phoebe, of course. Here, they're hanging out at their beloved Central Perk — and sitting on an orange couch, no doubt — when a runaway bride shakes up their day. Call it 'The One with the Loving, Laugh-Filled Lampoon', or 'The One That Both Makes Good-Natured Fun of and Celebrates an Iconic Sitcom'. Yes, no one told you that being obsessed with the Courteney Cox, Jennifer Aniston, Matthew Perry, Matt LeBlanc, Lisa Kudrow and David Schwimmer-starring show about six New Yorkers would turn out this way — with on-stage skits and gags, recreations of some of the series' best-known moments, and songs with titles such as 'How you Doin?' and 'We'll Always Be There For You'. That said, no one told us that being a Friends aficionado would continue to serve up so many chances to indulge our fandom 16 years after it finished airing, including via an upcoming reunion special that'll gather the TV series' main cast back together. A hit in New York and Los Vegas, Friends! The Musical Parody was actually due to make its way around the nation from August–September, but then came the COVID-19 pandemic. If you already had a ticket for an earlier date, you'll be, contacted about the rescheduled dates. FRIENDS! THE MUSICAL PARODY AUSTRALIAN TOUR: Comedy Theatre, Melbourne: Wednesday, November 4–Saturday, November 7 Tivoli Theatre, Brisbane: Thursday, November 19–Saturday, November 21 Regal Theatre, Perth: Saturday, November 28 Her Majesty's Theatre, Adelaide: Friday, December 4 Riverside Theatres, Parramatta: Thursday, December 17–Saturday, December 19 https://www.facebook.com/friendsthemusicalau/photos/a.1094246727578341/1225756067760739/?type=3&theater Friends! The Musical Parody tours the country from Wednesday, November 4–Saturday, December 19. For further details, and to buy tickets, visit the production's website.
The 21st-century has not been kind to the vampire. Between Stephenie Meyer's sparkling high schoolers, the leather-clad killers of the Underworld series and whatever the hell those things in I Am Legend were meant to be, the once noble creatures of the night have been reduced by pop-culture to cringeworthy caricatures. Bela Lugosi must be turning in his grave. Enter Jim Jarmusch, director of Dead Man, Ghost Dog and Broken Flowers, to name just a few. One of the enduring figures of the American indie film movement, Jarmusch has made a career out of minimally plotted, post-modern genre subversions, and his latest work is no exception. Mixing traditional vampire mythology with the director's distinctively aloof brand of cool, Only Lovers Left Alive is a handsome, compelling, meditative take on the lives of the eternal undead. An appropriately gaunt and pasty Tom Hiddleston plays Adam, a centuries-old bloodsucker living on the outskirts of Detroit. A reclusive figure, Adam's only human contacts are a crooked hospital doctor (Jeffrey Wright) who provides him with fresh batches of O-negative, and a wide-eyed rock 'n' roll fan (Anton Yelchin) from whom the vampire buys vintage guitars. Aside from his music, the one thing Adam cares about is his wife, Eve (Tilda Swinton), with whom he is reunited not long after the movie begins. For a while, the immortal lovers live in peace, but their solitary existence is shattered by the arrival of Eve's impulsive younger sister (Mia Wasikowska). Read our full review of Only Lovers Left Alive here. Only Lovers Left Alive is in cinemas on Thursday, April 17, and thanks to Madman, we have ten double in-season passes 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. Sydney: win.sydney@concreteplayground.com.au Melbourne: win.melbourne@concreteplayground.com.au Brisbane: win.brisbane@concreteplayground.com.au https://youtube.com/watch?v=ycOKvWrwYFo
Brisbane electronic music collective Silo is celebrating its first year of activity by throwing a birthday bash at Bar Soma. The group have been responsible for throwing great parties and shows over the past year, featuring some of Australia’s (and the world’s) best electronic artists. Celebrations will include performances from Oliver Tank (SYD), Silo affiliate OUTERWAVES, Rainbow Chan (SYD), and Charles Murdoch. Silo is also marking the occasion by launching its first vinyl release – a split 7-inch, featuring Rainbow Chan and OUTERWAVES. The discs will be hand cut onto clear vinyl and will be the first in a series of vinyl releases from Silo. There will be plenty of cake and shenanigans, tickets are $18 and there is a limited release. No birthday suits required.
It's true of every great arts festival lineup: pick three highlights from the program at random and a clear snapshot of the event's diverse array of experiences emerges. For a trio of picks from Sydney Festival's just-announced 2025 bill that does exactly that, turning the Harbour City's Town Hall into the wild west, exploring a true-crime case in an IRL courthouse, then getting Avatar, Titanic, The Terminator and Aliens filmmaker James Cameron chatting about shipwrecks all paint a clear picture. As it has done for 49 years now, this fest adores having something for everyone on offer. Just two years after Sydney Town Hall became an indoor beach complete with 26 tonnes of sand for the festival, the venue will transform into a pioneer settlement for Dark Noon, which builds its setting in real time as the audience watches on. A hit at Edinburgh Fringe, playing Australia exclusive to Sydney Festival and heading Down Under after a run in New York, the production from Danish director Tue Biering explores the power dynamics, race relations and colonial impacts inherent in its chosen chapter of history, all by subverting the wild west tropes established by cinema over the years — and with a South African cast. [caption id="attachment_977489" align="alignnone" width="1920"] Teddy Wolff[/caption] Also a standout on the full program, which'll pack Sydney with more than 130 shows and events from Saturday, January 4–Sunday, January 26, 2025: A Model Murder at the Darlinghurst Courthouse. Playwright Melanie Tait (The Appleton Ladies' Potato Race) and director Sheridan Harbridge (44 Sex Acts in One Week) aren't just recreating model Shirley Beiger's trial for shooting her cheating boyfriend — they're staging it at the same spot where it took place seven decades ago. For something completely different, one of the biggest names in blockbuster cinema is also on the Sydney Festival lineup, with James Cameron's experience in the water — including diving to earth's deepest point — the topic of conversation on the talks section of the bill. Or, still thinking about the sea, a giant whale is popping up in Bondi, courtesy of Spare Parts Puppet Theatre. The fest's 23-day run has a date with 43 different locations around town, ensuring that every corner of Sydney gets in on the action. One such location: Walsh Bay Arts Precinct, where The Thirsty Mile is returning as a hub featuring much to see by day and night. Think: free live music across 12 evenings, yoga classes, a heap of productions, public art and, for a beverage, the Moonshine Bar, where artist Telly Tuita is decking out the joint — as he's also doing with the SS John Oxley and via ten-room 'Tongpop' installation Colour Maze. Blak Out joins the favourites making a comeback, this time with Sydney Festival's Creative Artist in Residence Jake Nash curating the program. With Barangaroo Reserve as its base, this pivotal part of the fest includes Belvoir Theatre's Jacky, album launches for DOBBY and Radical Son, a woven canopy that'll host conversations, a celebration of Redfern's 70s-era National Black Theatre and more. [caption id="attachment_977492" align="alignnone" width="1920"] Tashi Hall[/caption] From there, the world premiere of Siegfried & Roy: The Unauthorised Opera, Sophocles' Antigone reimagined on the edge of the Amazon rainforest in Brazil and a twist on Shakespeare via Cliff Cardinal's As You Like It or The Land Acknowledgement should get your eyes glued to the stage. Also in the same category: Back to Back Theatre's Multiple Bad Things at Sydney Opera House, Opera Australia taking on Cendrillon (Cinderella), Christie Whelan Browne exploring her childhood. First Nations drag performer Miss Ellaneous honouring a simply-the-best icon with Tina — A Tropical Love Story and Greek mythology-inspired dance piece AFTERWORLD. Elsewhere on the bill, Rufus Wainwright is heading to town, William Yang's Milestone marks his 80th birthday, Katie Noonan is paying tribute to Jeff Buckley's Grace for its 30th anniversary, Wendy Whiteley's Secret Garden is hosting five gigs, the Future Frequencies bill is all about music up and comers such as Yaya Bey and Cash Savage and The Last Drinks, Sydney Symphony Under the Stars is back and audiences can take part in interactive dance piece Cowboy. [caption id="attachment_977485" align="alignnone" width="1920"] Dahlia Katz[/caption] "Sydney Festival has long held summer's cultural pulse and this year is quite the heartbeat. Stories of Oceania, destiny and what we leave behind through to bold explorations of utopia and dystopia, Sydney Festival 2025 promises an exhilarating and thought-provoking journey through the arts with exceptional talent at the reins," said Festival Director Olivia Ansell, announcing her fourth — and final — program. "This January, immerse yourself in a summer of unforgettable performances, groundbreaking new works, and exclusive experiences that reimagine the world around us." There's clearly a wealth of reasons to head along, whether you're a Sydneysider making the most of your own town or you're planning an interstate trip to kick off 2025 — and the fact that the fest is also doing $49 early-bird tickets across the entire program until early December is yet another. [caption id="attachment_977488" align="alignnone" width="1920"] Ben Lindberg[/caption] [caption id="attachment_977486" align="alignnone" width="1920"] Jeff Busby[/caption] [caption id="attachment_977487" align="alignnone" width="1920"] Bill Cooper / Royal Opera House / ArenaPAL[/caption] Sydney Festival 2025 runs from Saturday, January 4–Sunday, January 26 at venues across the city. For further details and to buy tickets from 9am AEDT on Wednesday, October 30, visit the Sydney Festival website.
Australia will soon get to see The Wind Rises (Kaze tachinu), the supposedly final work from Japanese animator Hayao Miyazaki (Spirited Away, My Neighbour Totoro), who based the film on his own manga comic of the same name. Set in Japan pre-WWII, the critically acclaimed animated drama follows the life of a young flight-obsessed engineer who designs Japanese fighter planes, a plot inspired by the real-life creator of the Mitsubishi A5M and A6M Zero, Jiro Horikoshi. As the highest grossing Japanese film of 2013, The Wind Rises also took out the Golden Lion at the Venice Film Festival. It sounds like a must-see for Studio Ghibli fans and aviation nerds, plus those keen to experience what sounds like the last film from a truly legendary animator. The film will play in Japanese and English, with respective subtitles. Its English language cast includes Joseph Gordon Levitt, Elijah Wood and Emily Blunt. The Wind Rises is in cinemas on Thursday, February 27, and thanks to Madman Films, we have ten double in-season passes 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. Sydney: win.sydney@concreteplayground.com.au Melbourne: win.melbourne@concreteplayground.com.au Brisbane: win.brisbane@concreteplayground.com.au
Just ten short months ago, seeing a new high-profile movie was a rather straightforward affair. When a big-screen release date was announced for a film, that's generally when it would hit theatres, perhaps with a few minor shifts here and there. But then, as we all know, the pandemic hit. Film release dates started being postponed and have kept up that trend, with big-name flicks pushing their openings back by around a year in some cases. And, recognising that the cinema industry mightn't return to normal worldwide while COVID-19 is still spreading, a few of those eagerly anticipated movies have been making the jump to streaming instead. Add Soul, Pixar's latest film, to the latter category. Instead of releasing in cinemas, it'll now head straight to Disney+ in December. If your Christmas plans usually involve lots of food and then some couch time, you'll be able to feast your eyeballs on the animation studio's new all-ages effort, as it'll hit the Mouse House's streaming platform on Friday, December 25. This isn't the first time that Disney, or even the Disney-owned Pixar, have taken this leap. Earlier in 2020, Pixar's Onward was moved to Disney+ once cinemas started closing down worldwide. Disney also sent terrible fantasy flick Artemis Fowl straight to streaming mid-year, as well as the phenomenal live recording of hit musical Hamilton. The same happened with its big-budget live-action version of Mulan, too, albeit with an added cost involved on top of the normal Disney+ subscription price. With Soul, viewers won't have to fork out anything extra, with the film available as a regular part of the streaming platform's catalogue. And if you're a big fan of Pixar's fondness for layering eye-catching imagery over a shared existential question — what it means to be alive and to feel, regardless of whether you're a toy, bug, monster, fish, superhero, car, rat, robot, dinosaur or emotion — this is clearly great news. As viewers can't help noticing, the animation powerhouse has been leaning into its favourite idea with plenty of force of late. Inside Out focused its attention on the emotions warring inside the heart and mind of a young girl, guiding her every thought, feeling and decision, while Coco drew upon the Mexican Day of the Dead, following a young boy as he wandered through the world beyond the mortal coil. Now, with Soul, Pixar looks to be borrowing from and combining parts of those two movies. It hones in on a school teacher who dreams of becoming a jazz musician, then falls down an open manhole and into a dark realm that looks rather like the afterlife. His titular essence is detached from his body, comes across a far more cynical counterpart and, in the process, starts wondering what it really means to have a soul. Jamie Foxx voices jazz-lover Joe Gardner, who is already musing on life's important questions — why is he here, what is he meant to be doing and what existence is all about — before his accident. Once he has tumbled down the manhole, he spends his time bantering with 22, voiced by Tina Fey. As well as whipping out a nifty cowboy dance, 22 doesn't think that life on earth is all that great. Audiences can expect to tag along on Joe's metaphysical journey, and to enjoy Foxx and Fey's comedic double act. The film also features the vocal talents of Questlove, Phylicia Rashad and Hamilton's Daveed Diggs, and boasts a score by Trent Reznor and Atticus Ross. And if you're wondering where the movie's central idea comes from (other than Pixar's back catalogue), writer/director Pete Docter started thinking about the origin of our personalities when his son was born more than two decades ago. Docter also helmed two of Pixar's big hits — and big emotional heavy hitters — in Up and Inside Out, nabbing Oscars for Best Animated Feature for both. Check out the trailer for Soul below: https://www.youtube.com/watch?v=xOsLIiBStEs Soul will start streaming on Disney+ on Friday, December 25, as part of the streaming service's regular subscription offering.
Billboards are traditionally known for their advertising, but in a world first, Peruvians prove they can offer an alternative function: producing water out of thin air. The University of Engineering and Technology in Lima, the second largest capital city in the world set on a desert, has developed this incredible billboard, which could improve the health of hundreds of citizens. The contraption contains generators that capture the air's humidity, which due to the lack of rain in the region is usually at 98 percent. This is then treated through air and carbon filters, condensed into purified water, and stored in tanks to be accessed by taps at the base of the billboard. Because so many people in the area source their (often polluted) water from wells, this potable water is a real help to the millions of residents of the city. The billboard produces 9450L water over a period of three months, which is enough clean water to cover the consumption of hundreds of families each month. The multifunction billboard does also advertise for the University that developed it — but then, this innovative, life-saving creation does warrant the right to brag just a little bit. Take a look at this video to find out more about how the billboard works and the effects it's had on the people of Lima. Via PSFK.
If your idea of a stellar Sunday includes a Cantonese banquet and cracking river views, then Howard Smith Wharves go-to Stanley has you covered. One of the precinct's top spots, it's now in the yum cha game every weekend, serving up everything from XO seafood dumplings and crispy prawn rolls to spicy chicken feet and barbecue char siu puffs. Stanley's Yum Cha and Champagne Sundays take place on Sundays, obviously, with sittings between 11.30am–3pm. For $58 per person, you'll also tuck into prawn har gow, scallop siu mai, duck and mushroom dumplings and more. Plus, for those feeling particularly indulgent, there's a $137 option, too, which includes two hours of bottomless champagne. And, you can pick and choose other add-ons for an extra cost, should you be hankering for peking duck pancakes, steamed coral trout or five-spice roast duck.
Here's a reality check: your career will likely span upwards of 40 years of your life. That's a long time spent at work. Given that empirical fact, ideally, you want to be in a position where you can actually get the most out of your job in terms of satisfaction, pay and its alignment with your personal goals. We have one word for you: upskill. Your working life is rarely one continuous upwards trajectory. Yes, there are successes — but, equally, there are slumps. One way to avoid these and pivot your way out of job stagnation is through targeted education. Taking a course related to your career goals helps you expand your realm of knowledge beyond your original training, keep up to date with the latest research and methodologies in your field, and show your present (and prospective) employers your ambition and drive for self-improvement. To help you do this, we've picked five university subjects with no prerequisites that you can take as one-off courses to help you get ahead in your job. PROGRAMMING: LEARN HOW TO CODE Digital skills! These are in increasing demand across a broad range of industries, from media and advertising to design and technology. Retraining is essential in today's world — technological changes are constantly challenging the basic skillsets required in the workforce, and there is always something new to learn. Keep up and adapt with RMIT's introductory programming course. You'll learn the basics of coding and sequencing as well as ethical considerations in programming. So when someone in the office needs someone to go in and tweak the website's code, you'll be able to smugly run to their aid. What's the subject? Introduction to Programming at RMIT. Enrol here. UX DESIGN: KNOW HOW TO CREATE A USER-FRIENDLY PRODUCT Demand for good UX (that is, user experience) designers is most definitely on the rise — it's something we use every single day. That's because UX designers create frontend designs for users that are attractive and functional — it's what makes apps like Instagram or Airbnb intuitive and useable. In this course, you'll learn the basics of UX design. Then, from there, you can experiment on your own or even opt to take on further study. Because this is a relatively new occupation, doing this course will give you the ability to differentiate yourself in an emerging area of expertise. Salaries depend on experience, but on the whole they're way above the national average, with senior UX designers earning up to $120,000 per annum. Not bad. But even if you don't become a UX designer per se, knowing the basics helps facilitate communication with any UX designers you hire or work with. Knowing what you're talking about cuts out unnecessary back and forth communication thanks to a shared language and will allow you to get the project done much quicker, saving you time and patience and your company money. What's the subject? User Interface and Experience Design at Curtin University. Enrol here. BUSINESS INNOVATION: GET THE KNOW-HOW TO TAKE YOUR BUSINESS TO THE NEXT LEVEL This course is a perfect booster if you work in an existing business, or if you're thinking of starting one on your own. You'll learn how to tackle business issues in a creative, innovative and — most importantly — practical way. Across the course you'll scrutinise real-world examples of innovation in the workplace that you can then apply to your own practice. You'll also learn how to pitch a concept (which we're going to say might be more useful than listening to episodes of StartUp). What's the subject? Innovative Business Practice with Swinburne University. Enrol here. PEOPLE MANAGEMENT: LEARN HOW TO FOSTER A THRIVING (AND DIVERSE) WORKPLACE If you work in HR or you lead a team or company, this one's for you. Equity and diversity are important principles getting a lot of airtime right now — and for good reason. The workplace only stands to benefit from diverse perspectives and bigger companies are constantly looking at how to create a more consciously egalitarian environment. If you know this is true but don't quite know how to put it into practice in an ethical and balanced way, this course should put you in a position to do so. It looks at the founding principles of HR management that will allow you to recruit, foster and maintain a happy, healthy, diverse and productive crew of colleagues. Anyone involved in recruiting and people management — and the companies they work for — only stand to gain from this training. What's the subject? Human Resource Management Principles with Griffith University. Enrol here. LEADERSHIP: BECOME A BOSS PEOPLE ACTUALLY LIKE If you want to increase your existing skills as a manager or are looking to be promoted through the ranks of corporate leadership, this course is a strong option. You'll learn about different team management styles and assess the varying ways that project teams can be structured. Relationship management and team development is absolutely vital in proving yourself as an effective team leader, and this course can help complement your at-work practical leadership experience. Essential stuff. Plus, if a promotion comes up, you'll be a prime candidate for the role. What's the subject? Project Leadership & Teams with University of South Australia. Enrol here. Start looking at all the subjects on offer online from leading Australian unis through Open Universities Australia and you could have a new skill by the end of the year. Hop to it.
It's no secret that staying active — and comfortable — while pregnant can be a bit of a struggle. Lifestyle brand Active Truth knows this all too well — it's run by two Brisbane mums, Stevie Angel and Nadia Tucker, after all. They've created award-winning maternity activewear that you can wear all day, every day throughout your pregnancy. Supporting women of all shapes, sizes and pregnancy stages, these leggings come in sizes small through 3XL and can be worn through every trimester, as well as post-natal. The duo created a compression fabric that provides secure support and is especially designed to help ease some of the pains and strains experienced during pregnancy. The tights will stay in place throughout your workout, too, and the compression fit assists in reducing leg swelling and soreness to boot. Available in black, dark navy and leopard print, the leggings range in four lengths, from bike shorts to full leg. Plus Active Truth products even come with pockets, so you can leave the house with nothing but your phone. The waistband can be worn up as high rise or as hip huggers and is flexible to fit all mums. If you're pregnant — or hoping to be in the near future — you can jump online now and grab a pair with the brand currently running a 20 percent discount on all orders (just enter ATMAMA20 at checkout). Active Truth also offers free express shipping worldwide — and uses compostable packaging, no less. Active Truth is currently offering 20 percent off all orders (enter ATMAMA20 at checkout) and free express shipping. FYI, this story includes some affiliate links. These don't influence any of our recommendations or content, but they may make us a small commission. For more info, see Concrete Playground's editorial policy.
Why settle for a tree-house when you can have a tree-in-the-house? We're not talking about your average Christmas decoration, but four storeys of architecture wrapped around a living, adult-sized fir tree. This one may well call for a revision of our top ten tree-houses for grown-ups. A. Masow Design Studio have installed the invention in the Almaty Mountains, Kazakhstan. Cylindrical in shape, the tree-in-the-house features hardwood floors, a spiral staircase and glass walls and ceiling. A hole through the middle provides room for the trunk and branches, as well as a neat method for the disposal of organic waste. According to the designer, Almasov Aibek, the creation offers an immersive natural experience, encouraging us to "feel more fusion with nature and give up some unnecessary conditions and things", and to cultivate "spiritual and creative development ... It was to be a place where you could sit with a friend and discuss ideas and philosophise". A. Masow Design Studio's other visionary works include the isolated, solar-powered ImagineHouse; a minimalist loft in New York City; an energy-efficient art gallery on Manhattan; and a design centre for Astana, Kazakhstan. Via PSFK.
How great is this party? If you've watched the first season of Apple TV+'s The Afterparty, you'll know that that statement applies in multiple ways. It's part of a song within the sleuthing series. Also, one of its on-screen figures believes the phrase sums up an entire genre of tunes, aka party bangers. And, it's also a great way to describe the whole show so far, which is indeed ace. The team at Apple's streaming platform clearly agree with the latter, too — because they've just renewed the star-studded murder-mystery program for a second season. And if your inner investigator is wondering how that'll work given that The Afterparty's first run of episodes, which just wrapped up on Friday, March 4, felt self-contained, we have two words for you: Detective Danner. That's the character played by Tiffany Haddish (The Card Counter), and she'll be back for season two. While she had top-notch company the first time around — a killer cast that also included Sam Richardson (Detroiters), Ben Schwartz (Space Force), Zoe Chao (Love Life), Ilana Glazer (Broad City), Ike Barinholtz (The Mindy Project), Dave Franco (If Beale Street Could Talk), Jamie Demetriou (The Great) and John Early (Search Party) — this time she'll be poking into a new case, so you can likely expect a whole new roster of names to join her. Presumably, some sort of afterparty will still remain part of the concept — unless there'll be a change of name. If you haven't yet watched the first season, it's set at an afterparty (obviously) at obnoxious autotune-abusing pop star Xavier's (Franco) lavish mansion following his 15-year high-school reunion. When he winds up dead, everyone is shocked but no one is overly upset, which gives the determined Danner plenty of suspects. Of course, while the settings change, and the motley crew of characters involved as well, plenty of whodunnits share the same premise. Take a ragtag group of folks, pop them all in the same spot, kill one off and then start asking questions — that's it, that's the formula. It works for boardgame Cluedo, it worked for Agatha Christie and her lengthy list of Hercule Poirot novels and stories, and it's also been behind everything from Knives Out and The Translators to Only Murders in the Building in the past few years. So, letting The Afterparty have another run at it should be easy for writer/director Christopher Miller (The Lego Movie). Exactly when The Afterparty's second season will arrive, who'll be getting killed and which other recognisable faces will star haven't yet been revealed. For now, keep your fingers crossed for another batch of episodes that twist in its their own directions, tell their tale with flair and approach the show's overall idea with a savvy sense of humour. Check out the trailer for The Afterparty below: The first season of The Afterparty is available to stream via Apple TV+. Read our full review. We'll update you with details about the second season's release date when it's announced.
Christopher Nolan has never made a Bond film. He certainly didn't helm The Matrix franchise, either. But combine the two — picking and twisting elements of each, including narrative tropes, sci-fi trickery and special effects wizardry — and the writer/director's latest slick, bold, mind-bending action-thriller Tenet is the end result. The movie's spy flick credentials are established at the outset, thanks to a tense, taut, supremely well-executed opening attack on the jam-packed Kiev Opera House. In a sequence that feels especially unnerving in today's crowd-phobic world, Tenet's nods to late 90s and early 00s sci-fi are evident here, too. Guns fire frequently, but when one in particular discharges, a bullet returns to the weapon rather than shooting out from it. It doesn't occur slowly, yet it still happens noticeably; if you wanted to dub it 'reverse bullet time', that wouldn't feel out of place. Soon afterwards, in case viewers weren't already thinking about Bond or The Matrix, Tenet's CIA operative protagonist — who is literally called 'the Protagonist' (John David Washington) — navigates his way through a familiar exposition dump-style sequence. A scientist (Clémence Poésy) talks him through some of the nuts and bolts of the shadowy situation he finds himself in, including explaining the inverse trajectory of the bullets. She has gadgets to mention as well. Actually, she has a lot more to say, specifically about inverted objects being sent back through time from the future. They're "the detritus of a coming war," she advises, which the Protagonist needs to prevent or life as everyone knows it will cease to be. Tenet wants you to pay very close attention at this point, with the film laying out oh-so many of the details, tidbits and stakes its plot balances upon. But it's the sight of the Protagonist learning how to fire a reverse bullet, then exclaiming a Keanu-esque "whoa!", that's extra memorable. If Tenet's premise so far sounds a little vague and convoluted, well, that's its wavelength. As obsessed with time, space, existence and consciousness as many of Nolan's movies, the cerebral film doesn't get any less tangled or labyrinthine from there, and it doesn't ever try to. Teaming up with suave English handler Neil (Robert Pattinson), the Protagonist hops around the globe from India and Estonia to Oslo and the Bay of Naples, with the pair wearing immaculate suits and endeavouring to stop the impending battle. Getting to know an arms dealer, Priya (Bollywood veteran Dimple Kapadia), is a key part of the plan. So is becoming entangled in the strained marriage between art expert Kat (Elizabeth Debicki) and her thick Russian-accented, clearly up-to-no-good husband Andrei Sator (Kenneth Branagh) and, at Neil's suggestion, also crashing a large freight plane into an airport. There's more to Tenet — much, much, much more, including twists upon twists that are best experienced while watching. But, as it charts the Protagonist's quest, the film boasts the kind of plot that is actually quite straightforward, yet is told in an overly complicated fashion (and in a lengthy way as well, with the feature's 150-minute duration felt). Keeping viewers puzzling for as long as possible is the main aim, and that sometimes comes at the expense of telling a great story in the clearest possible manner. It's a tale that, as a result, can occasionally feel cumbersome instead of thrilling. Nolan likes messing with audiences' heads, as Following, Memento and Insomnia established early, the Dark Knight trilogy continued, and even Dunkirk's structural approach demonstrated, so none of this should come as a surprise. Here, however, he jumps even beyond Inception's leaps, The Prestige's magic tricks and Interstellar's temporal dilations. When Poésy's character tells the Protagonist "don't try to understand it; just feel it," she's obviously speaking to Tenet's viewers as well — and, regardless of who is in the director's chair, that's a lazy cop-out. Tenet is entertaining, though. When it's at its best, it's downright spectacular. Some of its big setpieces — the aforementioned opera house scene, a breathtaking fight that stretches, sprawls and weaves through narrow corridors, and a narratively superfluous but enthrallingly shot catamaran race, for example — are simply stunning. In fact, like The Matrix's bullet time, fellow action films will be trying to ape Tenet's standout moments for decades to come. Nolan's feature is also impeccably cast, with Washington as charismatic as he was in BlacKkKlansman, Pattinson continuing to choose excellent roles and Kapadia a shrewd delight. Debicki and a forceful Branagh play characters with one-note functions and arcs, but they still have a sizeable impact. Throw in the percussive, suspenseful score by Ludwig Göransson (The Mandalorian) doing his best Hans Zimmer impression, as well as evocative production design by Nolan regular Nathan Crowley and glossy visuals lensed by Hoyte Van Hoytema (an Oscar nominee for Dunkirk), as there's plenty here to love. That said, there's also a sense that Tenet is bounding forward in some ways, while also needlessly looping back on itself in others. This a film with a palindromic name, and that inverts and reverts time again and again, so that's apt — although, given how meticulous Nolan's work always is, including this movie, the end sensation is unlikely to be intentional. Tenet is stirring, but also laborious. It's designed to not just immerse viewers in an inventive head trip, but to overwhelm; however it makes the audience work hard and feel like they're working. It's intricate and exacting, and also messy and repetitive. Right down to its penchant for frustratingly drowning out some of the dialogue with its thrumming score, it's a Nolan film through and through, in other words — usually to a mesmerising degree, but too indulgently as well. https://www.youtube.com/watch?v=K3zIWteWCMY
Today marks the last day of Dark Mofo and, for those of us on the mainland, this means today is the last day our social media news feeds are bombarded with Tasmanian whimsy. Over the past few days you may have asked yourself what this congregation of lights and bearded men actually is. You may have wondered what kind of wizardry has conjured all this neon and Hogwarts-esque feasting, and how you can become a part of it. Well, we've scoured our Instagram feeds and compiled a handy outsiders' guide for you. Organisers may declare the festival a celebration of "large-scale art, food, music, light and noise," but we feel it's best summed up by the following. Here's what went down at Dark Mofo 2014: People spent their time washing ice This was probably the most confusing thing that's popped up in your feed over the past few days. In an act of — let's face it — supreme futility, Mofo-goers have been caught this year scrubbing a large tower of ice (although we guarantee they didn't keep it up for long once the photo had been uploaded). Watching this ice slowly, slowly erode into separate smaller blocks has been like a deeply unsatisfying game of Tetris played in reverse. Explanation: It's actually an artwork by Chinese artist Yin Xiuzhen. After freezing water from the Derwent River, Xiuzhen asked festival patrons to scrub the dirty water clean. It's a symbolic act that she terms an artist's solution to pollution. This radioactive bunny made its way down from Sydney Tasmania has stolen Sydney's giant neon bunny rabbit! How rude. You probably recognise this critter from your jaunts down to Vivid Sydney earlier this month. It's the kind of thing that definitely sticks in your mind (and your Instagram feed, for that matter). Because of this, Sydney-siders really can't be too jealous of its presence at Dark Mofo. But, for everyone else across the country, this is the holy grail of public art and the number one cause of jealousy. I maintain that if I got one hug from this amazing bringer of joy, at least half the problems in my life would be solved. Explanation: The bunny is the work of Tassie artist (and Sydney expat) Amanda Parer. We can neither confirm nor deny that it's radioactive, but we can say that it's maybe the greatest thing we've seen for awhile. There was a cat shooting laser beams from its eyes We can't even. This needs all of the explanations. Explanation: Disappointingly, we can't find out much about this little treasure. From the almighty power of hashtags we can deduct it has something to do with Dj Kiti playing at the festival club Faux Mo on Saturday night. We don't know how big the cat was. We don't know how strong its powers are. We don't know what it wants from us. We do however know that it's maybe the most mesmerising thing we've seen since Hypnotoad and we feel strangely compelled to obey it. If you know more, please get in touch! It's a good place to be if you like to feast From all the photos of mood-lit dining halls and opulent dinners, we can only reasonably deduct that Dumbledore and/or representatives from Hogwarts School of Witchcraft and Wizardry have made their way to Tasmania. Sure, there are no ghosts flying around, but the twigs cascading from the ceiling do look suspiciously like broomsticks and the feast speaks for itself. Explanation: This is more or less right. The Winter Feast is one of the hallmarks of the festival and consists of a "three-night Bacchanalian banquet of feasting and fire, drinking and celebration, music and performance". Apparently there were some problems with capacity this year, but with the amazing spread on offer it's easy to understand why. Everyone got naked for some reason It's a strange thing to wake up to as you check your phone, but this morning we were treated to the sight of hundreds of bums along a beautiful beach at sunrise. Accompanying them (on what looked like a freezing morning) were a couple of old men in beanies shooting orange smoke into the air because, hell, why not? Explanation: This nude run into the water was in fact to commemorate the winter solstice. It's an annual event at Dark Mofo that's now in its second year. And, despite the unpleasant temperature, this year saw 700 people get on board! We're going next year Confusing art, giant animals, laser beams, opulent feasts, and reckless nudity — why is it that we don't live in Hobart, again? Photo credits in order of appearance: jackjesta, melfiddles, angela__g, katesaunders002, chdaku, rosiehastie.
Cinemas are glorious. There's nowhere better to see a movie. When you're watching a film in the cosy confines of a darkened room, communing devotedly with the projected picture flickering before your eyes, that viewing experience simply can't be beaten. But hitting up your streaming queue instead isn't just for filling time on the couch or catching up on flicks you might've missed on the big screen. And, features that don't get a theatrical run shouldn't be stigmatised by the 'direct-to-streaming' label. Thanks to the ever-growing array of online viewing options, movie buffs can now see more new movies than ever before. Smaller flicks that were never going to reach cinemas, international favourites that would only screen at festivals Down Under otherwise, new releases by big-name filmmakers not getting funding elsewhere: they've all been making their way to us thanks to streaming. In 2022, that online-only roster of features dropped new must-see titles every single month, and came overflowing with fantastic fare. Back in July, we picked the best 15 straight-to-streaming films of 2022's first six months. Now, with a whole year behind us, we've cast our eyes of the entire 12-month period. As a result, we've already sung the praises of some of our overall top 15 straight-to-streaming gems for 2022 — but the very best deserve all the love all the time. Catch up with them from your couch ASAP. KIMI For the second year in a row, Steven Soderbergh has made one of the year's best movies and it has completely bypassed Australian cinemas. Unlike 2021's No Sudden Move, however, Kimi was always destined for streaming. The latest in his series of paranoid thrillers that also includes Contagion, and once again female-fronted as Haywire, Side Effects and Unsane were too, this Zoë Kravitz-starring standout takes its cues from smart devices, humanity's increasing dependence upon technology, and the kinds of events that a virtual assistant like Siri, Alexa or Google Assistant might eavesdrop on. As a result, Soderbergh has crafted another movie that riffs on a growing area of real-life interest, then turns it into a tense, potent and devilishly smart feature. A bonus: focusing on a protagonist who doesn't feel safe leaving her house, Kimi couldn't better capture how the pandemic has felt without overtly needing to be a COVID-19 film. Kravitz (The Batman) plays Angela Childs, who works for Seattle-based tech corporation Amygdala from the comfort of her own sprawling loft — and from her own audiophile's dream of a computer setup — listening to snippets of conversation captured by smart speaker Kimi for quality assurance. In one clip, she hears what she believes to be a horrible crime and is compelled to follow up; however, her bosses aren't thrilled about her probing. Complicating matters: after being the victim of an assault a couple of years earlier, Angela suffers from anxiety and agoraphobia, making leaving the house to investigate a fraught task. As he did to particularly stellar effect in Unsane as well, Soderbergh styles his latest psychological thriller after its protagonist's mindset, making unease and suspense drop from every aesthetic choice — camera angles and placement, jittery frames and a voyeuristic perspective all included. Kimi streams via Binge. ATHENA When a director uses a single take for a lengthy sequence, an episode of television or an entire film — even with some editing trickery to help — it usually isn't just a gimmick. As everything from The Bear to 1917 have shown, there's urgency and immediacy in that stylistic approach. Given that Athena plunges into a powderkeg situation in a French neighbourhood that shares the movie's moniker, with the banlieue's residents understandably incensed after the brutal killing of a teenager from their midst by law enforcement, this latest stunner from writer/director Romain Gavras (after the excellent The World Is Yours) was always going to feel unrelenting, inescapably tense and utterly in-the-moment anyway. See also: 2019 French Oscar-nominee Les Misérables, similarly about the response to police violence, which was penned and helmed by Athena's co-screenwriter Ladj Ly. Still, the unbroken shot that opens Gavras' latest spectacular film is up there with 2022's best in any feature. Long takes pop up often in Athena, which starts with French soldier Abdel (Dali Benssalah, No Time to Die) confronting the fact that his 13-year-old brother Idir (first-timer Mohamed Amri) is dead — and, as seen in online footage, that the cops are responsible. He's managing to keep calm, however, until another of his siblings Karim (debutant Sami Slimane) throws a Molotov cocktail inside a crowded police station. Cinematographer Matias Boucard (Eiffel) captures it all without looking away, and keeps doing the same as they return home, with Athena soon under siege as the authorities swarm in and the home crowd explodes with anger. Even when edits come, this is an unflagging and unflinching feature, as aided by close-up and handheld camerawork, impassioned performances, its topical storyline and staggering action cinematography. Athena uses its aesthetics to make a statement, too, about race, power and inequality — and it firmly knows that this tale can only be a tragedy. Athena streams via Netflix. WE'RE ALL GOING TO THE WORLD'S FAIR "Hey guys, Casey here. Welcome to my channel. Today I'm going to be taking the World's Fair Challenge." So says We're All Going to the World's Fair's protagonist (feature newcomer Anna Cobb) twice to start this absorbing horror film, to camera, in what makes a spectacular opening sequence. Next, an eerie wave of multicoloured light flashes across her face. Watching her response brings the also-excellent She Dies Tomorrow to mind, but Casey has her own viral phenomenon to deal with. She's doing what she says she will, aka viewing a strobing video, uttering a pivotal phrase and then smearing blood across her laptop screen — and she promises to document anything that changes afterwards, because others have made those kinds of reports. Written, directed and edited by fellow feature debutant Jane Schoenbrun, the instantly eerie and intriguing We're All Going to the World's Fair is that record. Schoenbrun's film is more than that, however. It also charts the connections that spring and splinter around Casey just by joining the online trend, where her videos spark others in return — and the spirals she goes down as she watches, which then sparks a response in her own way, too. A portrait of isolation and alienation as well, while chronicling the after effects of playing a virtual horror game, We're All Going to the World's Fair is also a picture of an always-recorded world. Take your lockdown mindset, your social-media scrolling, all that Zooming that defined the beginning of the pandemic and a gamer vibe, roll them all together, and that's still not quite this arresting movie — which keeps shifting and evolving just like Cobb's enigmatic and evocative performance. The entire flick earns that description and, not that it needs an established name's tick of approval, the fact that The Green Knight and A Ghost Story director David Lowery is an executive producer speaks volumes. We're All Going to the World's Fair streams via Shudder. GREAT FREEDOM Great Freedom begins with 60s-style video footage captured in public bathrooms, showing Hans Hoffmann (Franz Rogowski, Undine) with other men, and with court proceedings that condemn him to prison purely for being gay. That was the reality in West Germany at the time due to Paragraph 175, which criminalised homosexuality — and, when he's incarcerated at the start of this equally tender and brutal Austrian film, Hans isn't surprised. He's been there before, as writer/director Sebastian Meise (Still Life) conveys almost like he's chronicling time travel. It's a canny touch, as relayed in the movie's cinematography, editing and overall mood. The minutes, days, hours, weeks and more surely move differently when you've been locked up for being who you are, and when being in jail is the better alternative to being in a concentration camp. Meise jumps between Hans' different stretches, exploring the imprint all that time behind bars leaves, the yearning for love and freedom that never dissipates, and his friendship with initially repulsed fellow inmate Viktor (Georg Friedrich, Freud). In the process, Great Freedom resounds with intimate moments and revealing performances, as anchored by another stellar turn by Rogowski. The German talent has had an outstanding few years thanks to Victoria, Happy End, Transit, In the Aisles and Undine. He's as absorbing as he's ever been here, too, in a movie that stares his way so intently — and with such a striking sense of light and shade — that it could be painting his portrait. Friedrich is just as impressive, in an outwardly thorny part. Great Freedom streams via SBS On Demand. RESURRECTION Another year, another engrossing thriller starring Rebecca Hall. Another film giving the English actor a new standout performance for her packed resume, too. After proving remarkable in 2021's The Night House, and also turning director with the marvellously moving Passing, Hall plays a woman virtually synonymous with tension in the sleek and twisty Resurrection. Even when her character, Margaret, is calm and empathetic at her job in pharmaceuticals, including while counselling her junior colleagues, unease flickers in her haunted eyes and rigid posture. When she's fussing over her almost 18-year-old daughter Abbie's (Grace Kaufman, The Sky Is Everywhere) comings and goings, such as soon leaving for college, Margaret comes off as overprotective — but with a tormented edge. Resurrection lingers in this feeling, teasing out the details behind it while also making it plain that constantly being on guard can be a reality thanks to traumas and simply life. Indeed, thanks to his ambiguous tale, writer/director Andrew Semans (Nancy, Please) ensures that that sensation remains even when Margaret's demeanour and behaviour gets an explanation. If a human tooth suddenly showed up in your daughter's wallet, an eerie man from your past (Tim Roth, Sundown) re-emerged after two decades and the worst pain you'd ever experienced was drudged up again, you'd find it impossible to remain composed and collected, too. As Resurrection thrusts Margaret through her own personal horror show, it isn't concerned with simply showing a woman unravelling — rather, it focuses on a woman pushed to her limits by tragedy, malevolence, manipulation and one helluva toxic man. Semans's knack for crafting a skin-crawlingly unsettling atmosphere is immense, and so is his willingness to take gloriously unhinged swings and his talent for casting. It's no wonder that the film can barely look away from Hall, who is stellar from start to finish but next-level astounding during a lengthy monologue and a big confrontation. And as for Roth, creepy doesn't even begin to describe his work here. Resurrection streams via Google Play, YouTube Movies, iTunes and Prime Video. CAUSEWAY Trauma is a screenwriter's best friend. If on-screen characters didn't have past stresses to overcome or new hardships to cope with — usually both — then dramatic scripts would barely last a few pages. Neither would horror flicks, or thrillers, or plenty of comedies; however, few films are happy to sit with trauma in the way that (and as well as) Causeway does. Starring Jennifer Lawrence (Don't Look Up) as a military veteran sent home from Afghanistan after being blown up, working her way through rehab and determined to re-enlist as soon as she has medical sign-off, this subtle, thoughtful and powerful movie grapples with several stark truths. It knows that some woes do genuinely change lives, and not for the better. It's well aware that many miseries can't be overcome, and completely alter the person experiencing them. It's keenly cognisant that that simply existing can be a series of heartbreaks, and escaping that cycle can be the most powerful motivator in the world. And, when Atlanta and Bullet Train's Brian Tyree Henry enters the picture as a New Orleans mechanic with his own history, it sees the solace that can be found between people willing to face their tough realities together. When Causeway begins, Lawrence's Lynsey is freshly out of hospital, and learning how to walk, dress, shower, drive and do all other everyday tasks again. Even then, she still wants to redeploy. Directed by feature first-timer Lila Neugebauer (The Sex Lives of College Girls), and penned by fellow debutants Ottessa Moshfegh, Luke Goebel and Elizabeth Sanders, the film spies the determination in its protagonist's eyes — and the pain she's trying to bury after she goes home to stay with her mother (Linda Emond, The Patient), gets drawn into old unhealthy dynamics, but finds a friend in Henry's kind, eager but haunted James. There's no cross-country drive with a canine, if the similarly themed Dog comes to mind, but rather a willingness to steep in Lynsey and James' complicated emotions. Neugebauer has the perfect central duo for the movie's key parts, too; neither Lawrence nor Henry's resumes are short on highlights, acclaim or award nominations, but their respective textured, naturalistic and deeply felt performances in Causeway ranks among each's best work. Causeway streams via Apple TV+. FRESH Finally, a film about dating in the 21st century with real bite — and that's unafraid to sink its teeth into the topic. In this hit Sundance horror-comedy, Normal People's Daisy Edgar-Jones plays Noa, and once again gets entangled in a romance that'll leave a mark; here, however, the scars aren't merely emotional. Swiping right hasn't been doing it for Fresh's protagonist, as a comically terrible date with the appropriately named Chad (Brett Dier, Jane the Virgin) demonstrates early. Then sparks fly the old-fashioned way, in-person at the supermarket, with the curiously offline doctor Steve (Sebastian Stan, Pam & Tommy). Soon, he's whisking her away to a secluded spot for the weekend — a little too swiftly for Noa's protective best friend Mollie's (Jojo T Gibbs, Twenties) liking, especially given that no one can virtually stalk his socials to scope him out — and that getaway takes a savage and nightmare-fuelling twist. If Raw met Ex Machina, then crossed paths with American Psycho and Hostel, and finally made the acquaintance of any old rom-com, Fresh still wouldn't be the end result — but its tone stems from those parts, as do some plot points and performances, and even a few scenes as well. First-time feature director Mimi Cave doesn't butcher these limbs, though, and screenwriter Lauryn Kahn (Ibiza) doesn't stitch them together like Frankenstein's monster. As anchored by the excellent Edgar-Jones and Stan, there's care, savvy, smarts and style in this splatter-filled, satirical, brutal, funny, empowered and sweet film. Its twists, and its cutting take on predatory dating, are best discovered by watching, but being turned off apps, men and meat in tandem is an instant gut reaction. Fresh streams via Disney+. COW As its name so clearly explains, Cow devotes its frames to one farmyard animal — and it's one of the most haunting films of the past few years. It's the third feature to take its title from a four-legged critter in the past two years, after the vastly dissimilar Pig and Lamb. It's also the second observational documentary of late to peer at the daily existence of creatures that form part of humanity's food chain, following the also-exceptional Gunda. And, it also joins 2013's The Moo Man in honing its focus specifically upon dairy farming, and in Britain at that. But the key to Cow is Andrea Arnold, the phenomenal filmmaker behind Fish Tank, Wuthering Heights, American Honey and the second season of Big Little Lies. She sees Luma, her bovine protagonist, with as much affection and understanding as she's ever seen any of the women who've led her projects. While watching, viewers do as well. Starting with the birth of Luma's latest calf — and, in the beginning, taking detours to see how it's faring as well — Cow unfurls with the rhythm of its agricultural setting. It's the rhythm of Luma's life, too, as she's milked and fed, moos for the offspring that's taken away too quickly, and is soon impregnated again. There's no doubt where the documentary is headed, either. There's simply no shying away from the fact that Luma and cattle like her only exist for milk or meat. Without ever offering any narration or on-screen explanation, Arnold stares at these facts directly, while also peering deeply into its bovine subject's eyes as often as possible. The result is hypnotic, inescapably affecting, and also features the best use of Garbage's 'Milk' ever in a movie. Cow streams via DocPlay. I'M YOUR MAN Since 2013, any film that's involved making an emotional connection with artificial intelligence has brought Her to mind. Since 2014, any movie about human-android relationships has conjured up Ex Machina as well. And, since 2007, any flick that focuses on the companionship that a lonely human soul might find in an artificial companion has walked in Lars and the Real Girl's footsteps, too. In smart, perceptive and warmly humorous German gem I'm Your Man, however, it's a woman who is opening her life to a male presence — an AI-run robot designed to be her perfect match — and she's not too happy about it. Archaeologist Dr Alma Felser (Maren Egger, I Was at Home, But) is merely and begrudgingly testing out the technology that brings Tom (Dan Stevens, Eurovision Song Contest: The Story of Fire Saga) into her life, for three weeks at the behest of her boss at Berlin's Pergamon Museum, and solely for the good of science. I'm Your Man is a rom-com, which means exactly what viewers think it does going in: that Alma slowly starts rethinking her position on Tom. But that's about the only aspect of this thoughtful, witty and yearning exploration of what it means to be human and to truly connect that does what's expected. Fresh from winning an Emmy for directing Unorthodox — and making this before helming She Said — German filmmaker Maria Schrader helms a charming and insightful take on what's beginning to be an oft-considered topic, and is unpacked in a moving and delightful way in her hands. Her film is also extremely well cast, with Egger thoroughly deserving her 2021 Berlinale Silver Bear for Best Acting Performance as Alma, and Stevens pitch-perfect as the supposed robotic man of her dreams — who just wants love himself. I'm Your Man streams via Binge. NANNY In Nanny, Aisha (Anna Diop, Us) is haunted, both when she's asleep and awake. Her slumbers are disturbed by nightmares, but seeing rising waters and unwelcome spiders isn't just relegated to when the Senegalese woman in New York closes her eyes. A gut-wrenching sense of unease also lingers while she works, after securing a childminding job for rich Upper East Side residents Amy (Michelle Monaghan, Echoes) and Adam (Morgan Spector, The Gilded Age). Their five-year-old daughter Rose (Rose Decker, Mare of Easttown) adores Aisha — more than her parents, it often seems. And, the nannying gig helps Aisha distract herself from missing her own son, who she's desperately trying to bring over to the US. She's haunted by his absence, too, and by the stolen snippets of conversation she gets with him on the phone, constantly juggling the time difference. The supernatural disturbances plaguing Aisha and her feelings about leaving her child in Senegal to chase a better future for them both are clearly linked, although Nanny is atmospheric and insightful rather than blunt and overt. The first horror film to win Sundance Film Festival's Grand Jury Prize, this evocative effort hails from writer/director Nikyatu Jusu, who makes her feature-length debut with quite the calling card. 2022 isn't short on affectingly moody and evocative female-focused thrillers with a maternal bent — see: Resurrection above, which also debuted at Sundance — but Nanny's addition to the fold is deeply steeped in Aisha's immigrant experience. Thanks to all that otherworldly water, it feels like it's always steeping, in fact, soaking in the troubles and struggles of trying to snatch even a piece of the American dream when you're not wealthy, white and originally from the so-called land of the free. Also prominent: the dispiriting minutiae of Aisha's day, aka exactly what she has to endure to even have a chance of gaining what comes easily and obliviously to her employers. Like its central figure, Nanny is haunted several times over, too. Nanny streams via Prime Video. PREY No stranger to voicing iconic lines, Arnold Schwarzenegger uttered one of his best-known phrases yet 35 years ago, in a franchise that's still going today. "If it bleeds, we can kill it" has been quoted frequently ever since — even by champion AFL coaches — and it's no spoiler to mention that it pops up again in the latest Predator film Prey. Trotting out that piece of dialogue won't surprise anyone, but this fine-tuned action-thriller should. It's one of the saga's best entries, serving up a lean, taut and thoughtful kill-or-be-killed battle set in the Comanche Nation 300 years ago. The Predator series hasn't been big on highlights over the years — Predator 2 is forgettable to put it nicely, 2010's Predators is effective, 2018's The Predator favoured its throwback vibes above all else, and the two terrible Alien vs Predator cross-over films are best left forgotten — however Prey not only breathes new life into it, but paves a welcome path for more. (Bring on a Prey sequel ASAP.) The overall premise remains the same, with the franchise's ruthless, brutal and technologically advanced alien species using earth as its hunting ground as the series has already established — and showing zero concern about leaving a body count. Trained healer Naru (Amber Midthunder, The Ice Road) is the first to notice that something is awry this time, spotting the predator's spaceship in the sky and taking it as a sign to follow her dream to become a hunter herself. Alas, that isn't the done thing. In fact, she's spent her entire life being told that she can't be like her brother Taabe (first-timer Dakota Beavers), and should focus on her assigned role instead. Now, even with an extra-terrestrial foe wreaking havoc, she's still dismissed at every turn. Midthunder plays Naru as a fierce, determined, persistent and resourceful force to be reckoned with, while writer/director Dan Trachtenberg — co-scripting with Jack Ryan's Patrick Aison — gives all things Predator the taut focus, canny shift and fresh feel he also gave the Cloverfield saga with 10 Cloverfield Lane. Prey streams via Disney+. HELLBENDER Meet the Adams family — no, not the creepy, kooky, mysterious and spooky characters that've featured on pages and screens for decades (including in 2022 newcomer Wednesday, plus two terrible recent animated flicks), but the filmmaking collective comprised of couple Toby Poser and John Adams, plus their daughters Zelda and Lulu Adams. The quartet might be missing a letter from their well-known counterparts' names, but they're just as fond of all things horror. Case in point: their second feature Hellbender, a self-financed standout that's both a spellbinding tale of witchcraft and a clever coming-of-age story. It starts in a house in the woods, and also spends most of its time there. It includes the arrival of an unexpected stranger, shattering the status quo. But formulaic and by-the-numbers, this must-see isn't. In making first-rate use of its setting, and of a cast that's primarily comprised of Adams family members, it's also a masterclass in lockdown filmmaking. In the most expected aspect of Hellbender, the film's name does indeed refer to a punk-metal band, with 16-year-old Izzy (Zelda Adams, The Deeper You Dig) and her mother (Toby Poser) its sole members. No one else has ever heard them play, either, given that Izzy is both homeschooled and confined to the family's sprawling mountainside property, as she has been since she was five. Her mum tells her that she can't venture into town or around other people due to a contagious autoimmune disease; however, when a lost man (John Adams) wanders their way and mentions that his teenage niece Amber (Lulu Adams) lives nearby, Izzy gets the confidence to go exploring. As both written and directed by three out of four Adams family members — all except Lulu — Hellbender proves an impressive supernatural affair from its opening occult-heavy prologue through to its astute take on teen rebellion. Here's hoping this Adams family spirits up more DIY horror delights soon, too. Hellbender streams via Shudder. APOLLO 10 1/2: A SPACE AGE CHILDHOOD In 1969, the year that Apollo 10 1/2: A Space Age Childhood is set, writer/director Richard Linklater was nine years old and living in Houston, Texas. This lovely animated film happens to follow a boy around the same age in the same city — and trust the filmmaker behind Boyhood, Dazed and Confused, and the glorious trio that is Before Sunrise, Before Sunset and Before Midnight to make viewers who weren't there then (who weren't even alive and have never been to America, too) to feel as nostalgic about the place and era as he clearly does. As narrated by his Bernie and The School of Rock star Jack Black, the film's entire middle section dances through memories of the time and city with infectious enthusiasm, but its biggest dose of affection radiates towards the technological promise of the 60s. The Mercury, Gemini and Apollo missions were rocketing into space and it patently felt like anything was possible, a sensation so marvellously captured in each second of Apollo 10 1/2. Jumping back into the rotoscoped animation that served Linklater so well in Waking Life and A Scanner Darkly, this loving ode to years and moods gone by also sports a delightful premise. As his older guise (Black) explains, young Stan (debutant Milo Coy) was an ordinary Houston kid with a NASA-employed dad (Bill Wise, Waves), doting mum (Lee Eddy, Cruel Summer) and five older siblings when he was approached by two men (Shazam!'s Zachary Levi and Top Gun: Maverick's Glen Powell) to help them with a problem. In the lead up to Apollo 11, it seems that NASA accidentally built the lunar module a couple of sizes too small, so they need a kid — Stan — to help them by going to the moon to test things out before Neil Armstrong, Buzz Aldrin and Michael Collins make their famous trip in a bigger version. That fantastical idea feels ripped from Linklater's childhood dreams, and it well might be; it also makes for a warm and charming entry point into a movie that's as much about life's ups and downs, the bonds of family and the wide-eyed optimism of youth as it is about heading to space. Apollo 10 1/2: A Space Age Childhood streams via Netflix. ASCENSION Ascension may not be one of this year's Oscar-winners, losing out to the also fantastic Summer of Soul (...Or, When the Revolution Could Not Be Televised), but it'll always be among 2022's nominees. More than that, this two-time Tribeca Film Festival winner will forever remain one of the most arresting documentaries of the past 12 months as well. Helming her first feature-length doco, filmmaker Jessica Kingdon turns her gaze to the Chinese dream — and what she sees, while situated in a very specific cultural context by design, is a clear and easy sibling to its American counterpart. That's part of the statement her film makes, all just by watching on patiently but meticulously as people go about their lives. Starting with factory recruitment on the streets, then moving into mass production, then climbing the social hierarchy up to the rich and privileged, Ascension explores employment and consumerism — and what they mean in an everyday sense in modern-day and modernised China. It's a portrait of the needs that make working on assembly lines a necessity, and of the dreams that inspire every climb, rung by rung, up the societal ladder. Some folks build sex dolls, their uncanny valley-esque forms adding an eerie mood. Others take lessons on etiquette for service jobs, including about not letting your face betray your emotions, and the tone is also unsettling. Observational to a mesmerising degree, Kingdon's exceptional film lets its slices of life and the behaviour, attitudes and patterns they capture do the talking, and they all speak volumes. Indeed, what a clever, telling, incisive and surreal story they unfurl. Ascension streams via Paramount+. TURNING RED What'd happen if the Hulk was a teenage girl, and turned into a giant, fuzzy, super-cute red panda instead of going green and getting ultra-muscular? Or, finding a different riff on the ol' werewolf situation, if emotions rather than full moons inspired a case of not-quite-lycanthropy? These aren't queries that most folks have thought of, but writer/director Domee Shi certainly has — and they're at the core of Pixar's Turning Red, her debut feature after winning an Oscar for 2018 short Bao. As many of the animation studio's movies do, the film takes its title literally. But, it also spins the usual Pixar question. Turning Red does indeed wonder what'd happen if red pandas sported human-style emotions; however, the Disney-owned company has been musing on people becoming other kinds of critters of late, with particularly astute and endearing results here. The movie's focus: 13-year-old Chinese Canadian Meilin Lee (Rosalie Chiang, also making her film debut). The year is 2002, and she loves meeting her strict but doting mum Ming's (Sandra Oh, The Chair) expectations, hanging out with her pals and obsessing over boy band 4*Town. And while her mother doesn't approve of her friends or her taste in music, Mei has become accustomed to juggling everything that's important to her. But then, after a boy-related mishap, the red panda appears. Mei goes to bed feeling normal, albeit angsty and upset, only to wake up looking like a cuddly creature. Like werewolf tales about teenage boys tend to be, Turning Red is all about puberty and doesn't hide it — and whether it's tackling that head-on, pondering generational trauma or showing its rampant love for boy bands, it sports sweetness, soul and smarts. Turning Red streams via Disney+. Read our full review. Looking for more viewing highlights? Check out our list of film and TV streaming recommendations, which is updated monthly. We've also picked 15 exceptional films that hardly anyone saw in cinemas in 2022, the 15 best returning TV series of the year, 2022's 15 best new shows and 15 other excellent TV newcomers from the past 12 months that you might've missed.
This week, Brisbane cinephiles received fantastic news, with the announcement of Westpac OpenAir's first-ever Brisbane season. But with the Australian Government announcing a ban of non-essential gatherings of 500 people from Monday, March 16, the outdoor cinema has now postponed its Brissie plans. "In the interests of community health and playing our part in limiting the transmission of coronavirus disease (COVID-19), we believe it's best for everyone if we postpone the soon to be staged Brisbane season of Westpac OpenAir," said organisers Cinerent OpenAir in a statement. "This is in line with the advice of Australia's Chief Medical Officer and Prime Minister to cancel non-essential gatherings of 500-plus people from next week." Unlike many other events — Paniyiri, the World Science Festival Brisbane and Gold Coast Film Festival locally, plus the Melbourne International Comedy Festival, the Sydney Royal Easter Show and Tasmania's Dark Mofo further afield, among others — OpenAir is delaying rather than cancelling its 2020 Brisbane event. At present, new dates haven't been set. "We look forward to staging the wonderful event we had planned for Brisbane in the near future when current health concerns have passed," Cinerent OpenAir said. When it does eventually go ahead, OpenAir will take place on the Howard Smith Wharves precinct lawn — which means a riverside spot and views of the Story Bridge and CBD. And, a huge screen, which is as much an attraction as what it'll be playing, given that it'll measure 170 square metres and reach three storeys high. OpenAir joins a growing list of cancelled and postponed events and closed venues worldwide, with large swathes of cinemas shutting in China, Iran, South Korea, Japan and across Europe, and theme parks doing the same in Asia, Europe and the US. We've also seen the cancellation of Texan music and film festival South by Southwest and postponement of Coachella, as well as the Brisbane, Gold Coast and Australian events mentioned above. Westpac OpenAir's debut Brisbane season will no longer take place from Sunday, April 5–Sunday, April 26 at Howard Smith Wharves, 5 Boundary Street, Brisbane City; however it will be postponed at a later date. For further details, visit the cinema website. To find out more about the status of COVID-19 in Australia and how to protect yourself, head to the Australian Government Department of Health's website.
While working with one of the first female master gin distillers in the world, Joanne Moore of Greenall's Gin, to develop a bluffer's guide to the botanical drop and to get the lowdown on some top gin drinks to make at home, we were inspired by Joanne's story. She's helped pave the way for female distillers and within a heritage company like Greenall's. So, we thought we'd have a look at some other ladies who are also shaking things up, making things happen and pioneering some pretty excellent projects. We've sourced the creme de la femme from a wide range of careers and corners of the globe and asked them, well, pretty much everything from where French mademoiselles hide their croissant crumbs (though, spoiler alert, we still don't know) to how to actually master the barbecue to what it takes to go head-to-head with Tommy Shelby of Peaky Blinders. Here we present some inspiring women to put on your radars — if they're not there already, that is. JOANNE MOORE — MASTER DISTILLER, GREENALL'S GIN Joanne Moore is one of the world's first female master gin distillers, and seventh master distiller for Greenall's, which has been in operation since 1761 — making it Britain's oldest gin distillery. Knowing that she wanted to work with one of the oldest and most revered gin distilleries in the world, Joanne started her way in quality control, where she learned about the production process. Raw ingredients, distilling and bottling eventually led her into the wonderful world of botanicals and creating gins. Around the same time as the Peaky Blinders were creating their fictional gins, Greenall's was creating a single powerful enterprise: they were distillers, rectifiers, wine and spirit merchants, importers, brewers, maltsters and ale, beer and porter merchants. And as much as we'd like to believe it's all sipping and nattering for a master distiller — though, we're not necessarily saying it's not, either — it does take years of expertise. A typical day for Joanne can involve approving samples on the Greenall's tasting panel (raw ingredients or finished products), taking customer visits, doing house tours or hosting masterclasses. Joanne's advice for anyone getting into distilling is "do it for the right reasons…You won't be an expert immediately, but have fun, and don't be afraid to make mistakes. That's how we evolve and learn." [caption id="attachment_668102" align="alignnone" width="1920"] Peter Tarasiuk.[/caption] KATE REID — FOUNDER, LUNE CROISSANTERIE Kate Reid can't remember her first ever croissant, but estimates that "it sure as hell wouldn't exactly have been an artisan one!" She's come a long way since to prove what one innovative woman unbound to traditional methods can truly achieve. Slung in the back streets of Fitzroy, Lune is notorious for selling out of its creations (think cruffins with lemon curd and twice-baked black forest beauties) plus it's been said with authority that the croissanterie is serving up quite probably the best croissants in the world. Yet, when Kate started Lune, she realised her stint in France (where she trained at top Parisian boulangerie Du Pain et des Idees) saw her learning only 15 to 20 percent of the entire artisan craft. "My background in engineering played a big part in the development of techniques. I would change one variable at a time and analyse the differences it made to the final baked product. If it was an improvement, it would become the new baseline technique. "This has the bonus knock-on effect of not being tied to a century-old classic French technique; all of our processes are always up for improvement and development," she says. And when it comes to any advice for us antipodeans oneating a pastry like a French mademoiselle, the whole 'no crumb left behind' sort of deal is still a mystery to her, too. But if anyone were to work it out, it'll surely be Kate. [caption id="attachment_668103" align="alignnone" width="1920"] Izzy Gramp.[/caption] LISY KANE — CO-FOUNDER, GIRL GEEK ACADEMY AND LEAGUE OF GEEKS To those thinking the only roles for women in STEM involve being the social bridge (here's looking at you IT Crowd's Jen Barber), then think again. In a global movement aimed at encouraging women to learn technology and build more of the internet, the Girl Geek Academy (GGA) squad has more arms and intelligence than an octopus. Co-founder Lisy Kane has also curated the first ever Australian all-female game-making day #SheMakesGames and was recognised by Forbes in the prestigious top 30 list, Forbes 30 Under 30 2017: Games. "Whether directly or indirectly, I'm now on the map and I get invited to provide keynotes at really prestigious industry events in Australia, the US and the UK. Through these opportunities, I get to hold myself up as a young woman in the game dev industry and show other young women that it's normal to be a girl in games. That's exactly the image we need to project out there to help bridge the gender gap in the industry." [caption id="attachment_668101" align="alignnone" width="1920"] Madeline Kate Photography.[/caption] JESS PRYLES — PITMASTER AND CO-FOUNDER, AUSTRALASIAN BBQ ALLIANCE Having co-founded the Australasian BBQ Alliance, Jess Pryles is an internationally respected authority on live fire cooking and barbecue and has been breaking the outdated barbecue code (see: male-dominated) for the past ten years. She explains how there's so much more to the title of pitmaster than one may realise. "Generally, the term is bandied about and there's no regulation for it. But there's a consensus that it should be reserved for someone who has reached the top of their art and not just somebody who happens to be a barbecuer," says Jess. Jess was lured into the craft when she had her first taste of intensely smoked meat in Texas. "It's such a different experience for the palate that it became this 'aha' moment." She's now whipping up everything from beef tongue that perfectly falls apart for tacos to whole deer neck that she makes into smoked venison stock. Her advice on smoking meats and firing through to the top? "You've got to have a tremendous amount of patience. It's expensive and laborious, and the reality is, you [need to] cook and fail, and do it again and again and understand how to troubleshoot. That's what it takes." [caption id="attachment_668104" align="alignnone" width="1920"] Greg Holland.[/caption] SIOBHAN MCGINNITY — MUSICIAN AND AUDIOLOGIST, MUSICIANS FOR HEARING The most sensory gigs happening in Australia right now could rightly be the Musicians for Hearing events. Established by Siobhan McGinnity, the company presents live music translated into Auslan and performed in tandem by interpreters. Her quest involves helping raise awareness and creating connections — plus, bridging an ironically unheard of gap in healthcare: hearing. Siobhan found her way into audiology by stumbling into a clinic and quizzing the doctor. She's now on the path to specialise in rehabilitating hearing loss and balance disorders. "I want to work in a niche area: protecting musicians and their hearing," she says. And with one in six Australians being affected by some sort of hearing loss — 74 percent of musicians with a form of hearing injury — it makes sense we should care about how we appreciate music. The gigs according to Siobhan are "a music fruit salad" — rock, pop, contemporary, hip hop, you name it — and funds raised from events being donated overseas toward hearing care in countries like Cambodia. "It's the most beautiful thing seeing people who are deaf and hearing standing side-by-side and being able to communicate through music," says Siobhan.
'Wonderwall' and 'Gold Lion' sing-alongs are coming to North Byron Bay Parklands next winter, when Splendour in the Grass finally — yes, finally — hosts its 20th-anniversary festival. Delayed for the past two years due to the pandemic, the event's milestone celebration had already locked in its July 2022 dates and its headliners — that'd be Gorillaz, The Strokes and Tyler, The Creator — and has now unveiled its full and characteristically jam-packed lineup. Yeah Yeah Yeahs and Liam Gallagher help lead the complete roster of acts for 2022, alongside Glass Animals, Kacey Musgraves, Violent Soho, DMA's, Tim Minchin and The Jungle Giants. As usual, it's a stacked and eclectic list. And yes, with international tours starting to ramp up again since Australia's border rules changed, the bill features plenty of overseas names. If you're looking for your gumboots already, your next stint of muddy dancing in a field will take place from Friday, July 22–Sunday, July 24 — and can include soaking in lightscapes and psychedelic art at the fest's Tipi Forest, listening to talks and debates at The Forum, witnessing experiments and taking part in workshops at The Science Tent, and giggling your way through Splendour Comedy Club sets. You can also hit up the Global Village, which'll host the The World Stage, Village Green, bohemian Lounge, Healing Sanctuary and a silent disco, as well as craft markets and culinary options. Plus, the North Byron Parklands setup will welcome a few new bars — including the Rainbow Bar, which'll be big on glitter and host programming by LGBTQI community party markers, and the booze-free Temperance Bar. If you have already purchased a ticket for SITG 2020 or 2021, you'll be happy to know that they're still valid for the 2022 edition. So, that's you sorted. If you don't have a ticket yet, there'll be limited pre-loved tickets on sale from 9am on Monday, December 6. Enough chatter — here's that full lineup you've been literally waiting years for: SPLENDOUR IN THE GRASS 2022 LINEUP: Gorillaz The Strokes Tyler, The Creator Yeah Yeah Yeahs Glass Animals Liam Gallagher Kacey Musgraves Duke Dumont Live Violent Soho DMA's Yungblud Jack Harlow Dillon Francis Tim Minchin The Jungle Giants Mura Masa Amyl & The Sniffers Aitch G Flip Ruel Oliver Tree Jungle Tom Misch Grinspoon Orville Peck Parquet Courts Tierra Whack Cub Sport Jpegmafia Ruby Fields Sofi Tukker Methyl Ethel Julia Stone Baker Boy Stella Donnelly Genesis Owusu Surfaces Hooligan Hefs The Chats Confidence Man Biig Piig Holly Humberstone Chillinit Alex The Astronaut Maxo Kream Rolling Blackouts Coastal Fever Triple One Still Woozy Bad//Dreems Myd Northeast Party House Joy Crookes Wet Leg Mo'ju Pup Miiesha Mildlife Jarreau Vandal Brame & Hamo Shannon & The Clams Babe Rainbow Tai Verdes The Snuts Sycco Tom Cardy Sly Withers Hinds Dayglow Starcrawler Alice Ivy Budjerah JK-47 Jeff The Brotherhood Fazerdaze King Stingray Mako Road Renforshort May-A The Lazy Eyes Adrian Eagle Banoffee Flowerkid The Buoys Moktar Stevan The Soul Movers George Alice 1300 Mickey Kojak Dro Carey & DJ Scorpion Pricie Mylee Grace Andy Golledge Charlie Collins Pink Matter Memphis Lk (DJ) Triple J Unearthed winners Mix-Up DJ's Dena Amy Jordan Brando Shantan Wantan Ichiban Luen Honey Point AK Sports Aywy Carolina Gasolina Munasib Splendour in the Grass will take over North Byron Bay Parklands from Friday, July 22–Sunday, July 24, 2022. All 2020 and 2021 tickets are valid for the new dates, with limited pre-loved tickets on sale from 9am on Monday, December 6. Images: Charlie Hardy.
Bill Murray playing the world’s worst babysitter; Michael Keaton washing up in a cinematic ballet; Timothy Spall muttering his way through an artist’s biopic; the Bolshoi doing real ballet — there are loads of reasons to hurry along to the cool retreat that is Palace Cinemas before summer cuts the ropes. Good news is, to make sure you don’t miss out, we’re giving away five double passes to a film of your choice at your preferred Palace location. What’s more, the movies needn’t be your only motivation. A brand new, uber-refreshing, summery drink has jumped onto the Palace menu: Appleton V/X and ginger beer with fresh lime wedges. It’s built in a tall glass, with plenty of ice, to make sure that it keeps you cool throughout any feature. V/X is a special blend of no fewer than 15 aged rums, hand-mixed by master blender Joy Spence, who’s been making rum for more than 20 years. It’s one of Appleton Estate’s favourite rums for mixology because of its sophisticated, multilayered flavour profile. To be in the running for one of five double passes to Palace Cinemas, subscribe to the Concrete Playground newsletter and then email win.brisbane@concreteplayground.com.au with your name and address.
