Connect with designers, entrepreneurs and activists over two jam-packed days in Federation Square. Like an exclusive summer camp for brainiacs (complete with lunch and afternoon tea breaks), this year's Link Festival combines lectures, panels and interactive workshops in order to explore issues of modern technology and social change. Guests of the festival span a wide array of professions, from journalists to teachers to environmental scientists. Greenpeace Australia Pacific CEO David Ritter will be there, as will TEDx Sydney curator Jess Scully. Keynote topics include the intersection between architecture and activism, expectations of the mainstream media, as well as ways we can harness the power of the internet for good rather than evil.
Looking for quite the authentic warehouse party experience? smalltown is the latest clubbing event dedicated to capturing the feel of the best warehouse parties of yesteryear. So far, they're doing a damn good job of it with stellar lineups and packed-out events. This week, Detroit native Kyle Hall will be stepping up to the plate. Hall comes from an exceptional musical family of fellow DJs, with much of his youth spent playing with basic software and found equipment to create his now defined sound. Within four years of DJing, Hall found himself touring the globe; playing at the world's biggest music festivals and best clubs. Hall is quite the purist, only using vinyl in his sets for a raw and gritty performance. As well as performing the world over he also runs his own imprint, Wild Oats, which was created to represent the current Detroit sound that Hall knows and loves so well.
There are few bands with enough unfaltering stamina to line up a debaucherous, beer-fuelled pub crawl to kick off every night of their Australian tour. But Brisbane's Dune Rats leave the rules at home, abiding by one big ol' proviso: "no kooks, no gutties." Whatever the blazes that means, these bloody corker dudes surf self-generated waves of laidback party-fuelled philosophy. Dune Rats' BC Michaels, Danny Beusa and Brett Jansch have been away from home for some time now, heading to the US, staying in a New York AirBnB warehouse, driving along the West Coast from San Diego to Vancouver and filming their own (sorta) web series American Death Trip of Dreams. Then they bailed over to Europe and the UK. After months on the road, the Dunies will head back home to Australia for a national tour, showcasing their debut album set for release on June 1. It'll be the first time the trio have played to home audiences for months. The tour kicks off on the west coast and ends up back where they all started. "I'm pretty fucking excited to get home, that's for sure. We haven't played in Brissy for ages," says bass player Brett Jansch. "We've been away for so long and hopefully we can just get back and hang out with our buddies and just talk about anything else, find out what they're doin'. Pieced together like a rambunctious escapade of regrets, the Dunies will host a pub crawl in every city before the gig for fans who've preordered their debut album (out June 1). Dune Rats is a rambunctious ride through moments of pure silliness ('Dalai Lama' has five words in total: "Dalai Lama, Big Banana, marijuana,") and heartfelt bouts ('Home Sick'). "Well I guess you just want to get as fucked up as possible before the gig with all our friends and buddies that have preordered the album in order to come to the pub crawl," Jansch says in a wink-wink, nudge-nudge moment of please-buy-our-albumness. "We'll find the right place where we can all hang out together near the venue or whatever and just go pub to pub. "So honestly, we'll be going on a pub crawl all around Australia I guess. I wonder if anyone will come all the way with us. If someone does, they can definitely have a fuckin' t-shirt! They can have a hangover as well." Supporting Dune Rats will be different buds in each state. "We've kind of put together just all our fucking favourite bands and our friends to play, you know... So it's going to be a fucking party every night, especially now with our pub crawls and shit.," Jasnch realises. "Fuck, I think it's going to be a full wash up by the end of it." Check out our chat with Dune Rats bass player Brett Jansch over here. TO REGISTER FOR THE DUNIES PRE PARTIES: 1. Pre-order the album Dune Rats for ten beans at iTunes or JB HiFi. 2. Forward your iTunes or JB HiFi album preorder receipt and your mobile number to stuff@ratbagrecords.com. 3. Let the Dunies you're off to the Melbourne show at The Corner Hotel. 4. Wait. Recieve the deets on the morning of the show. Then party on dudes. For more details about the Dune Rats pub crawls and to preorder the album head over here. Dune Rats debut album is out Sunday, June 1. https://youtube.com/watch?v=lU3n6vRX8yY
Writing can be a lonely business. Crouched over a fluorescent glowing computer screen for most of your day, your main social interactions will regularly come from a nerdy #QandA exchange on Twitter rather than anything meaningful IRL. But once a year, all the beautiful (if not a little sun-deprived) creatives come out to play. The Emerging Writers' Festival is back for another year; it's time to get your fix in awkward literary puns, super-helpful panels, and much-needed drinks with your fellow writers. Comprised of parties, panels, performances and workshops, this annual festival is a one-stop-shop for all your writerly needs. Learn up about the literary merit of the average sext, hear a panel of writers let loose about the industry in the dark, or head along to the Emerging Q&A to have all your burning questions answered. This year's festival comes with a particular focus on the creative industries of fiction, poetry and screenwriting, so it's bad luck to any emerging journalists out there. However, the hands-on experience on offer is bound to be helpful nonetheless. The Freelancing for Life Masterclass will finally be teaching us hopeless freelancing creatives how to file a correct tax return/organise our lives entirely. An all-day screenwriting workshop will be showing you the ins and outs of writing for film and television. Then this Digital Writers' Masterclass is there to guide you through the thorny terrain of writing for the web. Whatever your poison, EWF has you covered in some way or another. Even if you're not interested in writing, you're bound to like the parties all the same. As the festival openly declares, it's pretty much the best place to go if you're on the lookout for sexy nerds. The Emerging Writers' Festival runs from May 27 till June 6 in locations all across the city. Check out the full program at the Emerging Writers' Festival website.
As far as Henry Miller was concerned, alone time is crucial to creativity. “An artist is always alone,” he wrote, “if he is an artist. What the artist needs is loneliness.” But spending day in, day out, with only your cat for company isn’t always a recipe for inspiration. Luckily, Etsy is well aware of the problem. So, every year, they host an enormous, worldwide Craft Party. Artists and craftspeople all over the planet are encouraged to get together to paint, draw, sculpt, sew and make — with like-minded others. This year, the gathering will be happening on June 6 and the theme is 'Recapture: bring new meaning to your photographs'. You scour the family photo album for your most archaic, treasured, embarrassing and bizarre images and take them with you. Etsy Craft Parties will be held all over Australia. You can organise your own, or to attend one of Sydney's major bashes, book a spot online.
You know your life has gone well when it basically looks like an IRL version of The Jungle Book. Dr Jane Goodall is a hero to environmental types around the world. She lived with chipmanzees in Tanzanian National Parks, she is an expert on the issues of climate change and habitat destruction, she was once described as "the woman who redefined man"; and now she's in the country to dole out some life lessons. Put your thinking caps on — this one's bound to be a doozie. Unlike the character she inspired on The Simpsons — a deranged environmentalist who used chimpanzees as free labour in a secret diamond mine — Dr Jane Goodall is a well-respected member of the scientific community. Her visit to Australia this year in fact marks her 80th birthday, and in that time she's achieved dazzling success. In this discussion at the Melbourne Town Hall Goodall will be telling all about her amazing life and times. If you've ever had a secret yearning to be Mowgli (or a UN Peace Ambassador) this is must-see event.
After folkify-ing Byron Bay this Easter at Bluesfest, Texan singer-songwriter Iron & Wine (formally known as Sam Beam) will be making a sold out headline appearance at Forum Theatre on April 22. Since his last Australian tour, Iron & Wine has released two albums: the slick and poppy Kiss Each Other Clean (2011), which entered the US Billboard Chart at Number 2, and now, Ghost on Ghost. Representing yet another extension of Beam's creative repertoire, it combines '60s soul influences with dashes of '70s rock. Beam's idiosyncratic voice meets a punchy horn section, string flourishes and retro-style female harmonies. "As an artist, I think you should be exploring all the time," he told American Songwriter recently. "It's a transition in the way you think about your work. If your work is more about the process of working, then you are still in pursuit of good results, but the result is not where you get your satisfaction. It's the process — the process of exploring and doing." Iron & Wine will play a sold out show Forum Theatre on April 22. More information available via Handsome Tours' website. Photo by Craig Kief.
A visual artist gets the visual treatment in Hockney: A Life in Pictures, with the documentary's approach to its subject made obvious in its title. The film proposes that to understand English painter, printmaker and photographer David Hockney, you need to understand what he has seen, how he is seen and the sights he has created for others to see. The end product isn't just a movie — it's a collage. It's a fitting way to explore the work, influences and impact of the Yorkshire-born figure, considered one of Britain's most beloved creatives, although it's an approach that far from unique in the bio-doco realm. Viewing snaps taken by Hockney, inspecting home videos, watching interviews with him and those who know him, and gazing upon images of his artistry, feels equally standard and affectionate, with the artist's own spirit and candor — and the obvious affection of filmmaker Randall Wright — helping the film become something more than just another cookie-cutter chronicle of an important subject. Indeed, Wright's strong connection with Hockney is clear and crucial, as the director focuses on the artist for the second time following his 2002 television effort David Hockney: Secret Knowledge. The film makes his fondness and fascination plain via its loving mood, lingering shots and its willingness to let conversations and memories run their course. Refreshingly for art aficionados, it also takes the time to ponder the artist's iconic works — including his California swimming pool pieces — in an interesting series of photo and painting comparisons. Of course, A Life in Pictures isn't just for existing fans such as Wright, with those unfamiliar with Hockney offered a journey through the usual checklist of biographical information. His upbringing, his determination to follow his father's advice and "not worry about what the neighbours think", and his love of going to the cinema — or "the pictures", as he puts it — all receive attention, as do his trips overseas, his embrace of his sexuality, his relationships, his periods of depression and his thoughts on creative trends. These details, like the paintings they accompany, build a portrait of a vibrant, varied, intriguing and engaging figure. And then there are the kind of tidbits audiences are unlikely to glean elsewhere, like Hockney's preferred method of cooking hot chips. Again, a sense of intimacy is key, as it is in any documentary that attempts to shed light on someone famous. Learning new trivia is only one part of the process; learning what endears them to the person behind the lens is just as enlightening. Wright achieves this by doing his best to adopt Hockney's way of seeing everything around him, honing in on his work to try to profile the artist the way he might profile himself. One friend sums it up perfectly: "as long as he is able to see the world through his painting, he could survive anything."
Keep things short and sweet at Palace Kino Cinemas, when Australia's leading short film festival rolls into town. For one night only, Flickerfest is coming to Melbourne with a specially curated program of locally-made shorts, including the highly anticipated sequel to the Oscar winning Harvie Krumpet. Flickerfest 2016: South of the Border kicks off at 6.15pm. In addition to Adam Elliot's Ernie Biscuit, films on the program include Nina Buxton's WOOF!, David Hansen's Slingshot, which won the Virgin Australia Best Australian Short Film Award at Flickerfest in Sydney, and Mikey Hill's The Orchestra, which was the winner of the Yoram Gross Award for Best Australian Short Animation at the same event. Once the credits have rolled on the final film, ticket holders can stick around for the fully catered afterparty, with food from Misschu and drinks from Rosnay Organic Wine, Little Creatures, Phoenix Organics and Vodka O. Not a bad deal for just $25 a head.
This review is based on the performance of The Little Mermaid at this year's Sydney Festival. It’s hard to imagine a better show this year than Meow Meow’s, in which cabaret’s international woman of mystery sings about her quest for love while gabbing away like the third member of Ab Fab. Meow was created by Melissa Gray, one-time law student and graduate of WAAPA. She’s appeared in the West End, at Bowie’s High Line Festival, and on the ABC in their recent The Divorce. She co-starred in that made-for-TV opera with Katie Miller-Heidke, who has provided songs for The Little Mermaid, as have the likes of Megan Washington and Amanda Palmer. Meow is joined in The Little Mermaid by Australian actor Chris Ryan, who appears in hi-vis midway through, calling a halt to the show because the building is unstable. There’s a clog, and in lieu of a plumber he must get up in there – cue all the requisite jokes. As a stand-up comedian, Meow has the audience in the palm of her hand from the beginning. The quality of her chat disarms you, making the power and pathos of her voice all the more arresting. Barry Humphries brought Meow out to Adelaide last year, and it almost felt like an anointment. I’d say she deserves to be better known in her own country if her unknowable-ness wasn’t part of the point. Image: Prudence Upton.
The artists at Metanoia Theatre have a reputation for bending the rules. So it comes as no big surprise that for their latest immersive performance piece, they’re taking on ten of the big ones. The final show in the company’s Live Works program at the Brunswick Mechanics Institute, 10CS will see ten Melbourne-based artists offer their interpretations of a different biblical commandment, in a multidisciplinary experience that’s sure to be good for the soul. Described as 'part ghost house, part tender interrogation', the week-and-a-half-long live installation will cover a wide variety of mediums that reflect the resumes of the artists involved. Contributors include poet, screenwriter and playwright Vissolela Ndenzako; composer, sound designer and video artist Robert Jordan; and performance artist and spoken word poet Kylie Supski; as well as multi-disciplinary artist Dagmara Gleysztor, whose previous works have encompassed film, theatre, photography, street art and puppetry. 10CS takes over the Mechanics Institute from Wednesday June 17 until Saturday June 27. For performance times, visit the Metanoia website.
A new double bill presented by Theatre Works in St Kilda will explore the experiences of Singaporean migrants living in Australia. Both Joe Lui’s Letters from Home and Jamie Lewis’ Saltwater offer poignant, personal accounts of what it means to call a new country home, with both artists putting their own stories centre stage. After moving to Australia with his parents when he was child, Lui decided not to return to Singapore to complete his two years compulsory military service. As a result, he is viewed as a criminal by both his country and his family. Written, directed and performed by the artist, Letters from Home uses a mix of mythology and pop culture to examine the reason behind Lui’s decision, one that means he can never again return to the place of his birth. In Saltwater, writer Lewis plays a young Singaporean woman who marries an older foreign man, and suddenly finds herself a wife more than 6000km from home. The performance piece invites audience members to join her at her kitchen table, as she prepares a meal and reflects on memories of her mother. Tickets to Letters from Home and Saltwater can be purchased separately or as a double bill. For more information visit the Theatre Works website.
Minions: they’re cute, yellow and mostly unintelligible — and they’re everywhere. Off screen, it certainly feels that way, with every store seemingly filled with brightly coloured merchandise. On screen, it definitely feels that way in their first stand-alone film. That's the point, though. Those mumbling, bumbling critters first sighted in Despicable Me and its sequel are inescapable, both in the antics they cause, and to audiences. In fact, minions aren't just prevalent in every frame of the movie that shares their name; as the film makes plain, the overalls-and-goggles-wearing fellows have always been here. An amusing introduction big on revisionist history and narrated by Australia's own Geoffrey Rush charts their evolution from the sea to swarming around a host of bad guys — dinosaurs, pharaohs, Dracula and Napoleon included. Those with short memories might need reminding that the titular figures are the ultimate henchmen, living to serve villainous masters. That's what they seek in 1968, and wreak havoc across several continents to find. After bad luck with their previous horrible bosses, and centuries spent holed up in an icy Antarctic cave as a result, leader Kevin, teddy bear-clutching Bob and guitar-playing Stuart (all voiced by co-director and Despicable Me veteran Pierre Coffin) trundle back to civilisation to find a new scoundrel to trail. At a convention for rogues and rascals, they team up with the scheming Scarlett Overkill (Sandra Bullock), who tasks them with stealing the crown of Queen Elizabeth II (Jennifer Saunders). To say things don't go smoothly is an understatement. Soon, the trio is fleeing from their would-be overlord and her inventor husband (Jon Hamm). Expect slapstick hijinks aplenty, with much of the mayhem designed with the minions' adorable nature in mind and little else. In general, the golden, rounded figures don't make that much sense, so it follows that neither does the madcap movie and its frantic array of gags. Eschewing logic, abandoning emotional awakenings and avoiding imparting a message add to the delight of the film in this day and age of lesson-centric all-ages affairs. As they flit across the screen to a period-appropriate soundtrack of the Rolling Stones, the Doors, the Who and the Beatles, the sidekicks turned stars simply enjoy revelling in silliness and anarchy. That's what Minions is: chaotic, amusing fun, albeit of the slight, sweet and ultimately disposable variety. In what amounts to an origin story, Coffin and his crew never take anything too seriously, including shoehorning in as many nods to other genres as they can — such as superhero flicks, of course, as well as royal comedies and even monster movies. They also never forget that, in their first two big screen outings, the minions were the primary source of comic relief. No doubt they'll be fulfilling that role again in Despicable Me 3, due out in 2017, but for now, they do just fine lapping up the limelight all by themselves.
XOXO (pronounced Hugs & Kisses, FYI) have been throwing tres romantique dance parties for a whole year now, and boy have they swept us off our damn feet. See out July in style with host Hugo Atkins and residents Paul Jager and Simon TK with more than a couple of special guests up their sleeve. It’s all pretty hush hush for now, but if you want to know more, suss out their membership. In fact, this bit is non-negotiable if you want to attend and must be completed before you arrive, as this XOXO event will be members only. Oh la la. In other awesome news, what club do you go to that offers free sorbet at 3am? Well, these guys do, and that is almost reason enough to head down. This time around they’ll have a hot toddy flavoured sorbet on the go. Baffled? Us too. Best check it out for yourselves.
Looking to add a little splash of colour to your life? Then make your way down to the Royal Botanic Gardens, where the Growing Friends are hosting one hell of a sale. Held twice a year in spring and autumn, this two-day charity market is the perfect place to pick up some plants and give your green thumbs a much needed flex. Open from 10am to 4pm on Saturday, April 16 and 10am to 3pm on Sunday, April 17, the Growing Friends Autumn Plant Sale will feature hundreds of different plants, from abelias to zierias and everything in between. Entry into the plant sale is free, while members of Growing Friends get a further 10 percent off all purchases. Best of all, proceeds from sales will be used to support future projects in the gardens.
British-Jordanian filmmaker Naji Abu Nowar mightn't have intended to make a companion piece to one of the greatest films ever made. Yet in telling the story a child's struggle for survival as British forces clash with Ottoman troops during the First World War, that's exactly what he's done. Theeb explores the consequences of the global conflict for local Bedouin tribes and the change that comes with it from an insider's perspective, offering a fascinating counterpoint to Lawrence of Arabia in the process. Played by first-timer Jacir Eid Al-Hwietat, the recently orphaned Theeb is our spirited escort through a landscape ravaged by violence. In 1916, Theeb is under the care of his older brother Hussein (Hussein Salameh Al-Sweilhiyeen), with the siblings trying to maintain their traditional way of living as pilgrim guides. One evening, English soldier Edward (Jack Fox) appears at their camp with his Arab chaperone Marji (Marji Audeh), asking for assistance with trekking to a well on the route to Mecca. Bedouin custom obliges them to help, sparking a journey across sand and rock, as well as a series of unlikely alliances in life-or-death situations, and forcing Theeb to cope with troubles that should be far beyond his years. Nowar has called his debut movie a Bedouin western, a label that feels fitting given the prominence he gives the landscape. From its opening frames, Theeb draws viewers into a deserted world, both visually in its dusty images and thematically in its us-versus-them sentiments. With its irrepressible main figure leading the charge, however, the film doesn't just adhere to one genre. Seen through the eyes of a child just beginning to learn life's harsh realities, it's an energetic adventure and an insightful coming-of-age offering as well. Such a subtle blend of elements requires nuanced performers to match — and while the stunningly shot scenery immediately attracts the eye, and the story proves both contemplative and engaging, neither would cause quite the same impact without the efforts of the feature's cast. While few people are seen on screen, the largely non-professional collection of actors can't be faulted. Indeed, as a showcase of complex and intimate portrayals from previously untapped talent, the film excels. Theeb's achievements don't stop there. Shot entirely in Jordan, the feature is the first from the Arab nation to ever receive an Oscar nomination. That's quite the feat, though the movie deserves attention regardless of its awards success. There's a reason it's named after its resilient protagonist. Both Theeb the character and Theeb the film are as disarming as they are determined.
This town sure loves its films, and we love them even more when they're free. For Melbourne Music Week, Rooftop Cinema will be playing two of this year's most popular musical films: the devastatingly insightful Amy, based on the tumultuous life of Amy Winehouse, and Straight Outta Compton, a biographical drama based on the life and times of NWA. If you're keen to check out something a little more local, head to Play It Safe: a film about a generation caught between endless opportunity and the pressures of conformity.
Journey to a strange extraterrestrial world with the emerging stars of Australian circus. Running from June 8 to 18, Things NOT of this EARTH is this year's National Institute of Circus Arts graduating showcase, featuring fourteen of the school's final year students at the top of their game. Expect trapeze artists, tightrope acts and killer hermaphrodites from outer space. No, you didn't misread that last part. Inspired by sci-fi movie schlock like Plan 9 from Outer Space, the satirical production is directed by renowned circus and theatre performer Hayden Spencer. Each graduate will get their moment in the spotlight, showing off skills that range from contortion to juggling giant umbrellas with their feet. Along the way, the show will call into question concepts of identity and belonging, while drawing on influences from music, cinema, stage and drag. Image: Julian Meehan Photography.
When you were a child, you came to a realisation. Every kid does. For your entire life, the people responsible for your existence had just been your parents, until one day, you began to understand that they were normal people too. They had hopes, dreams and experiences before you were born. You didn't know their whole story, and that lives didn't revolve solely around you. In The Silences, actress and filmmaker Margot Nash unpacks this line of thinking as she dissects her family's tale. She started when she was young, but didn't stop there, continuing into adulthood, bringing more details to light with every passing year, and digging even deeper after her mother's death in 2004. With the writer-director also acting as narrator, The Silences gazes at pictures, reads letters, probes rumours and steps through recollections to provide a full picture of the people who brought Nash into the world. The true tale that results is equally ordinary and extraordinary, though the former isn't a flaw by any means. As the documentary gradually reveals more information about Nash's unhappy mum and mentally ill father, as well as her older sister and other secret sibling, it feels as intimate and specific to the figures involved as it does familiar to anyone who has ever delved into their own broader history. That's the power of the personal cinema essay done well. It not only illuminates the topic at hand but taps into universal themes, with the likes of shame, loss, depression, and the impact of surviving both family hardship and war-torn times resonating here. For Nash, the process is clearly a confessional, cathartic one — as are clips from her previous shorts We Aim to Please, Speaking Out and Shadow Panic, and feature Vacant Possession, which she sprinkles throughout the film. For viewers, the act of watching offers a window into the lives of others, and a mirror to contemplate personal memories of their own. Accordingly, the finished film proves both haunting and evocative. And indeed, while The Silences might play like a mix of tribute, detective story and memoir, it's still wholly a journey of discovery. Both for Nash, and for the audience with whom she so generously shares her tale.
Make your way down the Princes Freeway and immerse yourself in a world of colour and sound at Geelong After Dark. The Gateway City's answer to Melbourne's White Night, this late-night arts festival will run from 6pm to 10pm and feature dozens of innovative art installations, projections, music acts and live performances. Not a bad way to unwind at the end of a busy week. The festivities will take place in central Geelong across the Cultural Precinct, Little Malop Street, Moorabool Street and the Waterfront Precinct. Standouts on the jam-packed program are many and varied, ranging from video installations by local artist Courtney Ward to live performances from the Geelong Community Orchestra, and even DJ lessons outside Real Music on Little Malop Street. The city's iconic waterfront carousel will be lit up and spinning, while the National Wool Museum will screen a selection of classic silent films — they'll even be serving complimentary popcorn. For the complete Geelong After Dark program visit geelongafterdark.com.au.
Triple 9 is the film equivalent of a song that catches your attention with a recognisable beat, yet still manages to get stuck in your head. You know you've seen this brand of testosterone-fuelled, tightly written crime effort before, but you can't help getting immersed in it anyway. There's plenty that's familiar in this blood-soaked tale of cops, robbers and ruthless Russian gangster, including the ways in which it uses its high-profile cast. But just because you know what to expect doesn't mean that the end result isn't effective or powerful. Starting with a chat between two shady figures, then barrelling into a bank heist, John Hillcoat's latest film explores the intersection of law and order in Atlanta. As it happens, most of the men behind the theft are current police officers or ex-military operatives. Corrupt detectives Marcus (Anthony Mackie) and Franco (Clifton Collins Jr.) work both sides of the line; shifty siblings Russell (Norman Reedus) and Gabe (Aaron Paul) lurk in the shadows; and former special forces contractor Michael (Chiwetel Ejiofor) oversees their operations. He's a pawn for mob boss Irina (Kate Winslet), who keeps threatening to take his son (and her nephew) away from him. Irina uses that leverage and her penchant for violence to not only strong-arm the crew into doing the first job, but to blackmail them into making a follow-up smash-and-grab on Homeland Security. Enter their nasty solution to the seemingly impossible task: distract the bulk of the city's police force by killing a cop. Marcus' new, straight-down-the-line partner Chris (Casey Affleck) is their target. Though newcomer Matt Cook is responsible for the screenplay, Triple 9 is a Hillcoat film through and through. The movie doesn't just follow in the footsteps of other gritty, murky crime fare — think Heat, Killing Them Softly and Sicario — but of the Australian filmmaker's own back catalogue, including The Proposition, The Road and Lawless. In his hands the film seethes with intensity, delivering menacing, mesmerising thrills. With Woody Harrelson, Gal Gadot, Theresa Palmer and Michael K. Williams joining the other well-known names, Hillcoat's stellar cast is on form. The film is an ensemble effort filled with fine actors doing what they do best — Paul playing drugged up and down-and-out; Winslet mastering yet another accent; Ejiofor navigating morally complex territory; and Affleck once again proving that he's more nuanced and compelling than his famous sibling. When the actors aren't snarling their lines at each other with distrust, they're stalking through hallways and shooting up freeways, in the film's most distinctive segments: its set pieces. Shot with energy and anxiety, and accompanied by an insidiously unsettling score, they're the feature's hooks. No matter how familiar everything else might seem, these sequences are sure to buzz through your brain, and ensure that you can't stop watching. https://www.youtube.com/watch?v=0zU817AmOOk
When Lady Susan Vernon (Kate Beckinsale) scolds a man for approaching her in a courtyard and threatens to have him whipped, she thinks nothing of it. After her friend and confidante Alicia (Chloë Sevigny) seems shocked, she advises that she actually knows him well; "I would never speak to a stranger like that," she laughs. Slinging sharp words is what the recent widow does well, along with scheming to secure herself a new husband while also trying to find someone suitable for her teenage daughter Frederica (Morfydd Clark). How better to battle for the important things in life, such as a wealthy partner, being able to live comfortably, and escaping a scandalous reputation? Yes, all's fair in love, marriage and the war that accompanies the pursuit of both, as this comedy of manners, money and match-making aptly demonstrates. Adapted by writer-director Whit Stillman from Jane Austen's unfinished, letter-based novella Lady Susan (but renamed after one of her other short stories), the fast-paced film is the comedic gem you probably didn't know the 18th century author had in her. Indeed, Love & Friendship is a sparkling satire that's as insightful as it is amusing, anchored by the kind of protagonist that might not be entirely sympathetic, but is still both relatable and entertaining. When Lady Susan sets her sights on the young and handsome Reginald DeCourcy (Xavier Samuel), she won't let his meddling relatives derail her future happiness — though Frederica's courtship with the buffoonish Sir James Martin (Tom Bennett) might just get in the way. That said, Lady Susan hasn't been labelled "the most accomplished flirt in England" without good reason. Whether her character is telling off passersby, spouting insults with a smile or choosing to remain oblivious to the response she causes whenever she enters a room, Beckinsale is in career-topping form as Lady Susan, oozing the perfect combination of charm and calculation. While she's surrounded by an excellent cast — Samuel, Bennett and a brief appearance by Stephen Fry are the standouts — there's never any doubting that she's the star of the show. And yet, though Beckinsale commands attention every moment she's on screen, it's Stillman who proves the film's most important figure. The material isn't just an ideal fit for a filmmaker who has previously found humour in interconnected sections of society in movies like The Last Days of Disco and Damsels in Distress. It's also the feature the lifelong Austen fan was clearly fated to make. At home in the period setting, he takes every opportunity to survey the sumptuous production design, while still furnishing the film with a sense of intimacy, peppering it with hilarious reaction shots, and finding joy in the wordplay that drives the dialogue. In short, it's a delicious blend of Stillman and Austen at their comic best.
You don’t call a movie 10 Cloverfield Lane without trying to get your audience guessing. With JJ Abrams in the producer's chair, there's an immediate game afoot. Just how will it connect to Cloverfield, the 2008 found footage creature feature he was also involved in? That's just one of the questions the movie inspires, though in truth it might be the least interesting. Given that the film spends the bulk of its time in a bunker with a suspicious Mary Elizabeth Winstead and a possibly hostile John Goodman hiding from what may or may not be an apocalyptic attack, there are plenty of other things to contemplate. Here's two: is Howard (Goodman) telling the truth when he tells Michelle (Winstead) that he's keeping her underground for her own safety? Or is the paranoid doomsday fanatic using his survivalist obsession for more nefarious means? When an accident brings the two together, Michelle can't help doubting Howard's true motives after she wakes up injured, semi-clad and chained to the wall. He spins a story about global devastation, which fellow cellar dweller Emmett (John Gallagher Jr.) backs up. However, even when the trio settles into a tentative routine of dinners and board games, she can't shake the feeling that something isn't right. Indeed, Michelle might pretend otherwise — and prove determined and resourceful when needed — but there's no mistaking her anxiety and uncertainty. Those emotions aren't hers alone, with 10 Cloverfield Lane forcing viewers to share in her uneasiness. Hiding as much as they make plain, first-time director Dan Trachtenberg and writers Josh Campbell, Matthew Stuecken and Damien Chazelle (Whiplash) sustain a pressure-cooker atmosphere and an air of mystery. Through canny camera placement, fine-tuned framing, savvy editing, a foreboding score and a willingness to take its time, the claustrophobic thriller has great fun teasing its audience. Maintaining a balance of playfulness and suspense also helps counter any similarities to Room or even The Unbreakable Kimmy Schmidt — and while shades of everything from Psycho to War of the Worlds are also evident, the film's path is its own. Forget the shaky visuals and sprawling nature of its predecessor, too. In an effort Abrams has labelled a "spiritual successor" to Cloverfield rather than a sequel, the images are stable, the focus tight and confined, and the menace more psychological than monstrous. Of course, Goodman ensures the threat of physical terror never quite dissipates, in his most substantial role in years. His richly textured performance is only one part of the on-screen equation though, with Winstead's reactions equally as precise and persuasive. Watching the two face off over what's going on and why they're there — with a mostly affable Gallagher in the middle — makes it easy to forget that there's the bigger puzzle of the feature's name to ponder. They're so effective, as is the film in keeping the mood tense and the surprises coming, that 10 Cloverfield Lane proves gripping irrespective of any monster movie ties.
Hightail it down to Bruzzy's Farm in Tallarook and shake it all weekend long. Celebrating its tenth anniversary in raucous style, this fittingly named boutique music festival is back for another year, for three straight days of dancing under the stars. The lineup is as eclectic as ever, with American headliner Jason Isbell joining his countrymen Endless Boogie and Spiral Stairs, Spain's Los Chicos, and homegrown talent such as Bad//Dreems, Emily Ulman and Henry Wagons & The Only Children.
An important topic, tied into a heartbreaking plight, deserves a film that does it justice. In tackling the equality of homosexual partners through the true tale of New Jersey police detective Laurel Hester and her spouse Stacie Andree, Freeheld isn't that film. Instead, it's a feature that knows the significance of the story it's telling and the subject it's covering, but remains happy staying in movie-of-the-week territory. When Freeheld opens, Laurel (Julianne Moore) is one of Ocean County's best cops, giving her job her all alongside fellow officer Dane Wells (Michael Shannon). She's also the type to keep her professional and personal lives separate, until an advanced lung cancer diagnosis forces her hand. Wanting to ensure that Stacie (Ellen Page) can remain in their home when she passes away, Laurel applies for her pension benefits to go to her registered domestic partner. The powers-that-be — the board of chosen freeholders, or the county governing body — decline her request, which inspires Laurel to fight for her civil rights. Though director Peter Sollett (Nick & Norah's Infinite Playlist) and writer Ron Nyswaner (The Painted Veil) approach their topic with noble intentions and an obvious, earnest dose of sincerity, there's a difference between being sympathetic and being simplistic — and sadly, their efforts strive for the former but side with the latter. Even with a legal fight at the centre of the narrative, there are few complications in Freeheld, and those that exist are designed to push emotional buttons. As a result, the script cycles through a checklist of the expected elements — hospital scenes, unsupportive colleagues, courtroom arguments and an ambitious activist lawyer (Steve Carell) among them — with little in the way of nuance. Audiences aren't ever in the dark about what they're supposed to be feeling, given that the film's soft tones offer a visual reminder of the gently moving territory it's trying to play in. Of course, Freeheld's generic air and approach isn't really conducive to wringing tears out of viewers, although that's what it is clearly trying to do — and what an account of the real-life circumstances should result in. Thankfully, the bulk of the cast fares better. Moore might remain in the same illness-centric territory that won her an Oscar this year for Still Alice, but in early scenes that show the way Laurel has to manage the different parts of her life, she makes the character more than a beacon for a cause. Page makes the most of a smaller part, even though she's very much the supporting player. In fact, she is often overshadowed by the excellent Shannon in a much quieter turn than he's frequently asked to give, and who becomes the feature's preferred point of focus. That's yet another of the odd choices Freeheld makes in its unsatisfying attempt to bring Laurel and Stacie's story to the screen, in an effort that has its heart in the right place, but not much else. For those looking for a film that actually does their tale justice, the short, Academy Award-winning 2007 documentary of the same is a much better choice, with fact winning out over a sentimental, dramatic version.
It starts and ends with the recognisable sounds of 'Holiday Road', and fills the time in-between with repeated refrains. It follows a formula established 32 years ago, and touches upon the same characters. The film in question is Vacation, the fifth and latest in the series. That it trades upon nostalgia is a given. That it doesn’t do a good job of doing so sadly is as well. Indeed, Rusty Griswold (Ed Helms) similarly relies upon his ill-thought-out fondness for things and times gone by to spark the feature’s story. Though he’s devoted to his wife, Debbie (Christina Applegate), and kids, James (Skyler Gisondo) and Kevin (Steele Stebbins), he can sense they’re not as excited as he is about their upcoming holiday. To facilitate some big-time family bonding, he changes their plans, hiring a mini-van and plotting a course across the country to theme park Walley World. Rusty is also driven by another reason: the trip to come, and the destination, mirrors the memorable jaunt he had with his parents (Chevy Chase and Beverly D'Angelo) and sister (now played by Leslie Mann) three decades earlier. That writing-directing duo John Francis Daley and Jonathan M. Goldstein shoehorn in a discussion about the pointlessness of rehashing past territory prior to the Griswold’s escape doesn’t really justify the episodic mess to come. Using a tongue-in-cheek exchange of dialogue to signify the script’s recognition of the weakness in trying to relive former glories is one thing; making a genuine effort to avoid falling prey to the laziness that often comes with such do-overs is another, and one the feature shows no evidence of trying to achieve. So it is that Vacation cycles through incident after incident, and throws nonsensical gags — a ridiculous Albanian car and a repeated shout-out to Seal’s 'Kiss from a Rose' among them — into the mix. When brief appearances by bit-players, such as Keegan-Michael Key, Nick Kroll and It's Always Sunny in Philadelphia's Charlie Day and Kaitlin Olson, command more attention and interest than the leads and narrative, you know that everything is far from ideal. Playing up his attractive appearance, Chris Hemsworth becomes the movie’s star player simply by proving the most committed. Though his character, Stone Crandall, the weatherman husband to Rusty’s sister, is largely saddled with mentioning faucets, his dedicated delivery makes the absurdity amusingly stick. There could be a message in the fact that the folks the Griswolds cross paths with along the way to their ideal getaway make more of an imprint, and the film certainly tries to push the theme of appreciating what you’ve got; however, overthinking the material gives the movie too much credit. Mostly, it remains content to strand the usually enjoyable Helms and Applegate in embarrassing situations and have them utter crude jokes. Vacation also remains content with looking like a sleek but messy holiday video. Actually, that's exactly what the feature delivers: a clumsy compilation that's supposed to capture better days. That you'll be pleased every time 'Holiday Road' pops up — because it means that this cinematic road trip is making its way towards its destination — makes the most telling statement.
Fourteen years ago, two planes struck the Twin Towers in New York City, and the world was changed forever. In the time since, we've all grown accustomed to the drumbeat of fear and the hum of government surveillance. We've resigned ourselves to the loss of personal privacy, often giving it up willingly through our use of smart phones and social media. Presented by St Martins Youth Arts Centre as part of their residency at Malthouse Theatre, I Saw The Second One Hit explores the social and political fallout from the 9/11 attacks through the eyes and experiences of twin sisters who have never known anything different. Teenage actors Juliette and Madeline Hemphil were born in 2001 and have grown up in a world shaped by that one fateful day in Manhattan. Conceived and directed by Clare Watson, this thought-provoking play asks us to consider the genetics of power, with one Australian family serving as stand-in for the entire Western world.
Keen on journeying around the globe through film? Then prepare to make the Arab world your next stop. At the Arab Film Festival Australia, you can speed around the streets of West Bank and venture across the Arabian Desert, thanks to its small but vibrant program. The Australian premiere of Lebanese effort Ghadi ranks among the festival's highlights, in a heartwarming exploration of the realities of families with special needs children. Cairo Time changes the mood in a collection of six characters and three stories across the Egyptian capital, while In the Sands of Babylon contemplates Iraq after the Gulf War. In its twelfth year, the community-based and -driven film festival not only showcases the best in contemporary Arab cinema to Australian audiences, but provides a unique opportunity for cross-cultural exchange. The movies featured attempt to address the frequent misrepresentation of the Arab culture — all while offering entertaining, engaging and thought-provoking viewing experiences, of course.
Grab yourself a bargain and a slice of pepperoni to go, at Lazerpig's latest garage sale and record fair. Starting from noon on Sunday, Collingwood's favourite pizza parlour will be crawling with savvy Melburnians rummaging through piles of old vinyls and vintage threads looking for a saving. There'll be clothes, shoes, bags and sunglasses, as well as handmade accessories, jewellery and candles. Music-lovers, meanwhile, can flick through records from the collections of DJs Tom Moore, Andee Frost, Misty Nights and many others. If you get tired from all the shopping, you can refresh yourself with $8 Aperol Spritzes and $10 Margaritas — and we imagine that the pizza oven will be firing as per usual. No need to feel guilty about the carbs, either, since you can work them off right there on the Lazerpig dancefloor.
Many a movie attempts to cause its audience to wonder what they'd do in certain circumstances. In the likes of Open Hearts, Brothers and In A Better World, Danish director Susanne Bier has contemplated the aftermath of accidents, war and childhood spats, all with repercussions rippling through ordinary lives. As they witness her tales of heartbreak and hard choices, viewers have been asked to do the same. In A Second Chance, Bier explores the dilemma that arises when a father faces tragedy and a detective spies a chance to stop another — and when both men are one and the same. Andreas (Nikolaj Coster-Waldau) dotes on his wife, Anne (Maria Bonnevie), and their infant son, Alexander, while trying to stop drug-addicted ex-con Tristan (Nikolaj Lie Kaas) and his girlfriend Sanne (May Andersen) from neglecting their baby. An unfortunate turn in one situation sparks an extreme decision in the other. The events the feature chronicles are best discovered while watching, though to say that Andreas's disheveled, often-drunk partner Simon (Ulrich Thomsen) starts to seem like the more sensible of the two gives an indication of the darkness that's in store. A large leap of faith is required to stick with the scenario that eventuates, one that attempts to justify a selfish deed through several layers of personal and professional desperation. In fact, while playing with heightened moral circumstances steeped in melodrama is what Bier and her regular collaborating screenwriter Anders Thomas Jensen do time and time again, here they threaten to stretch their usual questions too far. Whether anyone viewing the film would follow the same path as the protagonist is definitely debatable. Thankfully, that conflicted character is the feature's highlight, even if he is stranded within a dubious plot. Or, perhaps more accurately, Coster-Waldau stands out in his return to his native filmmaking and in playing against his Game of Thrones type. The man known to many as Jaime Lannister once again experiences significant family troubles, of course. Here, however, A Second Chance gives him much more room to display both range and subtlety than his small-screen role usually affords. Coster-Waldau's prominence isn't at his co-stars' expense, with Lie Kaas in particular also strong; nor is it at his director's. If his performance helps make the incredulous seem empathetic, then Bier's helming tries to strip back an unwieldy story and shape it into thriller territory. Sometimes she is successful, with the feature certainly looking the cool, steely part, and also making a strong statement about class assumptions. Sometimes, the material gets the better of her, such as when it tries to toy with its title. A Second Chance poses many such opportunities, but audiences unable to buy into the central source of drama may not go along with them.
Get down to the Collingwood Masonic Centre this Saturday and party like it's 1939. Hosted by The Boon Companions, Goodbye Wartime is part public dance, part immersive stage show, transporting guests back to the eve of Australia's entry into World War II. Enjoy the night while you can, because you'll be shipping out first thing in the morning. Goodbye Wartime is the latest event from The Boon Companions, an anonymous pair of party planners who specialise in immersive theatre events — such as their faux Wedding Reception earlier in the year. Ticketholders will be expected to dress the part in their best pre-war finery, while the crowd will consist of both guests and actors in character. There'll also be a bar (cash only) serving drinks all night long, so you can send your friends and loved ones off in style.
Your mouth has never been more important in determining what other people should eat, thanks to The Village who are hosting a Food of Origin series over five weekends in August, showcasing cuisines from different continents. Each weekend, The Village (formerly the Belgian Beer Garden) will bring together some palate-packing delights from North America, Central & South America, Europe and Asia. Your role? Go famished. Get fuelled up. Then vote for your favourite. The weekly winner will be invited back for the final Trailer Park showcase in the last weekend in August. For the fourth week of the Trailer Park's Food of Origin, the showdown rests close to home with a selection of Asian feeds. Pork sliders and fresh spring rolls are coming at you from White Guy Cooks Thai while the portable Hammer & Tong Food Truck has got your bigger buns filled with soft shell crab and Sriracha mayo. Nuoc Mama's beef and kimchi fries are rethinking the poutine game, thanks to their Vietnamese take on a Canadian creation. The street hustle is topped off by Gorilla Grill, who are infusing the tastes of an American kitchen with the streets of Asia. Think creamy, crunchy coleslaw served with Korean pork belly. Drink specials (including The Village Moonshine) will also be served in undercover bar, The Arbor. Want more? Whet those appetites further with these trucks that will be parked and waiting for you over the five weekends: August 1-2 - North America: Mr Burger, Smokin Barrys, TOASTA, Jay's Yogurt. August 8-9 - Central & South America: Taco Truck, Iv's Burritos, La Revolucion, Señor Churro. August 15-16 - Europe: Greek Street Food, Happy Camper Pizza, Jakob's Kitchen - Gourmet Sausages, The Brûlée Cart. August 22-23 - Asia: White Guy Cooks Thai, Hammer & Tong Food Truck, Nuoc Mama's, Gorilla Grill. August 29-30 - Best Of: The four chosen weekly winners will come back for the Trailer Park Showcase.
Very few filmmakers, or indeed artists in general, are as prolific as Woody Allen. Since he first began making movies back in 1966, the New York native has released 46 films, at a rate of almost one per year. Of course, not all of them have been particularly spectacular — the less said about Curse of the Jade Scorpion, the better. Still, you don't break Oscar's record for the number of Best Original Screenplay nominations on quantity alone. In celebration of Allen's incredible career, the team at The Astor Theatre are hosting a mini-retrospective, screening four of the writer-director's most critically-acclaimed films. The marathon begins with his 1973 sci-fi comedy Sleeper, followed by ensemble dramedy Hannah and Her Sisters, quintessential rom-com Annie Hall, and monochrome masterpiece Manhattan. It's $30 at the door for all four films, or you can pick and choose from $15.50 per session.
The team that bought you the pun-tastic Game of Rhones and Pinot Palooza are launching their latest event: Meat Your Maker. Proudly hosting some of this state's finest artisan farmers, growers and makers on Sunday, August 7 at Abbotsford Convent, the event will give ethically-conscious foodies the opportunity to meat (yep, we went there) and greet Melbourne's best meat producers. With a focus on education, the one-day event will feature four foodie-friendly sections including a Meat Market, Meat Out, Meat Sweats and Milk Bar. Patrons can sample some of the best seasonal produce, listen to panel discussions and enjoy cooking demonstrations from the likes of Meatsmith's Troy Wheeler and Pope Joan's Matt Wilkinson. Expect a selection of wine, cheese, milk, butter, yoghurt and — of course — plenty of fresh Australian meat. Tickets for Meat Your Maker are $25 each. This will get you access to the Milk Bar, Meat Market and Meat Out areas. For Meat Sweats sessions, you'll have to book in separately.
No prizes for guessing where Peter, Bjorn and John are travelling from. The Swedish trio's main claim to fame is the creation of the catchiest whistling tune ever created, 'Young Folks'. More recently, they took a little break, during which they built a studio, founded a record label and wrote a bunch more cracking pop songs. April 2015 marked their triumphant return, with the release of single 'High Up (Take Me To The Top)' and, in June 2016, the launch of seventh LP Breakin' Point. Rolling Stone's James Jennings called it "their glossiest, poppiest album yet," without an ounce of negativity, adding that "the group have crafted a consistently enjoyable album that casually tosses off killer choruses like it's no big thing." There's more Splendour sideshow action where this came from. Check out our list of sideshows with tickets still available.
At long last, Band of Horses, the gentle, bearded rockers from South Carolina, have dropped their fifth album, Why Are You OK?. Staying true to form, even the meaner songs sound a bit like Neil Young if he hadn't discovered anger. Now, as part of this year's Splendour sideshows, the denim-clad daydreamers are descending on The Forum. Billed as a "transformative display of pure guitar-driven anthems", the Concert Hall seems an ideal location for the band to let loose their hazy, swirling, laidback ballads. For those overdue for a 'Casual Party', book. Book now. There's more Splendour sideshow action where this came from. Check out our list of sideshows with tickets still available.
"For some reason, everything has become a metaphor," newly widowed investment banker Davis Mitchell (Jake Gyllenhaal) writes in a letter to a vending machine company. Uttered in voiceover partway into Demolition, it's not just a cringe-worthy piece of dialogue designed to provide an insight into his grieving mindset. It's also a dangerous sentiment for a character in a film to express — particularly in a feature that dedicates the bulk of its running time to becoming the movie equivalent of this statement. Davis' life has been torn apart by a car accident that claimed his wife (Heather Lind), though he managed to escape without a scratch. Barely shaken by the tragic turn of events — and clearly not visibly upset enough to satisfy his father-in-law and boss, Phil (Chris Cooper) — Davis begins to see everything around him as a reflection of his predicament. When he's not pouring his thoughts onto the page, initially trying to obtain compensation for a packet of undispensed peanut M&Ms but really just looking to share his lack of pain, he takes to dismantling the physical objects around him. A phone call from pot-smoking customer service representative Karen (Naomi Watts) proves similarly disruptive. Director Jean-Marc Vallée might be known more for his style than his subtlety, but the aptly titled Demolition takes blatant expressions of emotional states to a new level. Gone is the evocative earnestness and thematic texture that made the Quebecois filmmaker's French-language fare such as C.R.A.Z.Y. and Café de Flore work so well, even when they veered into heavy-handed territory. Instead, it's the contemplative simplicity of his most recent English-language efforts — AIDS drama Dallas Buyers Club and soul-searcher Wild — that's on display, coupled with a fondness for obviousness. Accordingly, Demolition proves an elegantly shot and deftly edited but ultimately empty series of scenes depicting its titular process in various forms: the initial crash, the destructive manner in which Davis behaves in the aftermath, and more than a few instances of both items and relationships being smashed to pieces, often in slow motion. While there's truth behind the broader observations Vallée is keen to stress, there are few new insights on offer. That screenwriter Bryan Sipe also penned the script for this year's Nicholas Sparks' adaptation The Choice gives an indication of the level of depth — or absence thereof. Alas, Demolition isn't a film that can be saved by its cast either. Gyllenhaal is solid and convincingly imparts some much-needed levity, but demonstrates exactly the amount of nuance he's asked to. While it shouldn't be surprising that yet another movie about a man's attempt to find himself wastes its female talent, Watts' nothing part is still disappointing. Playing Karen's teenage son, it's actually relative newcomer Judah Lewis (TV's Game of Silence) that fares best. His story arc might be designed to increase drama, but he conveys his character's journey without resorting to the movie's favourite tool, on-screen and off: a sledgehammer.
Love art, or just need a hefty tome to decorate your coffee table? Either way, the Melbourne Art Book Fair has you covered. Following on from the considerable success of last year's inaugural event, the sophomore edition of this literary luau will see more than 60 stalls take over the Great Hall at NGV International, showcasing art books, independent zines, limited edition prints and more. The fair begins on Friday, April 29 with the International Symposium on the Future of Design for Publishing, featuring a litany of guest speakers including South Korean graphic designer Na Kim and London-based artist and publisher David Blamey. That event will be followed by a ticketed evening preview, complete with live music, food and a pop-up bar. The main event, meanwhile, kicks off on Saturday, April 30, and consists of two straight days of workshops, panels and more than 20 separate book launches. For the complete program visit ngvartbookfair.com.
Some people have called him a hero. Others think of him as a criminal and a traitor. Still, regardless of your personal feelings about NSA whistleblower Edward Snowden, no one could deny that he'd be an interesting person to listen to. As it just so happens, that's exactly what this event is all about. For one night only at the Melbourne Convention and Exhibition Centre, the man who blew the lid off the biggest surveillance program in history will appear live via video to talk about what turned him from an anonymous computer analyst to one of the most wanted men in the world. We're sure he'd love to appear in the flesh, but...y'know. Presented by Monash Uni and Amnesty International, the event will begin at 7pm and run for approximately an hour and a half, and will include a Q&A with the audience.
Catch The Bard on the big screen in ACMI this July, as the British Film Institute and the University of Melbourne present Shakespeare on Film. Commemorating four centuries since the playwright's passing, this specially curated film program will showcase more than a century's worth of Shakespeare adaptations, from the seminal to the downright strange. Leading the two week lineup are a number iconic titles, including Laurence Olivier's Hamlet, Franco Zeffirelli's Romeo and Juliet, and Kenneth Branagh's Henry V and Much Ado About Nothing. Also on the program is last year's stunning Macbeth adaptation, followed by a Q&A (via Skype) with director Justin Kurzel. For those after something a little more obscure, ACMI will also screen campy '70s horror film Theatre of Blood, featuring Vincent Price as an actor who uses the murders in Shakespeare's plays as inspiration in his quest to bump off the theatre critics of London. But perhaps the most intriguing session is a collection of silent short films, including 1899's King John, believed to be the first Shakespearean screen adaptation ever made.
Light up the night with a party on the run. After successful events in Hong Kong, Singapore and the Gold Coast, Illumi Run is on its way to Melbourne. Come nightfall on Saturday, February 27, revellers will run, walk and dance their way along a 5-kilometre racecourse while being splattered with neon paint. And just when you thought you'd never run a marathon. The (strictly non-competitive) race will be held in Yarra Park by the MCG. Participants will be given a T-shirt, protective LED goggles, an LED foam stick and a swag bag full of goodies. Once you've crossed the finish line, you can make your way to the Illumi afterparty, featuring DJs, dancers and canons capable of firing more than 50 litres of paint at a time. There'll also be food and beverage on offer, to help you refuel and rehydrate after your workout.
Retail addicts rejoice, for The Creators Market is back. Held every few months, this homegrown event aims to bring together some of the cleverest designers and small business owners in Melbourne. Whether you like jewellery, clothes, beauty products, stationery or just want something to snack on, you're sure to find plenty of tempting items to separate you from your hard-earned cash. This first Creators Market of 2016 will be held at Prahran Town Hall on Saturday, February 27. Pick up some sweet treats from Made by Marlene, new threads from Honest Studios and a scented candle or two from The Natural Flame. All in all there'll be close to 40 different stallholders on site, and doors open 10.30am and close 4pm. Can't make it? Future markets are set for May 14, August 27 and November 26.
The plight of India's poverty-stricken conveyed through a quest for pizza? Yes, you read that correctly. Tamil language film The Crow's Egg endeavours to journey through the harsh lives of two young brothers by sending them in search of a slice of a fast food staple, and aims to present a combination of social realism and upbeat fable. If it sounds like an awkward combination, that's because it is. It's also clumsy in packaging weighty considerations within kid-focused shenanigans, unconvincing when it attempts to work farcical aspects into the mix, and falls on the wrong side of all things cute and enthusiastic as a result. The statements director M. Manikandan tries to make about the vast chasms between the haves and the have-nots, corporations and individuals, and the western and developing worlds are certainly sound, but they're hardly helped by his preference for slightness and sweetness over subtlety. What The Crow's Egg does have, however, is ample amounts of spirit – which is to be expected when a movie charts a couple of pint-sized characters on a mission. Here, the children in question are known only as Big Crow's Egg and Little Crow's Egg (Ramesh and J. Vignesh). The reason for their untraditional names is simple: that’s what the Chennai slum-dwelling siblings usually eat. As their main source of food illustrates more than their attitudes, life is tough for the twosome. Their mother (Iyshwarya Rajesh) works in a factory to amass enough money for their imprisoned father's legal fees, leaving the pair to spend their days scouring for fallen coal along the railway tracks that they can then swap for a handful of rupees. They dream of better things, including the meals served by the new eatery in their neighbourhood. Italian cuisine seems as exotic as it does appetising, and they desperately want a taste. Following their efforts and spending time with their cheeky personalities is endearing enough, as are the many musical montages, even if they're peppered throughout quite loudly and repetitively. Alas, the seesawing into darker territory is much less convincing. Of course, the overall disjointedness the movie suffers from could be said to mimic the excited minds of protagonists as they cycle through one adventure after another; however that might be a case of being too kind to a film that's clearly well-meaning, but just as clearly a bit too messy in bringing its intentions to fruition. Besides, the engaging duo of child actors at the centre of The Crow's Egg achieve that sense of exuberance all by themselves – which is why they're the feature's strongest element. Well that, and the relatable yearning for a piece of pizza.
In By the Sea, a couple retreats to a scenic ocean-side spot, their motivation as apparent as their baggage. Roland (Brad Pitt) is a writer struggling to put pen to paper, while Vanessa (Angelina Jolie Pitt) is a former dancer bearing emotional wounds from a past tragedy. Their individual troubles feed into a larger, common issue: the inertia in their marriage. The couple continue to look the part, but they're just going through the motions. He wears partially unbuttoned shirts, wanders around with a drink constantly in his hand, and spends more time with a local barkeep (Niels Arestrup) than with his wife. She smokes behind oversized sunglasses, stretches out on their balcony, and speaks as little as possible. They're not confronting their woes — they're avoiding them. Stepping behind the lens for her third stint as a director, Jolie Pitt explores the struggling state of a stale relationship in a script of her own making — and that she's taking on a starring role, alongside her actual husband, is by no means insignificant. Just don't expect an insight into the personal lives of one of the most famous couples on the planet. Instead, Jolie Pitt toys with the concept of being watched – something the real-life duo is no doubt familiar with, both on-screen and off. Vanessa finds a peephole into an adjacent room, discovers that she enjoys peering into the lusty bliss of a honeymooning couple (Melvil Poupaud and Mélanie Laurent), and eventually shares the experience with Roland. They gaze at the private moments of others, the audience observes them in turn, and more is seen than said. By the Sea convincingly conveys the unspoken elements of voyeurism; the forbidden becomes thrilling, whether spying on a neighbour or reading accounts of celebrity relationships. The film also shows how becoming invested in the life of someone else from afar can both mask and amplify the problems of those doing the looking, such as unhappiness and alienation. Indeed, while this may be the first time the couple have shared the screen since 2005's Mr. and Mrs. Smith, it's not just a case of lovers jetting off to a picturesque setting and sulking around a nice hotel. Jolie Pitt's feature is astute and incisive in its examination of the ebbs and flows of long-term bonds, and owes a debt to big screen melodrama and minimalism. The ghosts of great '70s European cinema – of character-based theatrics allowed to unfold slowly, and of pain rippling beyond composed faces and lavish surroundings – can be felt in every frame. Director of photography Christian Berger, a veteran of Michael Haneke's films such as Cache and The White Ribbon, certainly assists in evoking a throwback vibe and a sense of closeness. Nevertheless, it's the two leads who remain the true stars of the show. They weather some trying dialogue as well as an unsatisfying late revelation, and help the movie's repetition and tension become rhythmic and immersive. Their performances are also the reason that, even when the feature doesn't quite come together, it still remains hard to forget. In presenting a tale of intimacy and scrutiny, they're a pair no one can tear their eyes away from.
Freshly Ground Theatre presents a brand new stage comedy about one of the most talked about pastimes on earth. We're talking, of course, about infidelity. For as long as human beings have been coupling up, their eyes, hands and other bits have been wandering where they don't belong. A modern interpretation of the time honoured bedroom farce, Affair Play follows two couples over the course of a single dinner as they attempt to scheme, sleaze and sweet-talk their way into each other's pants. Written and directed by long-time FGT members Sam Lloyd and Max Barker, respectively, Affair Play will premiere at the Brunswick Mechanics Institute on Wednesday, December 9. It's the latest in a series of original stage comedies from the Melbourne-based theatre company, which has been performing since 2008. Image: Ella Palij.
The 19th annual Queenscliff Music Festival is swiftly approaching — and, boy, is there a lot to celebrate. As always, the line up is an exquisite mix of homegrown heroes and international talent. Angus and Julia Stone are taking the reigns as headliners this year, and they'll bring the festival to a close on Sunday night. Other acts to look forward to include Hoodoo Gurus, Paul Dempsey, Kate Miller-Heidke, Augie March, John Williamson, Hollie Smith, Melbourne Ska Orchestra, and Lior will be performing a very special 10th anniversary show of his beloved album, Autumn Flow. They're down to their last round of tickets, and you can either get a pass for the whole weekend or just for a day/night if there's something special you can't possibly pass up. This a prime music event for those who like to kick back and soak up the friendly atmosphere of a well-organised festival just before the madness of summer hits. If this sounds like something you can get down with, hit up QMF.
Looking for a nice, romantic date movie? In that case, steer well clear of Monster Fest 2015. Home to the sickest, strangest, most twisted pictures around, Melbourne's bloodiest film festival is back with a vengeance. Don't say we didn't warn you. Taking over their new home at Hawthorn's Lido Cinemas, this year's Monster Fest kicks off with the world premiere of Scare Campaign, the latest Aussie horror flick from Charlie's Farm directors Colin and Cameron Cairnes. From there, strap yourself in for three straight days of gruesome genre cinema. Some of the entries we're most excited for include Atomic Eden, Excess Flesh and Bunny the Killer Thing — and that's just going by the titles. Closing night will see the Melbourne premiere of Eli Roth's latest feature Knock Knock, in which Keanu Reeves is terrorised by a pair of seductive psychopaths. Poor Keanu. https://www.youtube.com/watch?v=ti6S3NZ5mKI On top of their regular screenings, this year's program features a number of special events, including a midnight-to-breakfast 'blaxploitation' marathon — complete with a Q&A with legendary actor Fred 'The Hammer' Williamson, no less — and a horror movie trivia night, featuring the likes of scream queen Dee Wallace and Wolf Creek star John Jarratt. For more information including the full Monster Fest program and ticketing deals, visit their website.
Art, theatre, mathematics and opera combine in an eclectic, electric new work opening at Theatre Works in St Kilda. RICERCAR is the brainchild of Present Tense Ensemble's Nathan Gilkes and Bryce Ives, who've recruited pop violin and drums duo The Twoks, instrumentalist Rosie Westbrook, visual artist Jennifer Tran, actors Laura Burzacott and Daniel Han, and opera singers Shauntai Batzke and Simon Gilkes. You'd never guess it was inspired by the genius of Johann Sebastian Bach. Running from Tuesday, November 24 until Saturday, December 12, everything in RICERCAR — from the music to the choreography — is inspired by mathematical loops and patterns. Gilkes and Ives took this idea from Bach's six voiced fugue entitled Ricercar a6, which the composer created in response to a challenge from Frederick the Great. Whether RICERCAR lives up to the pedigree, you'll have to wait and see.
If 2015's slate of documentaries has taught audiences anything — and filmmakers, too — it's the value of personal recordings, private scribblings and lost tapes. Kurt Cobain: Montage of Heck, Amy and Listen to Me Marlon all used previously unheard ramblings, unread notes or unseen footage as their basis, all to great effect. Their accounts of famous subjects unfolded in the best manner possible: in their own unguarded words. Sourcing its treasure trove of audio from a shoebox stashed in a basement for decades, Peggy Guggenheim: Art Addict endeavours to do the same as it peers back at the achievements of its titular socialite and collector. Indeed, her musings, all immortalised in the late 1970s by her biographer, provide the highlights of an otherwise cursory film. Guggenheim is a fascinating figure who lived a life most can only dream of, and her personality drips through in her voice and recollections. The material assembled around it, while plentiful, can only feel ordinary in comparison. It traces over the same details, rather than filling in the gaps. Meanwhile, Guggenheim's own mutterings and the accompanying chats, clips and images, seem content with offering description rather than depth. They still tell quite the tale, of course. Born into one of New York's wealthiest Jewish families, the daughter of Titanic victim Benjamin and niece of museum namesake Solomon, Peggy eagerly took on the role of rebel and black sheep, with her refusal to conform to expectations one of the strengths of her ventures in the art world. In Paris in the 1920s, she started buying pieces that caught her eye, and continued to do so until her death in Italy in 1979. In between, she befriended many an artist, founded galleries in Europe and the US, saved pieces from the Nazis and unearthed emerging talent such as Jackson Pollock. When director Lisa Immordino Vreeland isn't letting Guggenheim do the talking, she's compiling the usual mix of archival footage and interviews, with Marina Abramovic and Robert De Niro among those featured. It's the same tactic the filmmaker used in her last effort, Diana Vreeland: The Eye Has to Travel — but while both movies are straightforward in their approach, there's considerably less energy and personality this time around. Vreeland's struggle with tone — never quite knowing whether to interrogate the gossip that surrounded Guggenheim's personal affairs or to simply recount the rumours — certainly contributes to the film's lack of liveliness, as does its insistence on serving up a standard biographical documentary instead of a true reflection of its subject. It still makes for pleasant-enough viewing, particularly for art addicts themselves, but it never manages to fully do Guggenheim justice. In fact, it's only her vocal presence that stops the movie from amounting to little more than an interesting video of a Wikipedia listing.
Not everyone is lucky enough to spend Christmas with their nearest and dearest, and sometimes you just find yourself riding solo. Thankfully, the spirit of Christmas is strong in the city, at our favourite little shipping container-turned-bar. On Christmas Day from midday, Section 8 is welcoming orphans from far and wide to their special Christmas BBQ and shindig to sip Stone & Wood, fill their bellies with some tasty treats, and boogie on down to French maestro's Mr Pitiful DJ beats.
