It has finally happened, Melburnians. After two prolonged periods spent empty this year, with projectors silent, theatres bare and the smell of popcorn fading, Melbourne picture palaces are back in business. During COVID-19 lockdowns, no one was short on things to watch, of course. In fact, you probably feel like you've streamed every movie ever made over the past three months, including new releases, comedies, music documentaries, Studio Ghibli's animated fare and Nicolas Cage-starring flicks. But, even if you've spent all your time of late glued to your small screen, we're betting you just can't wait to sit in a darkened room and soak up the splendour of the bigger version. Thankfully, plenty of new films are hitting cinemas so that you can do just that — and we've rounded up, watched and reviewed everything on offer from this week. https://www.youtube.com/watch?v=7Ekw85OqJck THE WITCHES What's the one thing that every movie remake has in common? No matter how it turns out, the original film still exists. So, if the latest version doesn't cast a spell, you can return to the old one — revisiting it, appreciating it anew and steeping yourself in nostalgia in the process. That's worth remembering regarding the latest screen adaptation of Roald Dahl's The Witches, even with writer/director Robert Zemeckis (Back to the Future, Who Framed Roger Rabbit, The Polar Express) and co-writers Kenya Barris (Black-ish, Girls Trip) and Guillermo del Toro (Pan's Labyrinth and The Shape of Water's) involved. Its main achievement: reminding everyone just how great the previous screen adaptation of Roald Dahl's book from back in 1990 still is. It might be unfair to think that some remakes only eventuate because a studio executive thought it was time to wring some more cash out of a beloved story, but that's how this movie feels. It's simultaneously broader and tamer — including Anne Hathaway's (Dark Waters) over-the-top performance as the Grand High Witch, although she does appear to be enjoying herself immensely — and it radiates big pantomime energy. Indeed, there's a lack of overall magic in The Witches, either of the twisted or charming type (unless sending viewers clamouring to find wherever the original is currently streaming counts). A few things have changed in this fresh iteration. It's 1968, and the the film's unnamed young protagonist (Jahzir Bruno, The Christmas Chronicles 2) moves to Alabama to live with his grandmother (Octavia Spencer, Onward) after his parents are killed in a car accident. He's grief-stricken, but they bond over her shocking revelation: that witches exist, they're everywhere, they despise children and she has experience with them. Also, once a witch sets their sights on a kid, it never lets up. That's why, after one crosses the boy's path, grandma whisks him off to "the swankiest resort in Alabama", where she's certain they'll be safe among rich white folks. Of course, she couldn't have predicted that the group of women that have taken over the Grand Orleans Imperial Island Hotel's ballroom — the Society for the Prevention of Cruelty to Children, apparently — are all witches. Or, that the Grand High Witch is in attendance, unveiling a plan to turn every kid in the world into a rodent via a potion called 'Formula 86 Delayed Action Mouse-Maker'. Much that has endeared The Witches to readers and viewers over the years remains in the latest film, but tinkering with the details and tone makes an unfortunate impact. Brimming as it is with bright colours and overdone CGI, the new version of The Witches favours gloss and shine over chills and potential nightmares. Everything here is overt to an in-your-face extreme, and also far less intricate and much more bland. Read our full review. https://www.youtube.com/watch?v=N8DT_zVzxhk THE FURNACE At this point in Australia's cinema history, audiences can be forgiven for wondering if homegrown movies have unearthed and told every tale there is to be found among the vast outback. The answer: an overwhelming no, especially when Aussie filmmakers traverse the country's sunburnt and sprawling expanse to explore stories steeped in our problematic past. The Furnace is one such movie that proves the point. The first feature from writer/director Roderick MacKay, the gold rush-era western serves up a powerful interrogation of Australia as a multicultural nation — harking back to 1897, to Western Australia, and to a time when transporting freight around the country relied upon a network of cameleers trekking across the desert. The men covering great distances to move goods from one place to another hailed from India, Afghanistan and Persia, were largely of Muslim and Sikh faith, and were badged together under the label 'Ghan' by white Aussies. They were treated poorly, except by Indigenous Australians. And, they're a real but oft-forgotten part of the nation's story, so much so that The Furnace will introduce their existence to many viewers for the first time. That's just one of this vividly shot, exceptionally acted film's achievements, though. Another: posing the kinds of questions about our national identity that we should always be asking. Afghan cameleer Hanif (Ahmed Malek, Clash) didn't choose to come to Australia, or to take up this line of work. So, when he witnesses the death of his mentor at the hands of a white man, he's eager to find a way to get the cash he needs to return home. The Indigenous Yamatji Badimia people he often spends time with on his travels, including leader Coobering (Trevor Jamieson, Storm Boy) and Hanif's friend Woorak (Baykali Ganambarr, The Nightingale), suggest that he stays and joins them instead. But, after stumbling across injured thief Mal (David Wenham, Dirt Music), he's determined to use half of his new acquaintance's stolen Crown-marked gold bars to finance his escape and leave the life he hates behind. Troopers led by the fervent Sergeant Shaw (Jay Ryan, IT: Chapter Two) are swiftly on the unlikely pair's trail; however, Hanif and Mal keep traipsing towards the eponymous smelter, where Mal promises they'll be able to melt down the precious metal and remove any trace of the government's ownership. Following Hanif's journey — physically, and emotionally and spiritually as well — The Furnace is a patient film. It's a meat pie western through and through, applying the western genre's trademarks to an Australian context, and it joins The Proposition, Sweet Country and the aforementioned The Nightingale as one of the best 21st-century examples. MacKay spies the beauty and the imperfections in Australia's arid, dusty landscape, as many filmmakers have before, but he also never lets the flaws in our national character that are made plain by this chapter of history ever fall out of view. Read our full review. https://www.youtube.com/watch?v=Gb8ZbP6qAzE&feature=youtu.be THE MIDNIGHT SKY The Midnight Sky is George Clooney's first film role in four years (since 2016's Hail, Caesar! and Money Monster), so it's fitting that he's at his most bearded and reclusive within its frames. This sci-fi drama also joins the small but significant list of features that combine the star and space, following Solaris and Gravity — and there's something particularly alluring and absorbing about seeing Clooney get existential, as all movies that reach beyond earth's surface tend to. He clearly agrees, because he not only leads The Midnight Sky but also directs it as well. This is a big-thinking and big-feeling film, with its characters grappling with life, love and loss. It boasts aptly pensive and probing cinematography, too; however, both on-and off-screen, Clooney is the key. When the movie spends time with astronauts onboard the spaceship Aether, including the pregnant Sully (Felicity Jones, On the Basis of Sex), ship commander Adewole (David Oyelowo, Gringo), veteran pilot Mitchell (Kyle Chandler, Godzilla: King of the Monsters), and other crew members Sanchez (Demián Bichir, The Grudge) and Maya (Tiffany Boone, Hunters), it's at its most generic. Indeed, when it ventures to space, The Midnight Sky almost screams for either Clooney to head there as well, or for the feature to plummet back down to earth to join him once more. The actor/filmmaker plays workaholic research scientist Dr Augustine Lofthouse and, although The Midnight Sky rockets beyond the earth, it doesn't send its protagonist there. Instead, in 2049, after an environmental disaster has made the planet uninhabitable, he chooses to remain in the Arctic as his colleagues evacuate. He's dying anyway, and frequently hooks himself up to machines for treatment — in between downing whiskey, watching old movies, eating cereal and talking to himself. Then, interrupting his lonely decline, two things change his status quo. Firstly, a young girl (debutant Caoilinn Springall) mysteriously pops up out of nowhere, refusing to speak but obviously needing an adult's care. Secondly, Augustine realises that he'll have to trek across the oppressively icy terrain outside to connect via radio to Aether's crew, who've been on a two-year mission to ascertain whether newly discovered Jupiter moon K-23 can support life, and are now making their return unaware of what's been happening at home. The space movie genre is as busy as the sky above is vast, and The Midnight Sky proves familiar as a result, delivering plenty of elements that viewers have seen before — but this isn't merely an exercise in flinging together derivative parts. While this isn't Clooney's greatest achievement as a director in general or as an actor in a space flick, it's still an involving, engaging and poignant addition to his resume on both counts. Read our full review. https://www.youtube.com/watch?v=Ij8m_XQ_J2E WORDS ON BATHROOM WALLS When it comes to portraying illness of either the physical or mental kind, Hollywood doesn't have the greatest track record. Case in point: this year's awful All My Life, a cancer-fuelled weepie that decided it'd rather focus on the girlfriend of its sickness-stricken character — who is based on a real-life person — than on the man fighting to survive. Accordingly, by actually directing its attention towards Adam (Charlie Plummer, Lean on Pete), a high schooler who is diagnosed with schizophrenia in his senior year, Words on Bathroom Walls immediately demonstrates a willingness to actually engage with its protagonist's predicament. The film is based on a YA novel by Julia Walton, rather than on reality, but it sees Adam as a person rather than a reason that someone else's existence increases in drama. That's a pivotal move by filmmaker Thor Freudenthal (Percy Jackson: Sea of Monsters) and first-time screenwriter Nick Naveda, and one that improves their movie immensely. But Words on Bathroom Walls doesn't completely avoid cliches and tropes. Instead, it saves them for the usual teenage experiences, serving up everything from bullying classmates to first kisses, prom night antics and graduation chaos as Adam doesn't just try to cope with his condition, but with testing every treatment option there is, and also navigating the disappointments and the side effects. Adam's struggles begin in science class, where he has traumatic hallucinations, injures a friend and gets expelled. Seeing people who aren't there isn't new to him but, with the incident badged a psychotic break, his mother Beth (Molly Parker, Deadwood) devotes every waking hour to finding him the best care — when she isn't spending time with the new boyfriend, Paul (Walton Goggins, Fatman), that Adam doesn't like. For the teen himself, he's most concerned about chasing his dreams. He wants to be a chef, but he needs to get his diploma to get into his chosen culinary course. The local private school agrees to let him attend, as long as he undertakes a specific treatment plan and doesn't trouble his peers with his illness. Consequently, when he meets the studious and resourceful Maya (Taylor Russell, Waves), he keeps his condition to himself, even as a friendship and something more springs. At its core, Words on Bathroom Walls endeavours to address and break down the stigma that surrounds schizophrenia and mental illness, a feat that it perkily but thoughtfully achieves. Still, there's no missing the fact that it squeezes its empathetic intentions — and its narrative in general, and Adam's plight within it — into a well-worn teen formula. While Words on Bathroom Walls still succeeds where many other movies about health struggles fail, thanks in no small part to excellent performances all-round from Plummer, Russell, Parker and Goggins, its need to fit a template threatens to undercut its sensitive approach to its subject. If you're wondering what else is currently screening around Melbourne, we've also picked the 12 best flicks that started gracing the city's silver screens when indoor cinemas were given the green light to reopen. When outdoor cinemas relaunched before that, we outlined the films showing under the stars, too. And, we've run through all the pictures that opened in the city on November 12, November 19 and November 26; and December 3, as well. You can also read our full reviews of The Personal History of David Copperfield, Waves, The King of Staten Island, Babyteeth, Deerskin, Peninsula, Les Misérables, Bill & Ted Face the Music, An American Pickle, On the Rocks, Antebellum, Kajillionaire, The Craft: Legacy, Never Rarely Sometimes Always, Radioactive, Brazen Hussies, Freaky, Mank, Monsoon and Ellie and Abbie (and Ellie's Dead Aunt), American Utopia, Possessor, Misbehaviour, Happiest Season, The Prom and Sound of Metal all of which have been showing in Melbourne since cinemas reopened. And, you can check out our rundowns of the new films that released in other cities over the past few months — on July 2, July 9, July 16, July 23 and July 30; August 6, August 13, August 20 and August 27; September 3, September 10, September 17 and September 24; October 1, October 8, October 15, October 22 and October 29; and November 5 — as a number of those movies are now showing in Melbourne as well. Images: The Midnight Sky, Philippe Antonello/Netflix.
It doesn't matter what the weather holds for Suzie Sakamoto: with her husband and son missing when Apple TV+'s Sunny begins, the series' titular term can't apply to her days. An American in Kyoto (Rashida Jones, Silo), she's filled with grief over the potential loss of her Japanese family, anxiously awaiting any news that her spouse Masa (Hidetoshi Nishijima, Drive My Car) and their boy Zen (debutant Fares Belkheir) might've survived a plane crash. She'd prefer to do nothing except sit at home in case word comes; however, that's not considered to be mourning in the right way according to custom and also isn't appeasing her mother-in-law (Judy Ongg, Kaseifu no Mitazono). When Suzie soon has a robot for company, an unexpected gift from Masa, dwelling in her sorrow doesn't appear to be what he'd want in his absence, either. In this ten-part series, which adapts Colin O'Sullivan's 2018 novel The Dark Manual for the small screen and starts streaming from Wednesday, July 10, 2024, the technology that's quickly immersed in Suzie's existence is a homebot. The artificial-intelligence domestic helpers are everywhere in this near-future vision of Japan, aiding their humans with chores, organising tasks and plenty more — everywhere other than the Sakamoto house with its firmly anti-robot perspective, that is. Amid asking why her husband has not only sent the eponymous Sunny her way, but also why it's customised specifically to her, questions unsurprisingly spring about his true line of work. Has Suzie been married to a secret roboticist, rather than someone who designs refrigerators? What link does his job have with his disappearance? How does someone cope in such an already-traumatic situation when the person that they're possibly grieving mightn't be who they've said they are? Often with a science fiction twist, Apple TV+ can't get enough of mysteries. Approaching five years since the platform launched in late 2019, that truth is as engrained as the service's fondness for big-name talent, including across Severance, The Big Door Prize, Hello Tomorrow!, Silo, Monarch: Legacy of Monsters, Constellation, Sugar and Dark Matter. Thankfully, there's no content-factory feel to this lineup of shows, or to the streamer's catalogue in general, which is one of the best on offer in the online fight for eyeballs. Sunny's closest equivalent hails from beyond the brand, bringing Charlie Brooker's Channel 4-started, now Netflix-made Black Mirror to mind, but even then it's far more interested in its characters than their relationship to technology. That said, that people and how they use tech remain the real enemy, not gadgets and advancements themselves, hums at the core of both series. Indeed, Sunny proposes a radical path forward for Suzie, especially at a time IRL when generative AI has been making its presence known, and rarely for the better. Creator, showrunner and executive producer Katie Robbins (The Affair) takes her human protagonist down a route where the program's namesake, which matches a WALL-E vibe and emoji-leaning face with the cheerful voice of Barry, I Love That for You, Quarantine and Emma Approved's Joanna Sotomura, is perhaps the only thing that can be trusted. There's no shortage of other flesh-and-blood characters around Suzie, with some kindly and others patently nefarious. Bartender Mixxy (singer/songwriter Annie the Clumsy, Miss Osaka) falls into the first category. The platinum-blonde Hime (You, 9 Border), who seems to have a history with Masa, sits in the second camp. But with her world constantly being turned upside down and her usual confidante in Masa gone, technophobe Suzie might only be able to put her faith in the machine that's now ceaselessly by her side. A show such as Sunny, which is a comedy, drama, thriller and slice of dystopia all in one — alongside an odd-couple buddy pairing, plus a series with multiple puzzles, a stack of technology-driven and existential questions, and a probing of the human condition — needs two things beyond its compelling narrative. If viewers couldn't feel the confidence infused in this delicate mix of components, the show would crumble like circuitry haphazardly jammed together. If audiences couldn't sense the ambition to do far more than join dots as well, Sunny would similarly fail to compute. Not just thanks to its penchant for cliffhangers, this is a mystery with more always on the way, and one that adores teasing out its intricacies in a lived-in world that no other series can call home. That's assurance. That's initiative. Diving in is like strolling through Tokyo: there's always a new lane to mosey down, whether in the pursuit of solving the storyline or unpacking Suzie. The Dark Manual of O'Sullivan's moniker pops up as a hacker guide to customising homebots. Here, the plot also thickens. Still, as the yakuza feature, flashbacks tease out Suzie and Masa's meet-cute, the latter's time as a hikikomori — the portion of the Japanese population who choose to actively withdraw from society — is weaved in and surveillance is ever-present, Sunny never lets the avalanche of developments and threads that keep fuelling its tale become its sole or even main attraction. As penned by a seven-strong writing team led by Robbins with backgrounds on Bunheads, The Staircase, Apples Never Fall, Hit-Monkey, Tiny Beautiful Things and more, this is gripping and addictive viewing. It's a show to sleuth along with. Its retrofuturistic look and Saul Bass-esque opening credits are worth returning for again and again. Nonetheless, Sunny wouldn't connect if didn't value the personal and the human angle of being cast adrift from everything that you relied upon with no certainty about where to turn. Aided by being played by Jones, who so expertly married optimism and cynicism as Parks and Recreation's Ann Perkins — as she had to as the midpoint between Leslie Knope and Chris Traeger versus Ron Swanson and April Ludgate — Suzie is a character of unflagging determination crashing against mourning and anguish. She yearns with hope, as everyone does, for a lost loved one to re-emerge. She couches everything, including that longing, in sarcasm. That she journeyed to Japan to escape past woes, her lack of friends beyond her family and her alienation by refusing to learn the language all help construct a complex portrait. Also assisting: even simple moments, like swigging wine on the toilet. It isn't a secret that bounding through chaos is more relatable when the external tangle that greets a character reflects their inner jumble, as Jones anchors at the heart of her performance. The Boston Public, The Office, Celeste & Jesse Forever, Angie Tribeca and On the Rocks star in never-better territory, in fact, as she must've spotted the potential for; she's also among Sunny's executive producers. New TV arrivals of mid-2024 are now two for two when robot companions are involved. Fantasmas is the other. They're also two for two in world-building and production design that plunges viewers into screen spaces that resemble nothing else, which is no small feat for Sunny with Japan as its setting. Another commonality: not merely making audiences grateful that the non-stop flow of new streaming series can keep delivering programs this unique, but sparking a hunger for more to come. That's the sunny side of more TV begetting more TV and then more still, because a heaving crowd is always made up of individuals. Few new streaming arrivals of late are as distinctive as Fantasmas and Sunny, though. Check out the trailer for Sunny below: Sunny streams via Apple TV+ from Wednesday, July 10, 2024.
Gone are the days when celebrating Easter just meant eating all the chocolate eggs you can handle and treating yourself to all of the hot cross buns while they're in stores. Keep doing both, naturally, because this time of year wouldn't be the same otherwise. But choc-flavoured cocktails have quickly become an Easter staple, too — and award-winning distillery Archie Rose Distilling Co's new lamington tipple has arrived at exactly the right time. Lamingtons are the dessert that just keeps giving: giving us vodkas, cruffins, croissants, gelato bars and sneakers all inspired by them before now, in fact. So, of course Archie Rose has joined the trend with its new Dark Chocolate and Raspberry Lamington Bottled Cocktail, which is indeed exactly what it says on the label. A limited-edition tipple — so, it's here for a delicious time, not a long time — it comes ready to pour either over ice or paired with soda. Archie Rose also recommends a garnish in the form of a berry skewer. That berry flavour is a big part of the cocktail anyway, which goes heavy on raspberry, chocolate, honeycomb and coconut. It's made on Archie Rose's signature dry gin, and also includes notes of citrus — for balance, the company says. You'll only find it via the brand's website, in its latest creative tipple in a range that's previous included riffing on ice cream, dropping a coffee whisky and taking inspiration from Vegemite. Archie Rose Distilling Co's Dark Chocolate and Raspberry Lamington Bottled Cocktail is available now via the brand's website, costing $59 per bottle.
Something delightful has been happening in cinemas in some parts of the country. After numerous periods spent empty during the pandemic, with projectors silent, theatres bare and the smell of popcorn fading, picture palaces in many Australian regions are back in business — including both big chains and smaller independent sites in Sydney, Melbourne and Brisbane. During COVID-19 lockdowns, no one was short on things to watch, of course. In fact, you probably feel like you've streamed every movie ever made, including new releases, Studio Ghibli's animated fare and Nicolas Cage-starring flicks. But, even if you've spent all your time of late glued to your small screen, we're betting you just can't wait to sit in a darkened room and soak up the splendour of the bigger version. Thankfully, plenty of new films are hitting cinemas so that you can do just that — and we've rounded up, watched and reviewed everything on offer this week. THE FORGIVEN Patience is somewhat of a virtue with The Forgiven. It would be in it, too, if any of its wealthy white characters hedonistically holidaying in Morocco were willing to display the trait for even a second. Another addition to the getaways-gone-wrong genre, this thorny satirical drama gleefully savages the well-to-do, proving as eager to eat the rich as can be, and also lays bare the despicable coveting of exoticism that the moneyed think is an acceptable way to splash plentiful wads of cash. There's patently plenty going on in this latest release from writer/director John Michael McDonagh, as there typically is in features by the filmmaker behind The Guard, Calvary and War on Everyone. Here, he adapts Lawrence Osborne's 2012 novel, but the movie that results takes time to build and cohere, and even then seems only partially interested in both. Still, that patience is rewarded by The Forgiven's stellar lead performance by Ralph Fiennes, playing one of his most entitled and repugnant characters yet. Sympathies aren't meant to flow David Henninger's (Fiennes, The King's Man) way, or towards his wife Jo (Jessica Chastain, The Eyes of Tammy Faye). Together, the spiky Londoners abroad bicker like it's a sport — and the only thing fuelling their marriage. Cruelty taints their words: "why am I thinking harpy?", "why am I thinking shrill?" are among his, while she counters "why am I thinking high-functioning alcoholic?". He's a drunken surgeon, she's a bored children's author, and they're venturing past the Atlas Mountains to frolic in debauchery at the village their decadent pal Richard (Matt Smith, Morbius) and his own barbed American spouse Dally (Caleb Landry Jones, Nitram) have turned into a holiday home. Sympathy isn't designed to head that pair's way, either; "we couldn't have done it without our little Moroccan friends," Richard announces to kick off their weekend-long housewarming party. But when the Hennigers arrive late after tragically hitting a local boy, Driss (Omar Ghazaoui, American Odyssey), en route, the mood shifts — but also doesn't. The wicked turns of phrase that David slings at Jo have nothing on his disdain for the place and people around him, and he doesn't care who hears it. His assessment of the desert vista: "it's very picturesque, I suppose, in a banal sort of way". He drips with the prejudice of privilege, whether offensively spouting Islamophobic remarks or making homophobic comments about his hosts — and he doesn't, nay won't, rein himself in when Richard calls the police, reports the boy's death, pays the appropriate bribes and proclaims that their bacchanal won't otherwise be disturbed. The arrival of Driss' father Abdellah (Ismael Kanater, Queen of the Desert), and his request that David accompanies him home to bury his son, complicates matters, however. While David begrudgingly agrees, insultingly contending that it's a shakedown, Jo helps keep the party going, enjoying time alone to flirt with hedge fund manager Tom (Christopher Abbott, Possessor). John Michael McDonagh hasn't ever co-helmed a feature with his filmmaker brother Martin, but actors have jumped between the duo's respective works, with Fiennes — who starred in Martin's memorable In Bruges — among the latest. The siblings share something else, too, and not just a knack for assembling impressive casts; they're equally ace at fleshing out the characters inhabited by their dazzling on-screen cohorts via witty and telling dialogue. The Forgiven plays like it's in autopilot, though, but having Fiennes, Chastain, Smith and Jones (who appeared in Martin's Three Billboards Outside Ebbing, Missouri) utter its lines is a gift. Indeed, here it's the attitudes captured while they're speaking, and the behaviours and mannerisms made plain in how they're speaking, that add layer upon layer to this murky affair. That'd ring true even if Driss, Abdellah and the tense journey with the latter to inter the former weren't even in the narrative. Read our full review. FULL TIME Perhaps the greatest trick the devil ever pulled — the devil that is time, the fact that we all have to get out of bed each and every morning, and the sleep-killing noise signalling that a new day is here — was to create alarm clocks in a variety of sounds. Some are quiet, soft, calming and even welcoming, rather than emitting a juddering screech, but the effect always remains the same. Whatever echoes from which device, if your daily routine is a treadmill of relentless havoc, that din isn't going to herald smiles or spark a spring in anyone's step. The alarm that kickstarts each morning in Full Time isn't unusual or soothing. It isn't overly obnoxious or horrifying either. But the look on Laure Calamy's face each time that it goes off, in the split second when her character is remembering everything that her day will bring, is one of pure exhaustion and exasperation — and it'd love to murder that unwanted wake-up siren. That expression couldn't be more relatable, as much in Full Time is, even if you've never been a single mother living on the outskirts of Paris, navigating a train strike, endeavouring to trade up one job for another for a better future, and juggling kids, bills, and just getting to and from work. At the 2021 Venice International Film Festival, Antoinette in the Cévennes and Call My Agent! star Calamy won the Best Actress award in the event's Horizons strand for her efforts here — and while the accolade didn't come her way for a single gaze, albeit repeated throughout the movie, it easily could've. Mere minutes into Full Time, it's plain to see why she earned herself such a prize beyond that withering gape, however. Calamy is that phenomenal in this portrait of a weary market researcher-turned-hotel chambermaid's hectic life, playing the part like she's living it. In our own ways, most of us are. The first time the alarm sounds, Julie Roy (Calamy) is already lethargic and frustrated; indeed, writer/director Eric Gravel (Crash Test Aglaé), who won the Venice Horizons Best Director gong himself, charts the ups and downs of his protagonist's professional and personal situation like he's making an unflagging thriller. In fact, he is. Julie is stretched to breaking point from the get-go, and every moment of every day seems to bring a new source of stress. For starters, her job overseeing the cleaning at a five-star hotel in the city is both chaotic and constantly throwing up challenges, and the hints dropped by her boss (Anne Suarez, Black Spot) about the punishment for not living up to her demands — aka being fired — don't help. Julie has put all her hopes on returning to market research anyway, but getting time off for the interview is easier said than done, especially when the French capital is in the middle of a transport strike that makes commuting in and out from the countryside close to impossible. Also adding to Julie's troubles is well, everything. The childcare arrangement she has in place with a neighbour (Geneviève Mnich, Change of Heart) is also precarious, thanks to threats of quitting and calling social services. Having any energy to spend meaningful time with her children at the end of her busy days is nothing but a fantasy, too. Trying to get financial support out of her absent ex is a constant battle, especially given he won't answer the phone — and the bank won't stop calling about her overdue mortgage payments. It's also her son Nolan's (J'ai tué mon mari) birthday, so there are gifts to buy, plus a party to organise and throw. Julie is so frazzled that having a drink with her best friend is a luxury she doesn't have time for, because some other task always beckons. And when a father from her village, the kindly Vincent (Cyril Gueï, The Perfect Mother), helps her out not once but twice, she's so starved of affection that she instantly misreads his intentions. Read our full review. MURDER PARTY With apologies to William Shakespeare, all the world isn't just a stage in French farce Murder Party. Instead, it's a game, then another one, then yet another after that. This candy-coloured murder-mystery takes perhaps the ultimate high-concept setup and hones in on a crucial fact: that audiences love whodunnits, whether they're watching them on the screen or reading them on the page, because charting the unravelling details entails sleuthing along. In other words, when we're wondering who killed who in which room and why (and with what weapon), we're playing. The board game Cluedo also nailed this truth, as have murder-mystery parties, plus the increasing array of other interactive shows and events that thrust paying participants into the middle of such puzzle-laden predicaments. And while Murder Party acknowledges this idea in a variety of manners, here's the first and simplest: it's set among a family famed for making best-selling board games themselves. First-time feature writer/director Nicolas Pleskof and his co-scribe Elsa Marpeau (Prof T) kickstart the film with a killer setup: that eccentric crew of relatives, their brightly hued home on a sprawling country estate, an usual task given to a newcomer and, naturally, a sudden passing. Architect Jeanne Chardon-Spitzer (Alice Pol, Labor Day) is asked to pitch a big renovation project to the Daguerre family, transforming their impressive abode so that living there always feels like playing a game (or several). Patriarch César (Eddy Mitchell, The Middleman) already encourages his brood to enjoy their daily existence with that in mind anyway, including dedicating entire days to letting loose and walking, talking and breathing gameplay. But he's looking for a particularly bold next step. He's unimpressed by Jeanne's routine proposal, in fact. Then he drops dead, the property's doors slam shut and a voice over the intercom tells the architect, plus everyone else onsite, to undertake a series of challenges to ascertain the culprit among them — or be murdered themselves. Also thrust into the high-stakes game, which'll dispense with anyone who refuses to take part or guesses incorrectly: César's son Théo (Pablo Pauly, The French Dispatch), daughter Léna (Sarah Stern, Into the World) and nudgingly named youngest boy Hercule (Adrien Guionnet, Le Bazar de la Charité). Yes, sibling rivalry complicates the hypothesising, as well as the attempts to stay alive. Théo is particularly friendly towards workaholic Jeanne, adding another complexity to the already-chaotic situation. Similarly at hand is the dead man's younger wife Salomé (Pascale Arbillot, Haute Couture) — a mystery writer herself — and his no-nonsense offsider sister Joséphine (Miou-Miou, The Last Mercenary). And, because a home this immense was always going to have some help hovering around, butler Armand (Gustave Kervern, Love Song for Tough Guys) gets drawn in, too. If Amelie and Knives Out combined, the end result would look like Murder Party. If Wes Anderson and Agatha Christie joined forces, the outcome would be the same. It's highly unlikely that Pleskof was ever going to call his feature Murder in the Game-Filled Mansion or Death While Rolling the Dice, but that's the overwhelming vibe. There's an escape room element, too — thankfully, though, nodding towards the Escape Room franchise isn't on the agenda. Murder Party's characters get stuck in intricately designed locked spaces and forced to piece together clues to secure their freedom, and are only permitted to remain breathing by keeping their wits about them, but no one's in a horror movie here. Read our full review. THE REEF: STALKED In the crowded waters of cinema's shark-attack genre, which first took a hefty bite out of the box office with mega hit Jaws and then spawned plenty of imitators since, a low-budget Australian effort held its own back in 2010. The second movie from writer/director Andrew Traucki after his crocodile-attack flick Black Water, The Reef wasn't ever going to rake in enough takings to threaten the larger fish, but the stripped-back survival-thriller was grippingly effective. As Black Water did with 2020's Black Water: Abyss, the creature-feature helmer's shark film has now be given a sequel — and like Traucki's other franchise, this followup is a routine splash. The filmmaker keeps most of the basics the same, casting out a remakequel, aka a movie about basically the same scenario but with different faces. No, Traucki isn't seeking a bigger boat, or even to rock the one he has. The Reef: Stalked does make one curious new choice, however, stemming from its nine-months-earlier prologue. The film's opening sequences set up quite the harrowing source of trauma for protagonist Nic (Teressa Liane, The Vampire Diaries), and also clumsily equate domestic violence with the ocean's predators in the process. The aim is to show how Nic and her youngest sister Annie (debutant Saskia Archer) refuse to become victims after their other sibling Cathy (Bridget Burt, Camp-Off) is stalked and savaged in a different way, devastatingly and fatally so, at the hands of her partner Greg (Tim Ross, Dive Club). Drawing attention to assaults against women and femicide is a worthy mission, but it lacks bite here. Traucki's metaphor is as clear as the sky on a cloud-free day, and yet the domestic abuse plot point primarily plays as a way to complicate Nic as a character — PTSD flashes and all — rather than make a meaningful statement about violence within intimate relationships. After finding Cathy herself, Nic is so understandably distressed that she heads as far away as she can, but returns from overseas for a big diving and kayaking trip that was important to her sister. With friends Jodie (Ann Truong, Cowboy Bebop) and Lisa (Kate Lister, Clickbait), as well as Annie — who isn't known for enjoying the water, let alone for handling herself on it — they embark on a multi-day paddle. It isn't long until a different sinister force terrorises their getaway, though; even if you don't already know what "the man in the grey suit" refers to in surfer slang, this is a shark-attack sequel, after all. Aside from the haunting shots taking Nic back to Cathy's last moments, everything about The Reef: Stalked plays out as expected from the moment the quartet set off from north Queensland. Cue the obligatory waves of jump scares, many efficiently staged but their impact lessening as they just keep coming in increasingly predictable ways (when shark flicks are happy to swim by the numbers, if you've seen one movie like The Reef, 47 Metres Down, The Shallows, Bait, The Meg and the like, it feels like you've seen them all). Cue the tension that springs from the film's characters rarely being close enough to the shore to escape — but, when it's convenient, being close enough for kids playing on the beach to become potential fodder. Cue a score by Mark Smythe (Love You Like That) that tells viewers exactly how to react at every moment, too, and dampens the thrills and frights as a result. Still, Traucki has cast The Reef: Stalked well, enough that buying Nic and company's life-or-death stress comes easily. Trusting them, rather than clunkily overcomplicating the setup — no matter how well-intentioned — might've resulted in a better return to The Reef. If you're wondering what else is currently screening in Australian cinemas — or has been lately — check out our rundown of new films released in Australia on April 7, April 14, April 21 and April 28; and May 5, May 12, May 19 and May 26; June 2, June 9, June 16, June 23 and June 30; and July 7, July 14 and July 21. You can also read our full reviews of a heap of recent movies, such as Fantastic Beasts and the Secrets of Dumbledore, Ambulance, Memoria, The Lost City, Everything Everywhere All At Once, Happening, The Good Boss, The Unbearable Weight of Massive Talent, The Northman, Ithaka, After Yang, Downton Abbey: A New Era, Wheel of Fortune and Fantasy, Petite Maman, The Drover's Wife The Legend of Molly Johnson, Doctor Strange in the Multiverse of Madness, Firestarter, Operation Mincemeat, To Chiara, This Much I Know to Be True, The Innocents, Top Gun: Maverick, The Bob's Burgers Movie, Ablaze, Hatching, Mothering Sunday, Jurassic World Dominion, A Hero, Benediction, Lightyear, Men, Elvis, Lost Illusions, Nude Tuesday, Ali & Ava, Thor: Love and Thunder, Compartment No. 6, Sundown, The Gray Man, The Phantom of the Open, The Black Phone, Where the Crawdads Sing and Official Competition.
Whether you like it or not, summer's balmy weather is set to last a little bit longer this year, with most of Australia forecast to score a hotter-than-average autumn. Off the back of a record-breaking summer — with January the hottest month ever recorded in Australia — the good folk at the Bureau of Meteorology have released their climate outlook for the March to May period, revealing that most of the country is in for warmer days and stickier nights than we usually see at this time of year. Yep, the soupy weather is set to continue. In fact, if you call mainland Australia home, there's an 80 percent chance you'll experience autumn temperatures that are a whole lot warmer than the median. To give an idea of exactly what that all means, the average daily maximum temperature for March sits at around 24.2 degrees in Melbourne, 24.8 in Sydney and 29.1 in Brisbane. In May, it's around 16.7 degrees for Melbourne, with 19.5 for Sydney and 24.5 for Brisbane. The BOM is forecasting that we'll see warmer than that across the three months. Unfortunately for farmers, large parts of the north are looking to struggle through drier-than-average autumns, too. The southern part of the country, however, is expected to cop the usual rainfall. Looking further into the year — and getting a touch technical — the BOM's senior hydrologist, Dr Robert Pipunic, says there's a 50 percent chance of El Niño forming over the next couple of months, which is double the normal risk this time of year. This means we could see warmer-than-average temperatures and low levels of rainfall continue into winter, too. If you'd like to know more about what exactly El Niño is, and how it impacts Australia, the BOM has a whole heap of fun facts over here. NSW folk survived their second-warmest autumn on record last year, with the statewide mean temperature clocking in at 1.88 degrees hotter than the average. And let's not forget that in 2018, overall, Australia copped its third-warmest year ever. With another sweaty autumn on the way, 2019 looks well set to steal that title. Image: Mark Chew for Visit Victoria.
We're not big fans of food celebration days, but we are big fans of doughnuts. Especially free ones. And this Friday, June 1 — 'International Doughnut Day', if you will — a heap of shops around the city will be giving away thousands of doughnuts to mark the occasion. Whether you like them hollowed and glazed or sugared and stuffed with Nutella, you'll find them — for free. A word of warning: you'll need to get in early. Nothing draws a crowd like free doughnuts. If you miss out, or your sweet tooth still isn't sated, check out one of our favourite Melbourne doughnut shops. OASIS BAKERY, MURRUMBEENA The legendary Oasis Bakery is getting into the spirit by giving away a hefty 10,000 free doughnuts. Fans can choose from the bakery's two most popular cult creations — the classic jam-filled version, or one stuffed with a hit of Nutella. They're up for grabs from 8am through 9pm. What? 10,000 doughnuts from 8am DANDEE DONUTS, DANDENONG MARKET The colourful Dandee Donuts truck has got around town plenty in the past five decades, though, these days, it's best recognised as a mainstay of the Dandenong Markets, slinging hot, jammy, sugared doughnuts to the masses four days a week. These guys are preparing for a huge International Doughnut Day, with two trucks on site to keep up with demand. Visit either window between 8am and 4pm this Friday, to score one free classic doughnut per person. What? Free doughnuts from 8am until sold out [caption id="attachment_670537" align="alignnone" width="1920"] Credit: Simon Shiff [/caption] PONTOON, ST KILDA If you like the sound of a free warm doughnut, matched to some spiffy bay views, put St Kilda hotspot Pontoon on your radar for this Friday. The beachside bar and eatery is celebrating this international food day by handing out hundreds of its signature sugared doughnuts, from midday until they're all gone. These little beauties have been going gangbusters since hitting the menu this autumn, so don't dally. What? Free doughnuts from midday until sold out GOLDELUCK'S, EASTLAND SHOPPING CENTRE Croydon South bakery Goldeluck's has earned itself quite the reputation for its artisanal pastry creations, from clever riffs on the classic doughnut, to the doughnut-croissant hybrid it has dubbed the 'dossant'. And a whole lot of each variety will be walking out the door of Goldeluck's new Eastland store for free this Friday. From 9am, the first 50 customers to purchase a coffee will score a free doughnut to match. Then, there's another swag of free doughnuts going to the first 100 customers from 6.30pm, with the first person in line gifted a nine-pack of doughnuts and the following five punters walking away with a four-pack. To claim yours, you'll need to RSVP to Goldeluck's Facebook event and share it to your own page. What? 50 free doughnuts (with coffee purchase) from 9am, 100 from 6.30pm KRISPY KREME, VARIOUS STORES Melbourne has no shortage of artisan doughnut makers, but if you're in the mood for something a little more mainstream, you'll be chuffed to know that the folks at Krispy Kreme are also jumping on the International Doughnut Day bandwagon. On June 1, the group is set to give away a huge 50,000 original glazed doughnuts across its dedicated stores in Queensland, New South Wales, Western Australia and Victoria. There's a limit of one per person — best check your local store's opening hours so you can be one of the first in line. What? 50,000 doughnuts nationally, visit your local store SHORTSTOP COFFEE & DONUTS, MELBOURNE Raised, filled, cake or cruller, Shortstop explores the boundaries of doughnut experimentation, spanning the entire flavour spectrum and borrowing a few international influences along the way. And this Friday it's jumping on the doughnut-day bandwagon and is giving away 700 free doughnuts to sweet-toothed punters. One classic cinnamon cake doughnut will be given away with every transaction, from 7.30am till they sell out. What? 700 free doughnuts (with purchase) from 7.30am HONOURABLE MENTION: COP SHOP ESPRESSO, HAWTHORN Hawthorn's Cop Shop Espresso might not be giving out any free doughnuts this International Doughnut Day, though it does have a pretty tidy deal for anyone looking to mark the occasion in style. Head in from 7am on June 1, purchase any house-made doughnut and they'll swing you a small, standard coffee, on the house. Recent doughnut hits include salted caramel, peanut butter and jelly, and a passionfruit-filled, pink-glazed number. What? Free coffee with doughnut purchase from 7am–5pm
Paul Allam and David McGuinness opened Bourke St Bakery in 2004 and worked their way into the heart of inner-Sydney with their quality handmade baked goods. This month they will extend their reach to the city’s outskirts with the launch of The Bread & Butter Project, the 'Makers of Bakers', a social enterprise designed to skill-up the disenfranchised and take the tastes of Bourke St to high-end provedores, restaurants and cafes — it's an old-fashioned everybody wins scheme. The project will be starting up at their Marrickville bakery with six refugees coming on board from greater Sydney for a 12-month paid traineeship in the art of making some of this city's best bread. On graduation the trainees will not only have experience working at a high-standard bakery but be armed with TAFE-accredited credentials for the jobs marketplace. All profits from the enterprise will be reinvested back into the program, which hopes to double its intake of future bakers next year. But it's not just goodwill that will keep the bitter taste in your mouth at bay; the bread range is available on their website, and with offerings like a white chia and goji berry semi-sourdough, this initiative looks set to follow in the success of its older siblings, Bourke St Bakery and Wilbur's Place eatery. Bread & Butter will soon be available at DJs Food Halls in Bondi Junction and the CBD, along with Thomas Dux Crows Nest and from the Sydney Food Connect Organic Fruit and Vegetable Delivery Service. Bread will also be available direct to the public through local markets — The Entertainment Quarter and The Sydney Morning Herald Grower's Market in Pyrmont — and at select restaurants and cafes.
Historically, 'beautiful' is probably not the first word you'd pick to describe your local butcher shop. But then again, Victor Churchill isn't your average meat store. For Sydneysiders, the name is a familiar one, with the butcher's OG Woollahra site an eastern suburbs staple since opening in 2009. Anthony Bourdain famously once called it 'the most beautiful butcher in the world'. And now, it's Melbourne's turn, as the Victor Churchill stable expands to include a new southern flagship on Armadale's High Street. Opened this month in a former bank, the new store will more than 'meat' your expectations of a butcher, boasting a specialty charcuterie counter, wine bar, grocery corner, retail booze offering and lunch counter, along with its premium curation of meat products. It's an undeniably dapper space, too, all warm timber, green marble floors and chic copper accents, with dry-ageing meat hung theatrically as if in a gallery. [caption id="attachment_832900" align="alignnone" width="1920"] Pete Dillon[/caption] The brand is a family affair, founded and run by Anthony Puharich and his fourth-generation butcher father, Victor. And together they've built some serious pedigree, with their wholesale business Vic's Premium Quality Meat a longtime supplier of top Melbourne restaurants including Attica, Flower Drum and Grossi Florentino. Here at the new Armadale outpost, Victor Churchill is continuing its legacy of serving top-quality protein sourced from leading Aussie producers. As with its sibling, the store also does away with the traditional physical butcher's counter, in an effort to make the shopping experience more inviting and personal. The aforementioned wine bar is an intimate, 12-seat space at the back of the venue, where you can settle in for a glass of vino, a cocktail and — from next year — dinner. Here, a Josper charcoal-fuelled rotisserie, charcoal oven and basque grill will guide a menu filled with top-notch meat, charcuterie and seafood. Think, steak tartare, prawn cocktail and lobster pulled fresh from the tank. [caption id="attachment_832905" align="alignnone" width="1920"] Pete Dillon[/caption] Meanwhile, your future picnicking endeavours will be well serviced by the bumper charcuterie counter, which is stocked with an ever-evolving selection of house-made patés, terrines and snags, plus savoury goodies whipped up by the house pastry chefs. While you're there, you can shop a considered retail curation of seasonal produce, pantry staples and wine. And you probably shouldn't leave without grabbing one of the signature lunchtime rolls, loaded with rotisserie chicken or hot roast beef. Find Victor Churchill's new Melbourne flagship at 953 High Street, Armadale. The store is open 9am–6pm weekdays, 8am–6pm Saturdays and 9am–5pm Sundays, while the bar is open 12–6pm Mondays–Saturday and 12–5pm Sundays. Images: Pete Dillon, Paul Gosney (interiors)
"Well sir, there's no easy way to say this. Your wife isn't who she says she is." So starts the just-dropped full trailer for the fifth season of Fargo, the anthology TV show inspired by the big-screen Coen brothers masterpiece. Spinning blackly comedic crime tales just like the movie, this series charts a different caper with each go-around — and enlists a different cast, too — with the wife being spoken about here played by Ted Lasso's Juno Temple. Like season one, two and the movie, Fargo season five spends its time in Minnesota and North Dakota. The year: 2019. Dorothy 'Dot' Lyon (Temple) is the otherwise-ordinary person falling afoul of the law, or so it seems. Indeed, as her husband Wayne (David Rysdahl, Oppenheimer) learns, she not an average Midwestern housewife. And, as also seen in two prior sneak peeks, there's plenty more to this story. With Jon Hamm (Good Omens) also starring as Roy Tillman, the North Dakota Sheriff (and preacher) on Dot's trail, this tale is set to get twisty fast — and also include a heap of other familiar faces. Joining Temple, Hamm and Rysdahl: Jennifer Jason Leigh (Hunters), Joe Keery (Stranger Things), Lamorne Morris (Woke), Richa Moorjani (Never Have I Ever), Sam Spruell (The Gold) and Dave Foley (The Kids in the Hall). In a case of spectacular casting, Keery will put his famous hair to good use as Tillman's son Gator, in a franchise that also loves unpacking the ties of blood that bind and cause chaos. Spruell plays a drifter who is enlisted to help on the search for Dot, while Leigh hops onboard as Wayne's mother, aka the 'Queen of Debt' thanks to being a debt collection company CEO — and Foley plays her in-house counsel. Among the cops, there's Moorjani as a deputy from Minnesota and Morris as a North Dakota counterpart. Oh you betcha there's accents, crime capers, dedicated cops, and people doing dark deeds for selfish reasons and then getting karmic comeuppance, with Fargo season five arriving in Australia via SBS On Demand on Wednesday, November 22. 2023 marks almost a decade since writer, director and producer Noah Hawley leapt from Bones, The Unusuals and My Generation to diving back into crime in often-frosty American places with sly laughs. The first two seasons arrived back to back in 2014 and 2015, with season three then following in 2017 and season four in 2020. Now, after another three-year gap, the show returns with another new story and cast, but still set in the same world as the Fargo movie. Check out the full trailer for Fargo season five below: Fargo season five will start streaming via SBS On Demand on Wednesday, November 22. Images: Michelle Faye/FX.
Eiffel 65's 1998 hit 'Blue (Da Ba Dee)' doesn't play over the first trailer for Avatar: The Way of Water, but you're forgiven if you get it stuck in your head anyway. The 97-second clip comes with a sweeping score by composer Simon Franglen (a veteran of the first film) that's designed to set an ethereal and epic mood — but blue really is the colour of all that it wears. If you saw James Cameron's initial entry in this sci-fi franchise back in 2009 — and given that the original Avatar quickly became the highest-grossing film of all time, it's highly likely that you did, because seemingly everyone did — then all those shades of blue won't come as a surprise. They're splashed across the movie's CGI-filled waters, skies and Na'vi people, and across the first look at its long-awaited sequel as well. Yes, 13 years after the first flick became such an enormous hit, there really is evidence that the long-floated follow-up will reach cinemas this year. Avatar: The Way of Water is one of those movies that you might only truly believe exists once you're sat in a theatre watching it, though, because it has been in the works for that long. It's currently set to reach the silver screen Down Under this December, stepping back into the story of the Sully family, aka Jake (Sam Worthington, Fires), Neytiri (Zoe Saldana, The Adam Project) and their children, on the habitable moon Pandora. This time around, staying safe and alive remains a focus — and, from the just-dropped trailer, it looks like more battles are a-coming. The initial clip, which started screening in cinemas with Doctor Strange in the Multiverse of Madness but has only just made its way online, doesn't spell out much in the way of plot, however. Given that Avatar wowed viewers mainly due to its imagery and special effects (and definitely not its "Dances with Wolves but in space"-style narrative), that too is hardly astonishing. Also set to feature amid all those pixels: Sigourney Weaver (Ghostbusters: Afterlife), Stephen Lang (Don't Breathe 2), Cliff Curtis (Reminiscence), Joel David Moore (Bones), CCH Pounder (Godzilla: King of the Monsters), Edie Falco (Nurse Jackie), Kate Winslet (Mare of Easttown) and Flight of the Conchords' Jemaine Clement. And, obviously, James Cameron is back in the director's chair. If the sneak peek has you excited about re-entering Avatar's blue-heavy world, get ready for more where that came from. A third movie is due in 2024, a fourth in 2026 and a fifth in 2028. Also, the original Avatar will return to cinemas in September, in the lead-up to Avatar: The Way of Water. (And no, there's no word yet whether a team-up with The Smurfs, Sonic the Hedgehog and the Blue Man Group might ever be in the works.) Check out the trailer below: Avatar: The Way of Water releases in cinemas Down Under on December 15. Images: Photos courtesy of 20th Century Studios. © 2022 20th Century Studios. All Rights Reserved.
She's already sporting a diverse lineup of eateries, a program of live tunes, art installations and even a boutique bottle shop. Now, Melbourne's new CBD food and entertainment precinct Ella has added to the family again, this time with a venue that's sure to impress the city's cocktail aficionados. Cocktail bar Byrdi is the latest venture and first Aussie project for Luke Whearty and Aki Nishikura — the bartending masterminds responsible for Singapore's multi award-winning Operation Dagger. Given the venue has claimed a spot among the World's 50 Best Bars for four years running (and currently sits at number 30), we're expecting Byrdi to bring some pretty exciting things to the party. At the bar, seasonality and locality aren't just passing flings — they're at the heart of absolutely everything Whearty and Nishikura do. Expect a constantly evolving cocktail list that showcases local ingredients sourced at their peak, with no two visits to be the same. Native botanicals are set to star throughout, while the 40-seat space itself heroes sustainable materials like bluestone and coconut husk flooring. [caption id="attachment_748355" align="alignnone" width="1920"] Kate Shanasy[/caption] Right now, you'll find sips like the In Bloome — a mix of freshly hand-picked jasmine, gin, Applewood's Red Okar, lavender tincture, mandarin vinegar and a house-made pear blossom liqueur. There's a handful of house-fermented creations, too, including a take on the much-loved Weis Bar with fermented Northern Territory mango, Gippsland cream and mango vinegar — along with highballs and a tight rotation of local craft beers and wines. The funky drops get plenty of airtime here, as do ingredients like strawberry gum and smoked davidson plum. The food lineup is concise, but clever, also built around local, seasonal goodies. Find the likes of tempura salt and vinegar green beans, grilled tiger prawns teamed with finger lime and broccolini matched with a fortified macadamia cream. Tired of decisions? Settle in with the three-course ($75) or five-course ($120) food and drink pairing menu. Byrdi joins Ella's ever-growing collection of food and drink haunts, alongside the likes of Chilli Everest, Lomah, Sam Sam and Reverie. Find Byrdi at Ella, corner Elizabeth and La Trobe streets, Melbourne. It's open from 10am–1am daily. Images: Kate Shanasy
The weather outside may be frightful, but the banter with your mates is always delightful. It's well past time to invite your favourites over for a catch-up and a tipple. Want to impress your mates with your cocktail prowess? Check out these twists on classic cocktails — an ideal way to elevate your evening in. Pick your spirit and let's get mixing. TEQUILA — TEQUILA AND CHILL Instead of the classic paloma or tequila mockingbird, surprise your guests with a sophisticated spin on both with the addition of Chambord to your tequila of choice. Ingredients - 45ml Herradura Plata Tequila - 15ml Chambord - Cranberry juice - Lemonade/lemon soda - Mint leaves - Fresh lime Method Add Herradura Plata, Chambord, mint leaves and two squeezed lime wedges to a tall or highball glass. To increase the mint flavour, clap the leaves in your hands first — you might look silly, but it works. Fill the glass with ice and top with equal parts cranberry juice and lemonade. Stir to combine and garnish with a sprig of fresh mint, rosemary and lime wheel or go the extra mile with a dehydrated lime wheel. To make the dehydrated lime wheel, either use a dehydrator (obvious) or place lime wheels in a low-temperature oven for a few hours until all the juice has evaporated and you're left with a crisp garnish. GIN — EURO SUMMER Everyone seems to be jetting off for their European summer. Bring a taste of the Mediterranean to your chilly apartment with this cocktail. The secret is using a gin that is made with botanicals that evoke tastes of the Italian coastline. Gin Mare fits the bill as it uses olives, basil and other fresh herbs for its botanicals. Pair with some bruschetta and tiramisu and rug up with your blanket and imagine you're summering in Europe with your mates. Ingredients - 60ml Gin Mare - 30ml Lemon juice - 20ml Sugar syrup - Fresh basil and rosemary Method Grab your cocktail shaker and add all the ingredients. Shake and strain using a fine mesh strainer into a chilled glass filled with ice. Garnish with a sprig of fresh rosemary and enjoy. RUM — WINTER SWIZZLE Rum is a dark spirit that showing up more and more on drinks lists in the city. It's a sweet alternative to peaty scotch or fragrant gin and is perfect for cooler nights. You could go for a classic dark 'n stormy or Moscow Mule, but if you want to elevate your evening, try this spin on a swizzle. Ingredients - 60ml Diplomático Rum - 10ml sugar syrup - Two dashes of aromatic bitters - 15ml cloudy apple juice Method Rum Swizzle recipes vary, but most have three ingredients in common: rum, fruit juice and a sweetener. To make this wintry version, add all ingredients to a chilled rocks glass, add ice and stir to combine. Top with fresh ice and a twist of orange peel or cinnamon stick. WHISKY — SCOTCH CITRUS SODA Sometimes the answer isn't a hot toddy, although they are always a good call when the winter chill sets in. If you have a scotch in your collection that you've been looking for a nice way to enjoy, why not opt for this citrusy take on a whisky soda? Perfect for cooler arvos on your (or your mate's balcony). Ingredients - 45ml Glendronach 12 yo - Fever Tree Clementine (orange tonic water) - Two dashes of aromatic bitters Method Get your highball glass and add ice. Pour in your scotch, orange tonic water and a couple of dashes of bitters. Stir to combine and garnish with a fresh orange slice. Go a step further and pair with baked brie with marmalade and walnuts. BOURBON — CANDY CANE Bourbon is a great cocktail base. Arguably some of the best and classic cocktails came from the States and so it isn't a surprise that their spirit is perfect for the practice with its smooth vanilla notes and slightly sweet characters. Instead of going down the savoury cocktail route, ramp up the sweetness and toast to your mates with this tasty, fruity and sweet spin on a whisky sour. Ingredients - 45ml Jack Daniel's Bonded - 15ml Chambord - 30ml lemon juice - 20ml sugar syrup - 15ml egg white or aquafaba (aka the juice from a can of chickpeas) - Two dashes of chocolate bitters Method Add all ingredients to a cocktail shaker without ice and shake vigorously to get the egg white or aquafaba nice and foamy. Add ice and shake again. Strain through a fine strainer into a rocks glass filled with fresh ice. Garnish with a dehydrated lemon wheel, or amp up the berry flavours of the Chambord with fresh raspberries. Top Image: Gin Mare.
The country's next big natural wine event is coming to the Sapphire Coast this August — and it'll be anything but ordinary. Nattie by Nature will transform a sprawling heritage estate into a blowout bash with lots of wine, live music, craft spirits, local produce and party vibes aplenty. It's run by Shady Pines' long-time manager Alen Nikolovski, who recently moved down to Merimbula, and his Sapphire Coast mates Ryde Pennefather and Di McDonald. "We all love drinking booze but hate boring tastings, so we decided to put on a tasting event with a party atmosphere," says Nikolovski. "It started out as just a small thing, but has grown to fit 300 people." This army of wine fans will be hosted in South Pambula's Historic Grange, a stunning 1850s heritage estate that extends across 13 acres. The space is owned — and was fitted out — by Jason Scott (formerly of the Swillhouse Group), so expect design elements reminiscent of both Baxter Inn and Shady Pines to accompany the country barn stylings. The Nattie by Nature team has gathered its favourite winemakers from around the country for this one. Drops on offer will include Greek-style wines from Southern Highlands' Ari's Natural Wine Co, small batch vinos from Clunes' Jilly Wines and certified biodynamic bottles from Adelaide Hills' Ngeringa. Plus, the Otway Ranges' Chevre Wines, Geelong's Livewire Wines, Whitlands' Konpira Maru and Canberra's Mallaluka will all host stalls, too. Enmore's P&V Merchants will make its way down south, too, as will boutique distributor Whole Bunch Wines. Apart from all the wines, the event will feature a tinnie bar by Yulli's Brews, a bloody marys stand by Patio Beverages and a gin bar by Sapphire Coast local North Eden Gin — who will also put on a live gin distillation. For eats, both Merimbula and Sydney producers will join the party. You'll be able to snag Pambula oysters from Broadwater, smoked seafood platters from Eden Smokehouse and baked goods from Wild Ryes Bakery, which is creating three pie and wine pairings just for the event. Local cheese gurus Tilba will also team up with LP's Quality Meats for some next-level charcuterie boards. And since it isn't a party without live music, soul and R&B band Immy & The Hookup will take the stage and a vinyl DJ will finish off the night with funky tunes. Located six hours' drive south of Sydney (or a one hour flight) and seven hours north of Melbourne, you'll likely want to make a weekend of it. We recommend Woodbine Park Eco Cabins and Coast Resort Merimbula, or these stunning homes on Airbnb. The inaugural Nattie by Nature will take place on August 3 at the Historic Grange, 15A Northview Drive, South Pambula. It'll run from noon–8pm and there will be a free shuttle bus between Merimbula and Pambula all day long. Tickets are $35.50 a pop and on sale now.
Beef starts with two strangers meeting, but there's absolutely nothing cute about it. Sparks don't fly and hearts don't flutter; instead, this pair grinds each other's gears. In a case of deep and passionate hate at first sight, Danny Cho (Steven Yeun, Nope) and Amy Lau (Ali Wong, Paper Girls) give their respective vehicles' gearboxes a workout, in fact, after he begins to pull out of a hardware store carpark, she honks behind him, and lewd hand signals and terse words are exchanged. Food is thrown, streets are angrily raced down, gardens are ruined, accidents are barely avoided, and the name of Vin Diesel's famous car franchise springs to mind, aptly describing how bitterly these two strangers feel about each other — and how quickly. Created by Lee Sung Jin, who has It's Always Sunny in Philadelphia, Dave and Silicon Valley on his resume before this ten-part Netflix and A24 collaboration, Beef also commences with a simple, indisputable and deeply relatable fact. Danny could've just let Amy beep as much as she liked, then waved, apologised and driven away. Amy could've been more courteous about sounding her horn, and afterwards. But each feels immediately slighted by the other, isn't willing to stand for such an indignity and becomes consumed by their trivial spat. Whether you're a struggling contractor hardly making ends meet, as he is, or a store-owning entrepreneur trying to secure a big deal, as she is — or, if you're both, neither or anywhere in-between — pettiness reigning supreme is basic human nature. If you've ever gotten irrationally irate about a minor incident, this new standout understands. Episode by episode, it sees that annoyance fester and exasperation grow, too. Streaming in full from Thursday, April 6 just in time for Easter long-weekend binges, Beef spends its run with two people who can't let go of their instant rage, keep trying to get the other back, get even more incensed in response, and just add more fuel to the fire again and again until their whole existence is a blaze of revenge. If you've ever taken a small thing and blown it wildly out of proportion, Beef is also on the same wavelength. And if any of the above has ever made you question your entire life — or just the daily grind of endeavouring to get by, having everything go wrong, feeling unappreciated and constantly working — Beef might just feel like it was made for you. For Los Angeles resident Danny, Amy's rudeness is just another source of frustration on what seems like an endless list. He was only in her vicinity at all to return a heap of grills, but the shop assistant was snarky, he couldn't find his receipt and ended up taking them home again anyway. He's also exhausted from continuously needing to hustle for work, and from ill-mannered customers — all while getting attitude from his younger brother Paul (Young Mazino, Prodigal Son), who he's doing his best to look out for. Then there's his quest to make enough cash to bring his parents (first-timers Jerry Hanjoo Kim and Gina Lee) back from Korea after the motel they ran fell on hard times, plus the shady get-rich-quick shenanigans that his fresh-out-of-prison cousin Isaac (David Choe, The Mandalorian) is always plunging him into. For the Calabasas-dwelling Amy, there's always something to deal with — Danny's ute almost reversing into her SUV is just the latest. Her artist husband George (Joseph Lee, Searching) plays primary parent to their anxious daughter Junie (Remy Holt, The Afterparty), which means that she's the overworked financial provider via her designer plant company (and getting grief from his mother Fumi, played by Pretty Little Liars' Patti Yasutake, for it). That's involved years of toiling hard to establish the business, and make it a success. She's also spent the past two years attracting Jordan Forster (Maria Bello, NCIS), who owns the chain of hardware stores that leads her to Danny, to buy her out. All that she wants is to enjoy time with her family, but finalising the deal requires jumping through the eccentric billionaire's many hoops, even while getting insider tips from her sister-in-law Naomi (Ashley Park, Girls5eva). There's a chalk-and-cheese air to Danny and Amy's dynamic early, as Beef gets them duelling as seeming opposites. But as their fight escalates — and, from road rage to urine-soaked floors, catfishing, sabotaging careers and more, it escalates to dowright civilian warfare — they're united in their immature pettiness, their many flaws, and their individual despair over where life has taken them and why. Beef is smartly penned as a dual character study of an unhappy pair stuck between quarter-life and midlife crises, striving to move forward but treading water, and terrified of losing what they've worked for. It's a portrait of two people fracturing and fraying well before they set each other off, and it knows and sees how little that truly separates Danny and Amy, especially when they can't spy that themselves. Beef is also smart about the vengeance- and obsession-seasoned stew it splashes across the screen: its Los Angeles setting, its masterful tonal swerves from deep drama to dark comedy and back again, its treasure trove of hostilities, its willingness to get Lynchian, its lived-in characters from its central duo down to its supporting players, and the generosity and sympathy that it shows everyone even at their worst. Its brightest move in a show filled with bright moves is casting Minari Oscar-nominee Yeun and Always Be My Maybe's Wong, however. Each is exceptional. That's a word that keeps being directed Yeun's way, and deservedly — see Minari, Nope, Burning, Okja, his skit on I Think You Should Leave with Tim Robinson — but it demands screaming here as he navigates such a range of scenarios, emotions, squabbles, revelations, sources of inner turmoil, and stints of both physical and witty comedy. As an actor, Wong has never been better, also while taking the same journey. And whether they're shouting at or plotting against each other, they're dynamite together. At the end of episode one, with Danny and Amy enlivened by their feud — living for it, even — Beef plays out its debut instalment with Hoobstank's 'The Reason'. Its words are fitting; this twosome is feeding off each other, thriving in their meanest ways and only letting themselves truly be themselves in their newfound enemy's company. That's another of the show's strokes of genius. So is the 90s-heavy soundtrack, which also spans Tori Amos, Smashing Pumpkins, Bush and Offspring like it's Yellowjackets. And, equally as shrewd is the inbuilt acknowledgement that Danny and Amy are mad, sad, disappointed and frustrated about everything, not just each other, but so is everyone around them. We all have beef. "It's always fucking something," as Beef's two leads both espouse and we all feel. Recognising that makes for hilarious, grim, tense, savvy, sometimes-surreal and always-irresistible viewing. Check out the trailer for Beef below: Beef streams via Netflix from Thursday, April 6. Images: Netflix.
Something delightful has been happening in cinemas across the country. After months spent empty, with projectors silent, theatres bare and the smell of popcorn fading, Australian picture palaces are back in business — spanning both big chains and smaller independent sites in Sydney, Melbourne and Brisbane. During COVID-19 lockdowns, no one was short on things to watch, of course. In fact, you probably feel like you've streamed every movie ever made, including new releases, comedies, music documentaries, Studio Ghibli's animated fare and Nicolas Cage-starring flicks. But, even if you've spent all your time of late glued to your small screen, we're betting you just can't wait to sit in a darkened room and soak up the splendour of the bigger version. Thankfully, plenty of new films are hitting cinemas so that you can do just that — and we've rounded up, watched and reviewed everything on offer this week. FAST AND FURIOUS 9 Fast cars, furious action stars, a love of family and oh-so-many Coronas: across ten movies over 20 years, that's the Fast and Furious franchise. It might've started out as a high-octane spin on Point Break, but this long-running series has kept motoring across nine flicks in its main storyline, and also via a 2019 spinoff. The latter, Hobbs & Shaw, actually casts a shadow over the saga's latest instalment. Because Dwayne Johnson was part of that sidestep, he doesn't show up in Fast and Furious 9. He's missed, regardless of whether you're usually a diehard fan of the wrestler-turned-actor, because he's managed to perfect the F&F tone. Over his decade-long involvement to-date, Johnson always seems amused in his Fast and Furious performances. He's always sweaty, too, but that's another matter. Entering the F&F realm in Fast Five, he instantly oozed the kind of attitude the franchise needs. He knows that by taking the outlandish stunts, eye-catching setpieces and penchant for family with the utmost seriousness, these films border on comedic — and by navigating five flicks with that mood, he's been the saga's playful and entertaining barometer. Without Johnson, Fast and Furious 9 isn't as willing to admit that it's often downright silly. It's nowhere near as fun, either. Hobbs & Shaw wasn't a franchise standout, but Fast and Furious 9 mainly revs in one gear, even in a movie that features a high-speed car chase through Central American jungles, a plane with a magnet that can scoop up fast-driving vehicles and a trip to space in a rocket car. The latest F&F is as ridiculous as ever, and it's the least-eager F&F film to acknowledge that fact. It's also mostly a soap opera. It leans heavily on its favourite theme — yes, family — by not only swapping in a different wrestler-turned-actor as Dominic Toretto's (Vin Diesel, Bloodshot) long-lost sibling, but also by fleshing out the warring brothers' backstory through flashbacks to their tragic past. Fast and Furious 9 starts with an 80s-era Universal logo, because that's the time period it heads to first — to introduce a teen Dom (Vinnie Bennett, Ghost in the Shell), his never-before-mentioned younger brother Jakob (Finn Cole, Dreamland) and their dad Jack (JD Pardo, Mayans MC). It's 1989, the elder Toretto is behind the wheel on the racetrack, and his sons are part of his pit crew. Then tragedy strikes, tearing the Toretto family apart. In the present day, Dom and Jakob (John Cena, Playing with Fire) definitely don't get along. Indeed, when Roman (Tyrese Gibson, The Christmas Chronicles: Part Two), Tej (Chris 'Ludacris' Bridges, Show Dogs) and Ramsey (Nathalie Emmanuel, Four Weddings and a Funeral) drive up to the rural hideout that Dom has been calling home with wife Letty (Michelle Rodriguez, Crisis) and toddler son Brian (first-timers Isaac and Immanuel Holtane) since the events of 2017's The Fate of the Furious, he doesn't even want to hear about the latest mission that demands their help. The only thing that changes his mind: realising that Jakob is involved and up to no good. Read our full review. VALERIE TAYLOR: PLAYING WITH SHARKS Steven Spielberg directed Jaws, the 1975 horror film that had everyone wondering if it was safe to go back into the water — and the movie that became Hollywood's first blockbuster, too — but he didn't shoot its underwater shark sequences. That task fell to Australian spearfisher and diver-turned-oceanographer and filmmaker Valerie Taylor and her husband Ron, who did so off the coast of Port Lincoln in South Australia. If it weren't for their efforts, the film mightn't have become the popular culture behemoth it is. When one of the animals the Taylors were filming lashed out at a metal cage that had held a stuntman mere moments before, the pair captured one of the picture's most nerve-rattling scenes by accident, in fact. And, before Peter Benchley's novel of the same name was even published, the duo was sent a copy of the book and asked if it would make a good feature (the answer: yes). Helping to make Jaws the phenomenon it is ranks among Valerie's many achievements, alongside surviving polio as a child, her scuba and spearfishing prowess, breaking boundaries by excelling in male-dominated fields in 60s, and the conservation activism that has drawn much of her focus in her later years. Linked to the latter, and also a feat that many can't manage: her willingness to confront her missteps and then do better. The apprehension that many folks feel when they're about to splash in the ocean? The deep-seated fear and even hatred of sharks, too? That's what Valerie regrets. Thanks to Jaws, being afraid of sharks is as natural to most people as breathing, and Valerie has spent decades wishing otherwise. That's the tale that Valerie Taylor: Playing with Sharks tells as it steps through her life and career. Taking a standard birth-to-now approach, the documentary has ample time for many of the aforementioned highlights, with Valerie herself either offering her memories via narration or popping up to talk viewers through her exploits. But two things linger above all else in this entertaining, engaging and insightful doco. Firstly, filmmaker Sally Aitken (David Stratton: A Cinematic Life) fills her feature with stunning archival footage that makes for astonishing and affecting viewing (Ron Taylor is credited first among the feature's five cinematographers). Secondly, this powerful film dives into the work that Valerie has spearheaded to try to redress the world's fright-driven perception of sharks. Like last year's David Attenborough: A Life on Our Planet, 2017's Jane Goodall documentary Jane and underwhelming 2021 Oscar-winner My Octopus Teacher, this is a movie about being profoundly changed by the natural world and all of its splendour. Read our full review. MARTIN EDEN The last time that one of Jack London's books made the leap to cinema screens — just last year, in fact — it wasn't a pleasant viewing experience. Starring Harrison Ford and a CGI dog, The Call of the Wild forced viewers to watch its flesh-and-blood lead pal around with a needlessly anthropomorphised canine, to groan-inducingly cheesy results. Martin Eden is a much different book, so it could never get the same treatment. With his radiant imagery, masterful casting and bold alterations to the source material, writer/director Pietro Marcello (Lost and Beautiful) makes certain that no one will confuse this new London adaption for the last, however. The Italian filmmaker helms a compelling, complicated, ambitious and unforgettable film, and one that makes smart and even sensuous choices with a novel that first hit shelves 112 years ago. The titular character is still a struggling sailor who falls in love with a woman from a far more comfortable background than his. He still strives to overcome his working-class upbringing by teaching himself to become a writer. And, he still finds both success and scuffles springing from his new profession, with the joy of discovering his calling, reading everything he can and putting his fingers to the typewriter himself soon overshadowed by the trappings of fame, a festering disillusionment with the well-to-do and their snobbery, and a belief that ascribing worth by wealth is at the core of society's many problems. As a book, Martin Eden might've initially reached readers back in 1909, but Marcello sees it as a timeless piece of literature. He bakes that perception into his stylistic choices, weaving in details from various different time periods — so viewers can't help but glean that this tale just keeps proving relevant, no matter the year or the state of the world. Working with cinematographers Alessandro Abate (Born in Casal Di Principe) and Francesco Di Giacomo (Stay Still), he helms an overwhelmingly and inescapably gorgeous-looking film, too. When Martin Eden is at its most heated thematically and ideologically, it almost feels disquieting that such blistering ideas are surrounded by such aesthetic splendour, although that juxtaposition is wholly by design. And, in his best flourish, he enlists the magnetic Luca Marinelli (The Old Guard) as his central character. In a performance that won him the Best Actor award at the 2019 Venice Film Festival, Marinelli shoulders the eponymous figure's hopes, dreams and burdens like he's lived them himself. He lends them his soulful stare as well. That expression bores its way off the screen, and eventually sees right through all of the temptations, treats and treasures that come Eden's way. Any movie would blossom in its presence; Martin Eden positively dazzles, all while sinking daggers into the lifetime of tumult weathered by its titular everyman. THE MOLE AGENT At this year's Oscars, the Academy of Motion Picture Arts and Sciences anointed the past year's best documentary, as it usually does — deciding that the standout factual film of the year told a tale about a man and his bond with a sea creature. My Octopus Teacher falls into a busy genre of films about being forever shaped and altered by the earth's natural splendour (see also: Valerie Taylor: Playing with Sharks), but it isn't the only one of 2021's nominees that demonstrates how unexpected connections can reap rewards, insights and new perspectives. Chilean doco The Mole Agent does the same, albeit in a vastly dissimilar manner. Its focus: an elderly man hired by a private investigator to go undercover in a retirement home. Rómulo Aitken's client suspects that the facility may be blighted by elder abuse, so he needs someone who'll blend in to do his sleuthing. Answering an advertisement for someone aged between 80 and 90, octogenarian and recent widower Sergio Chamy couldn't be more keen for the gig. He doesn't quite have a handle on the technology he'll need to use, despite trying to claim otherwise. Indeed, when he tries to show Rómulo that he can use a smartphone, he takes countless photos while claiming he's snapping none. Still, he's boundlessly eager to distract himself from his grief by taking on a new adventure, making new friends, and even learning a thing or two. For the mostly female residents at El Monte's San Francisco Nursing Home, for Rómulo and for filmmaker Maite Alberdi (The Grown-Ups) alike, Sergio is a dream — even though he's definitely not your usual spy or detective. He doesn't always fulfil his assigned tasks as asked, but he's a delight to spend time with as he endeavours to record what's going on at the home via his hidden camera-equipped glasses and pen. As they explain again and again in candid and lively chats to camera (presumably because they think they're being filmed for a more traditional type of doco), the women he's now sharing a facility with definitely agree that he's a charmer. In fact, Sergio is so charismatic that he fails to simply blend in, observe and report back. He's also a much-needed and -welcomed source of kindness and comfort to the home's residents, many of whom have no other company to turn to, and it's these interactions he largely documents in his dispatches to Rómulo via WhatsApp. Alberdi still charts his overall mission, but his general presence elicits just as much interest. With a crown for king of the home coming his way, and many of his peers fawning of him, there's much to chronicle. In her third film to focus on the elderly (after La Once and short I'm Not from Here) Alberdi sees the change he brings to people who haven't been paid this much attention in years, and also the change the spy gig brings in Sergio — and sharing her affectionate gaze is easy in this thoughtful film. MY ZOE Rare is the film that nods overtly to more than a few of its influences, yet still manages to inhabit its own niche and no one else's. My Zoe is one of those movies. Its first half bears much in common with 2017's exceptional French drama Custody, while its second half takes its cues from the greatest horror novel ever written. That combination works astonishing (and almost disarmingly) well, and nothing here every feels like a mere clone of better material. In the movie's opening section, Berlin-based geneticist Isabelle (Julie Delpy, Wiener-Dog) juggles the struggles of co-parenting with her ex James (Richard Armitage, The Lodge). They both dote on seven-year-old Zoe (Sophia Ally, The Current War), but they also argue incessantly — largely due to James' dour behaviour, cruel demeanour and ludicrous demands. By the time that Isabelle calls him "just an awful human being" in one of their arguments, the audience is already on her side. They settle their custody dispute, but the bickering doesn't subside when Zoe is found unconscious and requires hospitalisation. Eventually, though, Isabelle has another dilemma to navigate, involving a desperate ploy to get back what she's lost, a risk-taking doctor (Daniel Brühl, The Falcon and the Winter Soldier) in Moscow and an option his own wife (Gemma Arteton, Summerland) warns against. Directing, writing and starring here — as she's done with Looking for Jimmy, 2 Days in Paris, The Countess, Skylab, 2 Days in New York and Lolo before — Delpy could've made the relationship and tragedy side of My Zoe into a feature of its own, and then done the same with the science fiction-tinged exploration of loss that follows. Blending the two together befits one of her overt sources of inspiration, Mary Shelley's Frankenstein, though. For more than 200 years now, the gothic classic has examined how grief leads to drastic reactions, how science can let humans play god in increasingly bold and consequential manners, and how we're hardwired to use the latter to work through the former, as well as our fears of mortality — and My Zoe picks up those threads, interrogates them with today's medical advances in mind, and turns them into quite the haunting piece of cinema. Both sensitivity and realistic emotions linger in both of the movie's halves, and in Isabelle's actions and choices along the way. Delpy directs herself to a fantastic performance, and pairs her efforts with a poised and empathetic perspective throughout. Another savvy move, and one that epitomises how exactingly Delpy has thought through every detail: that, if you aren't paying the utmost attention during the first half, you mightn't even realise that the film takes place in the near-future. A FAMILY Just five letters are needed to turn A Family's title into the name of one of popular culture's most famous clans. The Addams crew aren't the subject of this Australian-produced, Ukraine-shot blend of comedy and drama, but it does delve into the creepy, kooky and mysterious anyway. The feature debut of director Jayden Stevens — who co-wrote the script with his cinematographer Tom Swinburn (Free of Thought) — the absurdist gem spends time with the stern-faced Emerson (first-timer Pavlo Lehenkyi). With none of his family around for unexplained reasons, he pays other Kiev locals to play their parts, staging dinners, Christmas parties and everyday occasions. They eat, chat and do normal family things, all for Emerson's camera. His actors (including Maksym Derbenyov as his brother and Larysa Hraminska as his mother) all need to stick to his script, though, or he'll offer them a surly reprimand. Olga (Liudmyla Zamidra), who has been cast as his sister, struggles the most with her role. She's also the member of this little faux family that Emerson is particularly drawn to. Her own home life with her mother Christina (Tetiana Kosianchuk) is far from rosy, with the pair suffering from her dad's absence, so eventually Olga decides that Emerson's role-play game might work there as well. A Family is a film of patient and precise frames, awkwardly amusing moments, and bitingly accurate insights into the ties that bind — whether of blood or otherwise. It's a movie that recognises the transactional and performative nature of many of life's exchanges, too, and ponders how much is real and fake in both big and seemingly inconsequential instances. To perfect all of the above, Stevens walks in Yorgos Lanthimos (The Lobster, The Killing of a Sacred Deer, The Favourite), Aki Kaurismäki (Le Havre, The Other Side of Hope) and even the usually inimitable David Lynch's shoes. His feature is austere, deadpan and surreal all at once, and smart, amusing and savage at the same time as well. Indeed, if a bigger-name filmmaker had made this purposefully and probingly off-kilter picture, it would've likely proven a film festival darling around the globe. A Family did start its big-screen run at a fest, at the Melbourne International Film Festival back in 2019. Now reaching Australian cinemas after a year that's seen everyone either spend more time with or feel more physical distance from their nearest and dearest, it feels doubly potent. Every lingering image shot by Swinburn — and all of the pitch-perfect performances that he captures — speak loudly to the cycle of yearning and disconnection that comes with being alive, and that never stops being put under a microscope. FROM THE VINE Uprooting to Italy on a whim is bound to change your life, and no one needs a movie to tell them that. Plenty of films keep stressing the message, though; if Under the Tuscan Sun and Eat Pray Love didn't get the idea across, 2020's Made in Italy tried to, and now From the Vine does the same. The only new things that this latest sun-dapped European-set jaunt has to add to its concept: talking vines, and reminders that the corporate world cares for no one and small towns can struggle. So, this movie trades in fantasies and the obvious, and does so several times over. It also relies heavily upon rural Italy's obvious scenic sights, thanks to frequently used drone shots of Acerenza, the quaint Potenza spot where the bulk of the movie is set. Lawyer-turned-car manufacturing company CEO Marco Gentile (Joe Pantoliano, Bad Boys for Life) was born and raised locally, but left as a child; however, it's the first place he thinks of heading when he quits his job after a tussle with the board over sustainability. His wife Marina (Wendy Crewson, The Nest) refuses to go with him, and their daughter Laura (Paula Brancati, Workin' Moms) is certain he's having a midlife crisis — but, after making the trip, reacquainting himself with the locals and setting back into his late grandfather's own vineyard, he realises he's found la dolce vita. From the Vine has Marco and Marina chat about La Dolce Vita, the 1960 classic, and about the Audrey Hepburn-starring Roman Holiday, too — in case the themes and messages the film is going for really weren't clear enough. They are, of course; working with a script adapted from Kenneth Canio Cancellara's novel Finding Marco by screenwriter Willem Wennekers (Buckley's Chance), filmmaker Sean Cisterna (Full Out) loves spelling out as much as possible. Not a single character seems to have a thought they don't overtly state, every plot development is telegraphed as far ahead as the movie can manage, and stressing the apparent idyll by shoehorning in yet another scenery shot happens again and again. Then there's those talking vines, as well as scenes where the adult Marco chats with his grandfather's ghost. Apparently viewers wouldn't understand exactly what's tempting Marco to give up his old existence if greenery and the dead didn't chatter. Although in far less challenging and rewarding territory than his past roles in the likes of Memento and The Sopranos, Pantoliano is the best thing about this dully formulaic flick — a result that also fits a template. Christopher Walken was in the same situation just last week with Percy vs Goliath, in fact. If you're wondering what else is currently screening in cinemas — or has been lately — check out our rundown of new films released in Australia on January 1, January 7, January 14, January 21 and January 28; February 4, February 11, February 18 and February 25; March 4, March 11, March 18 and March 25; and April 1, April 8, April 15, April 22 and April 29; May 6, May 13, May 20 and May 27; and June 3 and June 10. You can also read our full reviews of a heap of recent movies, such as Nomadland, Pieces of a Woman, The Dry, Promising Young Woman, Summerland, Ammonite, The Dig, The White Tiger, Only the Animals, Malcolm & Marie, News of the World, High Ground, Earwig and the Witch, The Nest, Assassins, Synchronic, Another Round, Minari, Firestarter — The Story of Bangarra, The Truffle Hunters, The Little Things, Chaos Walking, Raya and the Last Dragon, Max Richter's Sleep, Judas and the Black Messiah, Girls Can't Surf, French Exit, Saint Maud, Godzilla vs Kong, The Painter and the Thief, Nobody, The Father, Willy's Wonderland, Collective, Voyagers, Gunda, Supernova, The Dissident, The United States vs Billie Holiday, First Cow, Wrath of Man, Locked Down, The Perfect Candidate, Those Who Wish Me Dead, Spiral: From the Book of Saw, Ema, A Quiet Place Part II, Cruella, My Name Is Gulpilil, Lapsis and The Conjuring: The Devil Made Me Do It.
Among Australia's claims to fame, our love of a good shoey ranks right up there. We're not only a land girt by sea — we're a nation unrestrained by the idea that you can only drink booze from glasses. Fancy sipping alcoholic seltzer from a trophy instead? A coffee mug? A plastic hat? Whatever else you happen to own that holds a standard jug worth of alcohol? If you're in Melbourne, Moon Dog Brewing has the giveaway for you. When free drinks are on offer, no one needs to dress up the concept. Mention free booze, and we're all already sold. Still, Moon Dog has whipped up something special to celebrate not only the first day of summer, but also the arrival of the brewery's world-first post-mix machine for Fizzer, its alcoholic seltzer line. So, come Wednesday, December 1, it's pouring free Fizzers to everyone who brings their own vessel to Moon Dog OG in Abbotsford between 4–6pm and to Moon Dog World in Preston from 3–6pm. On the menu: freshly poured Fizzers in tropical crush, peach iced tea, raspberry sorbet and piney limey flavours. And yes, by vessel, Moon Dog means container — something that can hold booze naturally. There are a few caveats, unsurprisingly. Firstly, your chosen vessel needs to be clean. Secondly, it'll only be filled to the standard jug amount — so, to 1140 millilitres. Also, it needs to be watertight, and everyone only gets one vessel per person. Bring the best, most creative vessel to either venue and you'll also win a slab of Fizzer delivered to your door. That's worth scouring the cupboards for, clearly. If you're reading this from Sydney or Adelaide and you'd also like a free Fizzer, here's some good news for you, too: Moon Dog is doing giveaways in those two cities — and at other venues around Melbourne — but you'll have to stick to sipping your drink out of an ordinary schooner instead. At three Sydney spots, four Adelaide bars and three other places in Melbourne, the freebies will also be limited to the first 50 folks through the door from set times. Either way, kicking off summer by saying cheers to a free beverage obviously ticks a key box: starting the season as you mean to go on. Suddenly thirsty? Here's where you can nab your free drink on Wednesday, December 1: VICTORIA Moon Dog World, 32 Chifley Drive, Preston — 3–6pm Moon Dog OG, 17 Duke Street, Abbotsford — 4–6pm Concrete Boots Bar, 381 Burnley Street, Richmond — 4–6pm Lulie Tavern, 225 Johnston Street, Abbotsford — 4–6pm Yorkshire Stingo, 48 Hoddle Street, Abbotsford — 4–6pm NEW SOUTH WALES Sneaky Possum, 86 Abercrombie Street, Chippendale — from 12pm The Unicorn, 106 Oxford Street, Paddington — 5–7pm The Townie, 326 King Street, Newtown — all day SOUTH AUSTRALIA Stag Public House, 299 Rundle Street, Adelaide — from 12pm Lady Daly Hotel, 126 Port Road, Hindmarsh — from 12pm Uni Bar, Union House, Ground Floor of The University of Adelaide — from 12pm Cry Baby, 11 Solomon St, Adelaide — from 12pm Moon Dog Brewing's free Fizzer giveaway takes place on Wednesday, December 1 at a range of Melbourne, Sydney and Adelaide venues. For further details, head to the Moon Dog website.
So, you read one of 2023's huge literary sensations. And, you engaged with one of TikTok's biggest memes. What comes next? Diving into them both at All About Women. Notching up 12 years when its 2024 edition takes place, this Sydney Opera House event enlists impressive talents to dig into gender, justice and equality, including by exploring the hits, trends and issues of the 12 months prior. Accordingly, naming Yellowface author Rebecca F Kuang and Roman Empire scholar Mary Beard for next year's one-day festival couldn't make more sense. Kuang will be heading to Sydney to chat about her satirical novel, which dives into cancel culture, cultural appropriation and diversity in the world of publishing, and has been a must-read since arriving on shelves in May. As for Beard, she's coming to the Harbour City fresh off the release of her latest book The Emperor of Rome, and will explore misogyny, power, murder and gossip in the ancient world — and its relevance to now. So, how often will All About Women think about the Roman Empire? At Beard's session, plenty. [caption id="attachment_929572" align="alignnone" width="1920"] John Packman[/caption] So far, Kuang and Beard are the first headliners on the 2024 event's program, with both getting talking in Australia for the first time. But they'll have company when the full lineup drops in January. All About Women brings together international and Australian artists, thinkers and storytellers to examine a broad variety of topics relevant to its main focus — so, to gender, justice and equality — via panels, conversations, workshops and performances. After expanding to two days in 2022 and then to three in 2023, Sydney Opera House's key feminist festival is running as a one-day event again in 2024. The date to mark in your diary: Sunday, March 10. Won't be in Sydney that day, because you'll be away or you live elsewhere? All About Women will also take place online again. "It will be such an honour to host both Rebecca F Kuang and Mary Beard on their first speaking tours in Australia. We look forward to announcing our fierce and fearless co-curators and the full lineup in the new year, and can't wait to welcome audiences back to the festival for its 12th year in March," said Sydney Opera House Head of Talks and Ideas Chip Rolley. 2024 marks the third year that the fest is enlisting a team of co-curators to put the program together. 2023's cohort gave audiences everyone from riot grrrl pioneers Bikini Kill to child actor-turned-I'm Glad My Mom Died author Jennette McCurdy. [caption id="attachment_837698" align="alignnone" width="1920"] Jacquie Manning[/caption] [caption id="attachment_844647" align="alignnone" width="1920"] Prudence Upton[/caption] [caption id="attachment_844646" align="alignnone" width="1920"] Jacquie Manning[/caption] All About Women 2024 will take place on Sunday, March 10 at the Sydney Opera House, and also stream online. The full program will release on Tuesday, January 16, 2023 — check back here then for further details. Tickets for the just-announced first sessions go on sale at 9am on Thursday, December 7, with pre sales from 9am on Tuesday, December 5. Top image: Jacquie Manning.
The beginning of a new year isn't solely about deciding how you'd like to change your life for the better. That's just one January tradition. Another: plotting out where around the world you'd like to travel to across the 12 months to come. Arriving mere days into 2024, The New York Times' annual '52 Places to Go' list is a handy guide for inspiration — including for Down Under spots earning global recognition. After 2023's list included Auckland, Kangaroo Island and Australia's Red Centre to soak in Uluru-Kata Tjuta National Park's wonders, 2024's counterpart features New Zealand by train, the entire state of Tasmania and Queensland capital city Brisbane. Experiencing Aotearoa's charms by rail placed fourth, while the Apple Isle came in at 29 and Brissie took 39th spot. The NYT gave a 17-day journey across NZ some love for being "a simpler and more sustainable way" to see the country, calling out stops at "transcendent sites like the volcanic peaks of Tongariro National Park and Te Papa Tongarewa Museum" to begin with. Also earning a mention: getting the ferry to the South Island, then taking "a ride through world-class vineyards and along the jagged coast", plus whale- and dolphin-watching in Christchurch, before hitting the Southern Alps for "views to white-capped peaks, rushing rivers and alpine lakes". Tasmania earned its placing for enabling visitors to get out in nature via guided walks, celebrate Indigenous culture and focus on local produce. Taking a three-day trek across Bruny Island, foraging for wattle seeds and pepperberries, and chef Analiese Gregory's wild-cooking dishes all scored a specific callout. Brisbane keeps popping up on lists like this lately — see also: travel guide Frommer's, which also named the city one of 2024's best spots to visit; TIME, which put it on its world's greatest places list for 2023; and the World's Best 50 Hotels, which picked The Calile as its only Australian and Oceanic entry in its inaugural countdown in 223 — and the obvious reason was called out in the NYT's first sentence. Yes, that'd be hosting the 2032 Olympic and Paralympic Games. The Queen's Wharf precinct and its towering Sky Deck, restaurant Agnes and the Brisbane Powerhouse — including eating dinner hanging off the side of the building at vertical dining experience Vertigo, and the upcoming Melt OPEN queer arts fest — all were singled out. So was The Calile, which is clearly Brissie's most-famous hotel. [caption id="attachment_921654" align="alignnone" width="1920"] Markus Ravik[/caption] Topping the '52 Places to Go' rankings for 2024: North America's path of totality, where a total solar eclipse will be take over the skies in April, followed by Paris — the host of the 2024 Olympics — and Yamaguchi in Japan. Maui in Hawaii rounded out the top five, while Baaj Nwaavjo I'tah Kukveni in Arizona (the sacred Indigenous land around the Grand Canyon), Singapore, O'Higgins in Chile, Ladakh in India and Geneva in Switzerland filled the rest of the top ten. Across the full 52 picks, Manchester in England, Negombo in Sri Lanka, Morocco, Lake Toba in Indonesia and Ireland's Waterford also featured. So did Mustang in Nepal, Vienna in Austria, the Albanian Alps and Flamingo in Florida — and plenty more spots to instantly put on your must-visit list. For The New York Times' full 52 Places to Go list for 2024, head to the publication's website. Top image: Feeling inspired to book a getaway? You can now book your next dream holiday through Concrete Playground Trips with deals on flights, stays and experiences at destinations all around the world.
With 1654 stores to its name worldwide, Five Guys' burger joints have become a common sight across America, Europe, the Middle East and Asia — and soon, they'll also be opening in Australia and New Zealand. The cult-favourite chain is making the leap Down Under as part of a master franchise agreement with Seagrass Boutique Hospitality Group, aka the folks behind The Meat & Wine Co, Hunter & Barrel, 6 Head, Ribs & Burgers, Italian Street Kitchen and Butcher and the Farmer. Sydneysiders can start getting excited first, with Seagrass currently looking for suitable locations in the city's CBD. "Our aim is to identify high-visibility ground-floor sites in high-traffic areas," said the company's Chief Marketing Officer David Ovens in a statement. But burger lovers in other states, and in New Zealand, can also prepare their stomachs, with around 20 stores due to launch in Australia alone — although exactly where and when Five Guys will be popping up is yet to be revealed. What we do know is why Five Guys has amassed quite the reputation — and why, given the number of big-name US burger chains with hefty followings, such as Shake Shack and In-N-Out, it stands out. Its made-to-order burgers skew in the classic rather than oversized, jam-packed direction. They come with two hand-formed patties on toasted buns with your choice of toppings (including pickles, grilled mushrooms and jalapeños), plus bacon cheeseburgers that add two strips of bacon and two slices of Kraft American cheese as well. Five Guys also serves up hotdogs, sandwiches, hand-cut fries (with or without Cajun spices) and vanilla milkshakes. Don't go thinking the latter are boring, though — you can add bacon, bananas, peanut butter, salted caramel and even Oreo pieces to your design-your-own beverage. The chain started back in 1986 in the Washington, DC area and, as anyone with allergies should note, only cooks its fries in peanut oil. Five Guys is currently looking for sites in the Sydney CBD, with stores in other Australian states — and in New Zealand — to follow. No opening dates have been revealed as yet — we'll update you when more information comes to hand.
In 2019, the Great Barrier Reef gained a new addition, as well as a new way to enjoy its natural underwater delights. When the Museum of Underwater Art installed its first artworks in December, it became the southern hemisphere's first attraction of its type — and yet another reason for everyone to add visiting Australia's tropics to their travel bucket list. Two artworks were put in place at the time. The first, Ocean Siren, is located 30 metres offshore from The Strand jetty at Townsville and actually towers above the water; however, it interacts with live water temperature data from the Davies Reef weather station, then changes colour in response to variations as they happen. The second Coral Greenhouse, definitely lurks below the sea. And, until now, that meant that visiting it was a bit of a problem. As part of an official launch of the Museum of Underwater Art's first phase, folks can now take a tour of Coral Greenhouse — with recreational divers and snorkelers able to access the work from Saturday, August 1. The tours are being run by Adrenalin Dive Townsville and Pro Dive Magnetic Island, who'll help you see and swim through this striking sculpture. Down the track, SeaLink Queensland, Yongala Dive Burdekin and Orpheus Island Resort will be able to take you for a splash, too. [caption id="attachment_778364" align="alignnone" width="1920"] Matt Curnock[/caption] And it is striking. Coral Greenhouse sits 18 metres below the waterline on the John Brewer Reef off Townsville, measures 12 metres in height and weighs around 58 tonnes. It's made out of stainless steel, neutral marine grade cement and zinc anodes, and it does indeed look like a greenhouse. In fact, it's an underwater building. It's also filled with more than 20 sculptures, many resembling local school children — and has been made to both stand up to wave pressures and cyclones, and remain visible to divers and snorkelers. Most importantly, it isn't just a greenhouse in name, with the piece featuring coral garden beds. With that in mind, Coral Greenhouse is also designed to "offer opportunities for scientists, marine students and tourists to engage in action-based learning and to conduct globally important research on coral reef restoration and new technology," marine sculptor Jason deCaires Taylor notes. The creator of the Museum of Underwater Art, he sees this particular work as "an interface into our underwater world" and a way "to tell stories of the Great Barrier Reef, and for people to understand what a fragile, beautiful and sacred space it really is". [caption id="attachment_778365" align="alignnone" width="1920"] Matt Curnock[/caption] In total, four pieces are planned for the Museum as part of its aim to highlight reef conservation, restoration and education — with two more sculptures set for Palm Island and Magnetic Island in the future. Palm Island's forthcoming installation will connect the spot's the cultural story to the land and sea, according to the MOUA's website, and is expected to be in place by the July 2021. As for the Magnetic Island artwork, it's working towards a December 2021 unveiling. Of course, while the first tours of the underwater museum have officially kicked off, not everyone can get into Queensland. The Sunshine State has, at writing, closed its borders to all of Victoria and greater Sydney. Find the Museum of Underwater Art off the shore of Townsville, Queensland. For more information, visit the museum's website. To book a tour, head to the Adrenalin Dive or Pro Dive Magnetic websites. Images: Matt Curnock
Whether you're keen to have a small crack at playing winemaker, or simply want to sip some top-notch local vino while listening to live tunes, Noisy Ritual is the place to be this weekend. On Sunday, November 20, Brunswick East's community-powered urban winery is wrapping up a big year with a bottling party — and everyone's invited. From 3–4pm, you'll have the chance to help out on the hand-bottling line, packaging up some of the 20-plus new wines Noisy Ritual crafted throughout the year. Meanwhile, the bar will be pouring some of the winery's latest spring drops, alongside a few guest beers and booze-free options. Time your visit to coincide with happy hour (3–5pm) if you like the sound of $10 glasses of pet-nat, $12 spritz and $8 Stingrays Draught by Bodriggy. Rounding out the fun, the kitchen will be whipping up a special menu of snacks and shares — think, creamy burrata with olive XO sauce and sourdough, and croquettes paired with fermented chilli mayo — while local acts the Collingwood Cassanovas and Partner Look take care of the entertainment side of things.
Eastern Grace Group (St. Cloud Eating House and Young's Wine Rooms) is going through some big changes right now. First, owner James Klapanis brought on Matteo Tine (ex-Grossi Florentino, Bar Carolina, Tetto di Carolina and Pixie) as the restaurant group's Executive Chef and Creative Director. Tine then assembled a new team for Young's Wine Room, seeking to reinvigorate the site. And as of Friday, June 28, the group has opened a huge new venue: Orlo. Set across three floors in Collingwood's historic Dyason Cordial Factory, Orlo is home to a ground-floor dining room, enclosed courtyard with olive trees and vines, private dining mezzanine and basement bar. Each space has its own distinct feel, but the menus are all heavily influenced by Mediterranean dining. In the restaurant, Tine is leaning heavily into his Sicilian roots, plating up contemporary Italian eats influenced by a smattering of other European cuisines. Tine shared: "With my Sicilian background, I primarily and instinctively lean on Italian cuisine, but I can't help but recognise and use techniques and flavours from other countries and cuisines. "My mentor, Guy Grossi, who is basically my second father, told me that everything on the plate has to tell a story and have a reason for being on the plate. This is what creates the connection to the customer. People want a story; they want to know why the chef has put this or that on the plate. And I really want people to hear and enjoy my story." All of this equates to dishes like the southern rock lobster served with a scotch egg and optional caviar; swordfish skewers with orange, miso and olive mollica (sautéed bread crumbs); char siu-style chicken with fermented chilli and pickled rapa; and an 800-gram Black Angus dry-aged rib eye covered in a leek and porcini rub and salmoriglio. Tine is all over the food, but Eastern Grace Group has brought on a couple of hospo heavyweights to create the drinks menus. When it comes to wine, Grossi Group's Carlo Grossi has curated a list of vinos to pair with Tine's Med-inspired dishes. He's been tasked with making these fun, bright and accessible, meaning you don't have to spend the big bucks when ordering a bottle for the table. And for the cocktail menu, Klapanis has enlisted none other than Joe Jones (Purple Pit) to work his magic. We're huge fans of his Purple Pit libations, so can't wait to see what he does at Orlo. Here, he's designed a few signature sips, including seasonal cordials that'll be served in old cordial bottles as a fun nod to the building. We're sure the best place to find these bevs will be in Orlo's underground bar Cordial Club, but the main dining room also has its own marble-topped bar where you can eat and drink. The 1880s red brick factory has been revived by the team at McCluskey Studio, who've kept plenty of its original features — exposed brickwork and beams — while glamming it up a little. They've also worked with Klapanis to use his collection of reclaimed materials and vintage furniture throughout the site. You'll find Orlo at 44 Oxford Street, Collingwood, open from 12pm–late, seven days a week. For more details, head to the venue's website.
This article is part of our series profiling the perfect Brisbane weekends of the city’s creative personalities. Oh Brisbane, you are truly the land of eternal summer. Although it’s officially winter now, temperatures are hanging in the 20s and we can still step out to enjoy the crisp, blue days in our beloved T-shirt-and-thongs outfit. But where will we go this weekend? We continue the series this week with Vlada Edirippulige, the owner and operator of comic book and zine haven Junky Comics. She's also known for her illustration work (under the name 'Junky') and as a member of the band Major Leagues. “The thing that I admire most about Brisbane is that it doesn’t have an ego yet,” she says. “Which is great! So great! I mean sure there are ‘scenes’ and maybe even ‘cliques’ but there is still so much room for us to grow here. We have one of the best modern galleries in Australia (personally I think it’s the best but, sure, whatever). We have so many wonderful, like-minded, motivated people who are doing really cool stuff.” Junky Comics opened earlier this year. Under Vlada’s guidance Junky has become a hub for creatives from many different fields to gather together and collaborate. “It’s hard when you only have the internet through which to showcase your work," she says. "I think people respond so much better to something that’s tangible. I’ve noticed that that in turn instils motivation in others to continue the cycle of making zines and comics”. Here are Vlada's five steps to the perfect Brisbane weekend. To experience them for yourself, head to the Visit Brisbane website and get booking. CATCH THE CITYCAT TO SOURCED GROCER Start your day by catching the ferry! You can catch the CityCat from Mowbray Park in East Brisbane and go down to Teneriffe and then go to Sourced Grocer and eat a delicious breakfast. The focus here is on seasonal produce so you can always get a taste of something different. VISIT THE GOMA AND THE QUEENSLAND MUSEUM If you end up going to GOMA (which you should, of course), make sure that you go from the Cultural Centre end, that way you can go through the whale tunnel between the galleries. You should also see all the taxidermy animals and the turtle room (my favourite) at the museum. CHILL OUT AT HIGHGATE HILL PARK Go up to Highgate Hill Park at the top of Dornoch Terrace with some friends and some picnic supplies and just hang out. The park has some pretty amazing views overlooking the city in West End (and in summer it’s breezy). DINNER AT MADTONGSAN II Madtongsan II, located in the city on Elizabeth Street, is amazing. They serve super-cheap and delicious Korean food. I recommend the lemon soju (yes pls) and the potato noodles with seafood (hnnnnngggg). KARAOKE AT THE BRUNNO Karaoke at The Brunswick Hotel on a Saturday night is a classic. There’s a big group of people who frequent the Brunno for karaoke on a Saturday night and that sense of community is so much fun (with many renditions of '90s pop classics). Book your own Queensland weekender at the Visit Brisbane website or follow them through the Visit Brisbane Facebook page or Twitter at @VisitBrisbane and hashtag #brisbaneanyday.
Come with us on now, on a journey through time and space, to the world of Behind The Boosh. You may not hear those words spoken aloud when you walk into the exhibition celebrating British comedy troupe The Mighty Boosh, but fans will think them. When you're peering at behind-the-scenes peeks into Julian Barratt and Noel Fielding's hilarious and surreal creation, as snapped by fellow group member Dave Brown, that's the very first thing that should come to mind. A part of all things Boosh since the troupe was first formed in the 90s, Brown played Bollo the Gorilla, Naan bread, Black Frost and Australian zookeeper Joey Moose. He's also taken care of tour posters, DVDs, set graphics and merchandise; compiled and designed The Mighty Book of Boosh; and had a hand in Boosh music and choreography. And, he's been snapping away with his camera — the results of which are gracing this photography showcase. There aren't enough elbow patches in the world for this exhibition, or shoes filled with Baileys. Whether or nor you can find either — or the black hair dye and strong hairspray needed to get Vince Noir-style locks, green Old Gregg-esque body paint or 60s-era suits that look like they've been taken straight from Howard Moon's wardrobe — heading to Melbourne's North Gallery from Wednesday, August 2–Sunday, August 6 means getting a glimpse into the minds behind The Mighty Boosh's stage shows and radio series, and obviously the three-season TV gem also called The Mighty Boosh. Brown's two decades of images traverse a history that saw The Boosh become a live smash at the Edinburgh and Melbourne Comedy Festivals, then a 00s cult hit on the small screen. These days, Fielding might co-present The Great British Bake Off and do team captain duties on Never Mind the Buzzcocks, while Barratt has been playing a part in The Great, but they'll always been known for The Boosh. Brown is also in Australia with the exhibition, and doing an artist talk to chat through his work — and being part of a troupe, plus their various onstage and on-screen shows, where anything could happen — on Saturday, August 19. Images: Dave Brown.
Amid wondering how everything and anything would cope with feelings — elements such as water, fire, air and earth being the current example — Pixar also enjoys venturing to infinity and beyond. The Disney-owned animation studio first became famous and beloved thanks to the Toy Story franchise, and a space ranger figurine who loved spouting an intergalactic catchphrase, but the company is no stranger to heading into the heavens in its movies. With 2022's Lightyear, Pixar left earth for obvious reasons. When you're making a film about said space ranger toy — well, about its inspiration, to be exact — space is part of the package. With 2024's upcoming Elio, the studio is instead playing with aliens and putting earth on trial. Oh, and hanging out with a kid who says he's the planet's leader. That child is the movie's namesake, who isn't short on imagination, but could never have dreamed up the adventure that awaits. In the feature's just-dropped first teaser trailer, Elio goes on an out-of-this-world journey when he's beamed up to the Communiverse. That's an interplanetary organisation that looks after galaxies far and wide — and it mistakes the kid for earth's ambassador. How does an otherwise ordinary child cope with being in space, meeting alien lifeforms and being put through a number of challenges? What does he learn about himself along the way? Cinemagoers will find out on February 29, 2024, with Pixar's next flick after Elemental arriving on leap day — a date that no one should forget. Adrian Molina, screenwriter and co-director of the gorgeous Coco, helms the movie, while the cast includes Yonas Kibreab (Sweet Tooth) as Elio, America Ferrera (Superstore) as Elio's mom Olga, Jameela Jamil (Poker Face) as Ambassador Questa and Brad Garrett (High Desert) as Ambassador Grigon. While 2023 will only see one Pixar movie hit screens, Elio is one of two slated for 2024. Also on the lineup next year: Inside Out 2. Check out the teaser trailer for Elio below: Elio will release in cinemas Down Under on February 29, 2024.
Something delightful has been happening in cinemas in some parts of the country. After numerous periods spent empty during the pandemic, with projectors silent, theatres bare and the smell of popcorn fading, picture palaces in many Australian regions are back in business — including both big chains and smaller independent sites in Sydney, Melbourne and Brisbane. During COVID-19 lockdowns, no one was short on things to watch, of course. In fact, you probably feel like you've streamed every movie ever made, including new releases, Studio Ghibli's animated fare and Nicolas Cage-starring flicks. But, even if you've spent all your time of late glued to your small screen, we're betting you just can't wait to sit in a darkened room and soak up the splendour of the bigger version. Thankfully, plenty of new films are hitting cinemas so that you can do just that — and we've rounded up, watched and reviewed everything on offer this week. THE UNBEARABLE WEIGHT OF MASSIVE TALENT "Nic fuckiiiiiiiiiiiiiiiing Cage." That's how the man himself utters his name in The Unbearable Weight of Massive Talent, and he knows what he's about. Now four decades into his acting career to the year — after making his film debut in Fast Times at Ridgemont High under his actual name Nicolas Coppola, playing a bit-part character who didn't even get a moniker — Cage is keenly aware of exactly what he's done on-screen over that time, and in what, and why and how. He also knows how the world has responded, with that recognition baked into every second of his his latest movie. He plays himself, dubbed Nick Cage. He cycles through action-hero Cage, comically OTT Cage, floppy-haired 80s- and 90s-era Cage, besuited Cage, neurotic Cage and more in the process. And, as he winks, nods, and bobs and weaves through a lifetime of all things Cage, he's a Cage-tastic delight to watch. The Unbearable Weight of Massive Talent is Cage uncaged, busting out the jazz that is his acting and adoring it, and it's a self-aware, super-meta love letter to its star and all who stan him. It's also a feature that couldn't exist without the thespian who has everything from Guarding Tess and Captain Corelli's Mandolin to The Croods and Pig on his resume; replacing him simply wouldn't work. Again, it's a Cage gem in letting Cage devotees revel in Cage doing every kind of Cage. That said, this Cage comedy is also so overtly designed to inspire Cage mania that it's easy to feel the buttons being pushed. It's the Cage movie that the internet has willed into existence, or film Twitter at least. Case in point: it has Cage realise that Paddington 2 is one of the best movies ever made. It is, but given how well-accepted that is, and how much online attention has stressed that fact — including its once-perfect Rotten Tomatoes score — weaving it into this Cagefest is one of the film's many exercises in stating the obvious. There is narrative around all that "Nic fuckiiiiiiiiiiiiiiiing Cage" and his marmalade bear-loving epiphany. Here, the man who could eat a peach for days in Face/Off would do anything for as long as he needed to if he could lock in a weighty new part. The fictionalised Cage isn't happy with his roles of late, as he complains to his agent (Neil Patrick Harris, The Matrix Resurrections), but directors aren't buying what he's enthusiastically selling. He has debts and other art-parodies-life problems, though, plus an ex-wife (Sharon Horgan, This Way Up) and a teen daughter (Lily Sheen, IRL daughter of Kate Beckinsale and Michael Sheen). So, he reluctantly takes a $1-million gig he wishes he didn't have to: flying to southern Spain to hang out with billionaire Javi Gutierrez (Pedro Pascal, The Bubble), who is such a Cage diehard that he even has his own mini museum filled with Cage memorabilia, and has also written a screenplay he wants Cage to star in. Yes, writer/director Tom Gormican (Are We Officially Dating?) and co-scribe Kevin Etten (Kevin Can F**K Himself) task the always-likeable Pascal with playing The Unbearable Weight of Massive Talent's on-screen audience surrogate. If you're watching a movie with Cage as Cage — one that begins with a clip from Con Air at that — then you'd likely jump at the chance to spend time with the inimitable figure. Who wouldn't? But that's just one element of the story, because two CIA agents (The Afterparty's Tiffany Haddish and Ike Barinholtz) inform Cage that his new pal is an arms dealer who's keeping a politician's daughter hostage to sway an election. And, they want him to indulge his host — undercover as himself, naturally — until they find the girl. The next key aspect of the tale: during this ruse, Cage and Javi genuinely become CBFFs (Cage best friends forever), including while working on a screenplay about new buddies who bond in chaotic circumstances. Read our full review. THE NORTHMAN Satanic goats don't talk in The Northman. Heartthrobs don't masturbate while fondling mermaid figurines, either. Still, within ten minutes, pre-teen Viking prince Amleth (Oscar Novak, The Batman), his glory-seeking warrior father King Aurvandil War-Raven (Ethan Hawke, Moon Knight) and jester-meets-shaman Heimir (Willem Dafoe, Nightmare Alley) descend into a fire-lit cave to take hallucinogens, growl, grunt, bark like wolves and fart like it's a god-given superpower. If viewers didn't know who's behind this bold, brutal, brilliant, and blood- and guts-strewn Scandinavian opus before then, there's no doubt from this trippy scene onwards: after The Witch and The Lighthouse, writer/director Robert Eggers' touch, approach and style have become that distinctive just three remarkable features into his helming career. As he first demonstrated with his potent pilgrim horror movie, then doubled down on with his mesmerising oceanside nightmare, Eggers crafts chaotic celluloid dreams about faith- and sanity-stretching dances with madness and mania. He makes features so striking that they're haunting, rippling with the devotedly realistic and the hypnotically occult in tandem. Eggers' work isn't merely meticulously tense and atmospheric; it proves blisteringly visceral to the point of feeling inescapably tangible. Indeed, his steadfast commitment to authenticity spirits the whole concept of immersive filmmaking high into movie Valhalla. See: the vivid period-appropriate detail in The Northman's Nordic villages, which'd only be more evocative if they'd time-travelled in from the ninth and tenth centuries. Sense: the entrancing swirl that springs from all of the above, complete with Eggers' unfailing idiosyncrasies. Experience: the sublime tussle with myth, fantasy and folklore that results, as it has in each of his features, to both plunge into and interrogate his history-set reveries. In this untamed and laid-bare portrait of the past, something is rotten in the state of Iceland — as it was in Denmark via William Shakespeare, and in the Pride Lands of Africa in both versions of The Lion King. Writing The Northman's screenplay with poet, novelist and Björk collaborator Sjón (Lamb), Eggers takes his cues not from Hamlet, however, but from the Old Norse legend of Amleth that inspired the iconic tragedy. The narrative still involves a son anointed to be the future king, a tragedy that shatters his regal family, and a dastardly uncle who gets murderous to seize the throne and his brother's wife, of course. And, it keeps following its protagonist as he wages a determined odyssey of feral revenge against the man who reshaped his fate so ruthlessly. "I will avenge you, father. I will save you, mother. I will kill you, Fjölnir." That's Amleth's vow as a boy on a north Atlantic island in 895 when he witnesses the latter's (Claes Bang, Locked Down) treachery. He flees after hearing his uncle bay for his head, too, and seeing him carry off Queen Gudrún (Nicole Kidman, Being the Ricardos) as a spoil of his victory. Two decades later, Amleth (Alexander Skarsgård, Succession) is a hulking, wolfskin-clad Viking berserker, living life flinging whatever weaponry he can find while viciously pillaging through the lands of the Rus. But amid the bloodlust, gore and piling-up body count, the intense marauder is thrust back onto his vengeance-seeking path. A Slavic seeress (Björk, in her first film role since 2005) whispers stark truths about his current savagery and lapsed mission against Fjölnir, reigniting his yearning for that promised slaughter — and the single-minded behemoth learns that his uncle is now sheep-farming in Iceland, having lost the kingdom in another coup. Read our full review. ITHAKA To look at John Shipton is to see the obvious, even if you've never laid eyes upon him before. The family resemblance is immediately clear, and the traits that've likely been passed down from father to son — determination and persistence, blatantly — become apparent within minutes. Shipton needs to be resolute for the battle that documentary Ithaka captures. It's a fight that's been waged for a decade now, publicly, and not just in embassies and courtrooms but across news headlines worldwide. He's visibly Julian Assange's dad, and he's been helping spearhead the campaign for the WikiLeaks founder's release. Assange fell afoul of US authorities in 2010, when his non-profit whistleblower organisation published documents about the American military's war crimes leaked by army intelligence analyst Chelsea Manning. As Ithaka makes plain, The Guardian, The New York Times and Der Spiegel revealed the same information at the same time; however, only Assange now sits in London's Belmarsh prison. Plenty about the past 12 years since Manning's leaks were exposed to the world is filled with numbers. Plenty about the ten years this June since Assange first took refuge in the Embassy of Ecuador in London is as well. The Australian editor and publisher spent almost seven years in that diplomatic space, seeking political asylum from sexual misconduct allegations in Sweden that he contended would be used to extradite him to America. If the US succeeds in its efforts, and in its espionage charges against him, he faces up to 175 years in incarceration. The list of figures goes on, but filmmaker Ben Lawrence (Hearts and Bones) makes two pivotal choices. Firstly, he surveys Assange's current struggle not through the Aussie himself, but through both Shipton and Stella Moris, his South African-born lawyer and now wife. Secondly, although those aforementioned numbers are inescapable, the riveting and affecting Ithaka brings humanity to this well-publicised plight. Moris herself sums up the movie's position best at the unveiling of a statue of Assange in Geneva. "I'm here to remind you that Julian isn't a name, he isn't a symbol; he's a man and he's suffering," she says. It's a reminder that Ithaka's audience might need, given how ubiquitous Assange's tale has become, including on-screen — in fellow docos We Steal Secrets: The Story of WikiLeaks and Risk, and in dramas Underground: The Julian Assange Story and The Fifth Estate — and how polarising he has proven. Risk attempted to grapple with his contradictions, but Ithaka almost deems them irrelevant. Lawrence doesn't dismiss, excuse or pander; rather, he knows that Shipton and Moris' point remains regardless: that how Assange has been treated for receiving and publishing information is a human rights abuse, as well as an attack on the freedom of the press. That notion echoes again and again in Ithaka alongside its rousing soundtrack by Brian Eno, and with passion; to look at both Shipton and Moris is to see the fervour blazing tirelessly in their eyes, too. Making his second documentary after 2018's Ghosthunter, Lawrence fills the bulk of his naturalistically shot frames with the pair working against Assange's possible extradition, and for justice, with that avid gleam given ample opportunities to keep burning. Again, among the litany of opinions that he's evoked over the years, the idea that the Australian deserves life in prison for distributing Manning's intel to the world — or that anyone does — shouldn't have a place. Ithaka's allegiances are never in doubt, even without knowing that Assange's brother Gabriel Shipton is one of its producers, but giving time to the WikiLeaks creator's critics wouldn't and couldn't have changed its core position. Read our full review. If you're wondering what else is currently screening in Australian cinemas — or has been lately — check out our rundown of new films released in Australia on January 1, January 6, January 13, January 20 and January 27; February 3, February 10, February 17 and February 24; and March 3, March 10, March 17, March 24 and March 31; and April 7 and April 14. You can also read our full reviews of a heap of recent movies, such as Ghostbusters: Afterlife, House of Gucci, The King's Man, Red Rocket, Scream, The 355, Gold, King Richard, Limbo, Spencer, Nightmare Alley, Belle, Parallel Mothers, The Eyes of Tammy Faye, Belfast, Here Out West, Jackass Forever, Benedetta, Drive My Car, Death on the Nile, C'mon C'mon, Flee, Uncharted, Quo Vadis, Aida?, Cyrano, Hive, Studio 666, The Batman, Blind Ambition, Bergman Island, Wash My Soul in the River's Flow, The Souvenir: Part II, Dog, Anonymous Club, X, River, Nowhere Special, RRR, Morbius, The Duke and Sonic the Hedgehog 2, Fantastic Beasts and the Secrets of Dumbledore, Ambulance, Memoria, The Lost City, Everything Everywhere All At Once, Happening and The Good Boss.
Fresh off expanding Supernormal to Brisbane and opening new concept Bar Miette in the same building, Andrew McConnell (Cumulus Inc, Cutler & Co, Supernormal, Builders Arms and Marion) has returned to Melbourne to sign a lease on an all-new venture in the CBD. There's no details yet on what he'll be cooking or who will be joining him in the kitchen, but the new restaurant will take over the former Becco site. This old-school Italian diner has been serving city workers and visitors since 1996, and before that was home to Pellegrini's Tavola Freddo Cantina. For decades, this Crossley Street site has played an important role in the city's food scene, and McConnell and his business partner Jo McGann have been sure to recognise this. [caption id="attachment_860199" align="alignnone" width="1920"] Gimlet by Earl Carter[/caption] "This is one of the most important heritage restaurant sites in the city. The dining room has a beautiful soul that reflects its history and the incredible hospitality that has been offered here for over 70 years," shares McConnell. "We are excited to preserve and continue this legacy whilst bringing new energy to the space." To revamp the space, McConnell and McGann will once again collaborate with Sydney-based design studio ACME (Gimlet and Apollo Inn). However, we won't get to see what they've dreamt up until it opens in late 2025. Until then, the duo will run a temporary outpost of Morning Market — the Euro-centric grocer and cafe that McConnell and McGann opened during the pandemic. [caption id="attachment_867912" align="alignnone" width="1920"] Supernormal Nikki To.[/caption] McConnell and McGann's new restaurant is slated to open in late 2025, and will be found at 25 Crossley Street, Melbourne. For more information, you can visit the restaurant group's website. Image: Andrew McConnell by Shelley Horan for Melbourne Food & Wine Festival.
People travel from around the globe to see Uluru. In 2023, the Northern Territory landmark was even named one of the best places in the world to visit by The New York Times. Folks head to the Red Centre from all across Australia, too, of course — and if visiting the large sandstone formation has always been on your travel bucket list, and you're in Melbourne or Brisbane, making that trip is about to get easier. Virgin has announced new direct flights to the heritage site. From June 2024, the Aussie carrier will start two routes, which will mark the airline's first-ever legs to Uluru from Melbourne and Brisbane. The flights from the Victorian capital will begin first, on Thursday, June 6, 2024, but Queenslanders will only have to wait a day later, until Friday, June 7, 2024. After both routes kick into gear, Virgin will fly between Melbourne and Uluru four times a week, on Tuesdays, Thursdays, Saturdays and Sundays. The carrier will zip between Brisbane and Uluru three times a week, on Wednesdays and Fridays. Virgin is partnering with the Northern Territory Government and Voyages Indigenous Tourism Australia — which runs Ayers Rock Resort — on the new services to get more people to the middle of the country. And it's aiming to send quite a few more tourists in that direction, with 62,000-plus seats a year on offer thanks to the two new legs. "Uluṟu is a special place in Australia and a cultural landmark that identifies this wonderful country to the world. We look forward to once again connecting Australians and international tourists alike to the spiritual heartland of Australia," said Virgin Australia CEO Jayne Hrdlicka. "We are also proud to be offering direct flights to Uluṟu from Melbourne and Brisbane for the first time. The forecast demand from these cities, coupled with excellent connectivity from our international airline partners, will provide a much-needed tourism boost to the region. Greater competition in the market and more seat capacity to Uluṟu will also provide travellers with more choice and value next time they fly to the Red Centre." [caption id="attachment_905928" align="alignnone" width="1920"] The Salty Travellers[/caption] "Whether it's still on the bucket list or a much-loved destination, visiting Uluṟu is a must-do for international and Australian travellers alike," added Matt Cameron-Smith, CEO of Voyages Indigenous Tourism Australia. "Demand to visit Uluṟu is incredibly strong — driven by a wealth of amazing cultural experiences including the world-first $10-million cultural drone and storytelling experience Wintjiri Wiru — and we can't wait to roll out the red carpet for Virgin Australia's return to the Red Centre." How is Virgin celebrating announcing its new routes? With a flight sale, which is obviously great news for your wallet. Until midnight AEST on Wednesday, November 22, 2023, fares start at $129 one-way in economy, as long as you're keen to travel between Thursday, June 6–Thursday, September 12, 2024. For accommodation, Ayers Rock Resort is doing $150-per-night Lost Camel Hotel stays as well. Virgin's Melbourne–Uluru services will commence on Thursday, June 6, 2024, and its Brisbane–Uluru services on Friday, June 7, 2024. The airline's Red Centre sale is slinging flights from $129 until midnight AEST on Wednesday, November 22, 2023 — head to the Virgin website for more details.
Digital art is taking over the Australian Centre for the Moving Image in a huge way in 2024. The Melbourne venue might be known for its cinemas, as well as past exhibitions about Martin Scorsese, David Bowie, Disney animation and women in Hollywood, but it doesn't just celebrate movies and television. If it can grace screens, it can feature here — including at the Marshmallow Laser Feast: Works of Nature showcase that's displaying until April, and then at just-announced fellow world-premiere Beings. Interactive pieces using innovative technology firmly fit ACMI's remit, which is exactly what its big winter exhibition will be about. The playful event explores the work of art and design collective Universal Everything, featuring 13 pieces from its 20-year career. And the experience that you have while walking through Beings won't be the same as anyone else's. [caption id="attachment_944195" align="alignnone" width="1920"] Future You' by Universal Everything, installation view, Digital Impact, Barcelona, Spain, photo by Eva Caraso.[/caption] On display from Wednesday, May 22–Sunday, September 29, 2024, this new reason to head to ACMI wants attendees to not merely look at, but also move and dance in front of its large-scale screens and projected artworks. Beings' pieces will respond differently to each visitor, using evolving algorithms and generative technology. That makes you part of the art as well. Founded in 2004, Universal Everything began in a garden studio in Sheffield, England, which is where Creative Director Matt Pyke initially set up shop. Now, the collective — which includes animators, architects, cinematographers, designers, developers, engineers and musicians — works globally. Its creations display around the world, too, with stints in London, Seoul, Paris, Istanbul and New York before its upcoming Melbourne exhibition. [caption id="attachment_944193" align="alignnone" width="1920"] 'Friends' by Universal Everything[/caption] Beings' pieces — four of which will be brand-new world-premiere artworks themselves — frequently use the kind of tech that Hollywood studios and video-game makers deploy. Expect to peer at and play with an assortment of characters, and to feel like you've stepped into a movie or a game as well. The exhibition will unravel Universal Everything's creative process, including via hand-drawn sketches that'll be seen by the public for the first time. [caption id="attachment_944198" align="alignnone" width="1920"] 'Into the Sun' by Universal Everything, installation view, Lifeforms exhibition, 180 Studios, photo by Jack Hems.[/caption] "This is technology with heart and soul. Innovative, interactive and enriching, Universal Everything's joyous creations bring warmth and a sense of humanity. Whether you have an eye for design, an interest in new tech or are simply looking for some fun, this family-friendly experience will leave you with a smile. ACMI is the home of endless play this winter — no two visits to Beings will be the same," said ACMI Director and CEO Seb Chan, announcing the exhibition. "I relish this opportunity to push our studio practice even further, with some never-before-seen artworks created for Melbourne audiences. And as ever, I'm looking forward to being surprised by unexpected visitor responses to the show. We hope they have lots of fun," added Universal Everything's Pyke. [caption id="attachment_944196" align="alignnone" width="1920"] 'Future You' by Universal Everything, installation view, More than Human, Afundación, A Coruña, Spain, image courtesy of the artists.[/caption] As is ACMI's custom, an exhibition at the Federation Square venue spans more than just the showcase itself. While the specifics are still to be revealed, there'll be late-night access, as well as a new contemporary dance series that features Melbourne choreographers. Beings is also family-friendly, so activities for kids — for preschoolers in general, and over the school holidays — are on the agenda. [caption id="attachment_944201" align="alignnone" width="1920"] 'Transfiguration' by Universal Everything.[/caption] [caption id="attachment_944199" align="alignnone" width="1920"] 'Kinfolk' by Universal Everything.[/caption] [caption id="attachment_944200" align="alignnone" width="1920"] ''Maison Autonome' by Universal Everything, installation view, image courtesy of the artists.[/caption] [caption id="attachment_944194" align="alignnone" width="1920"] 'Symbiosis' by Universal Everything.[/caption] Beings will display at ACMI, Federation Square, Melbourne, from Wednesday, May 22–Sunday, September 29, 2024 — head to the ACMI website for further details or to get tickets. Images: courtesy of Universal Everything. Top image: 'Infinity' by Universal Everything.
Some days in the office, it can feel like the only thing worth thinking about is where to go for lunch. But with even the most basic options often accompanied by an eye-watering price, perhaps you'd be better off just bringing a sandwich from home. However, the recent arrival of Melbourne Winery on Flinders Lane means your lunch could taste better than ever with an unbeatable price to match. Now presenting Express Lunch Lane every Monday–Friday from 12-3pm, trudging into work each day just became so much easier. Featuring a rotating menu of standout options from just $19, you'd expect the dishes up for grabs to fetch a steeper price tag — not that we're unhappy about it. Think a smashed wagyu beef burger with fries; gnocchi alla vodka with soft ricotta; and a beef short-rib toastie with celeriac remoulade. These options are complemented by an ever-changing cast of fish and steak dishes, alongside big-flavour salads. Plus, this stellar lunch deal also includes a glass of wine, beer or soft drink. Designed for speed, flavour and walk-ins, you'll be dreaming about taking your lunch break as soon as you arrive at the office. Opened at the end of April, Melbourne Winery is looking to shake up the culinary scene with a fresh take on how we indulge in a glass of vino. Located inside the heritage-listed Ross House, beyond the Express Lunch Lane, this sprawling destination is keen to flip the script on what visitors know about wine and dining. For instance, the venue's innovative dining concept sees wine, not food, become the focal point of your meal, with each dish designed to pair with an expansive vino collection. Meanwhile, a host of interactive masterclasses and a creative cultural program will explore the ins and outs of wine, while inspiring guests to expand their palate. Melbourne Winery's Express Lunch Lane runs Monday–Friday from 12–3pm at 247 Flinders Lane, Melbourne. Head to the website for more information.
If you're the kind of beer lover who feels like they've tried every brew ever — or you've made it your mission to achieve that yeasty goal — then you're probably a big fan of the Great Australasian Beer Spectapular. For more than a decade now, since it started off as a Melbourne-only celebration of ales, lagers, ciders and more, the event has been serving up weird, wild, wonderful and inventive varieties, many of which are made exclusively for the booze-sipping shindig. In 2022, that's set to be the case once more, with the beer fest returning for a tour of Australia's east coast capitals in May. GABS is considered to be one of the best craft beer and cider festivals in the Asia Pacific region for good reason, and this year it has at least 120 of them, because that's how many brews will be on offer. Prepare to knock back beers inspired by breakfast foods, savoury snacks, desserts, cocktails and more when the event kicks off its 2022 run at the Brisbane Convention and Exhibition Centre on Saturday, May 7, then heads to Sydney's ICC Darling Harbour from Friday, May 20–Saturday, May 21, then finishes up its Aussie dates at the Royal Exhibition Building, Melbourne, over the weekend of Friday, May 27–Sunday, May 29. Some of the foods and drinks that this year's GABS brews are taking their cues from: peanut butter, coffee, earl grey tea, chicken salt, pizza, fairy floss, bubblegum and sour gummi bears. Confirmed highlights include Brouhaha's Baked and Wasted, a sour which uses wasted baked goods; Capital Brewing Co's experimental Smooches, which pairs cocao nibs with a strawberry kick; Mismatch Brewing Co's We Love NY Cheesecake stout, in case you've ever wondered what cheesecake in a glass tastes like; and The Catchment Brewing Co's Ra Ra Raspoutine, another stout that, yes, is brewed from chips, cheese and gravy. The event surveys both Australian and New Zealand breweries, with more than 60 set to be pouring their wares in Brisbane, and 70-plus in Sydney and Melbourne. As well as the aforementioned outfits, this year they'll also include Balter, Range, Otherside, Black Hops, Ballistic, Your Mates, Mountain Culture, One Drop and Little Creatures, as well as Colonial, Mountain Goat and Bentspoke — and NZ's Garage Project and Panhead Custom Ale. Also on the bill: other types of tipples, including non-alcoholic beers, seltzers, whiskey, gin, cocktails and wines (including by 19 Crimes Snoop Dog Cali Red). GABS is known for dishing up a hefty lineup of activities to accompanying all that sipping, too, which'll span a silent disco, roaming bands, circus and sideshow performers, games and panels with industry leaders in 2022, as well as local food trucks and vendors to line your stomach. GREAT AUSTRALASIAN BEER SPECTAPULAR 2022 DATES: Saturday, May 7 — Brisbane Convention and Exhibition Centre, Brisbane Friday, May 20–Saturday, May 21 — ICC Darling Harbour, Sydney Friday, May 27–Sunday, May 29 — Royal Exhibition Building, Melbourne GABS takes place across Australia's east coast throughout May — head to the event's website for tickets and further details.
To support flood-affected communities in regional Victoria, Music Victoria is launching a massive live music program this spring. That's 30 individual events running all over the state from Tallarook and Pyramid Hill to Newbridge and Baringhup. It's all part of Music Victoria's Live Music for Flood Recovery program – a chance for communities, travellers and music-lovers to gather and show their support for towns affected by the devastating October 2022 floods. This program began last December in Shepperton, but it was such a hit that Music Victoria put the call out to live music venues, artists, presenters and community groups to get involved and the response has been huge. The idea now is to expand the program and keep it running, reigniting tourism in the regions and raising money for flood-affected communities. From July to the end of October, live events will be popping up across Victoria in Tallarook (Taungurung Country), Pyramid Hill (Dja Dja Wurrung and Barapa Barapa Country), Boort (Dja Dja Wurrung and Barapa Barapa Country), Newbridge (Dja Dja Warrung Country), Rochester (Yorta Yorta Country), Bridgewater (Dja Dja Wurrung Country), Mooroopna (Yorta Yorta Country), Baringhup (Dja Dja Wurrung Country), Horsham (Wotjobaluk, Wergaia (Were-guy-ya), Jupagalk, Jaadwa and Jadawadjali Country), Euroa (Taungurung Country), and the Pyrenees (Dja Dja Wurrung Country). It all kicks off on Sunday, July 30 at Blue Tongue Berries in Seymour with Sundanese icon, Ajak Kwai. You can check out the full schedule here. Highlights include Rochella (October 14) and FLOW presented by Euroa Music Festival (October 21). "We're so excited to see an incredible array of community led events taking place all over the state," Music Victoria CEO Simone Schinkel says. "These events will provide a place for people to gather, reconnect and enjoy live music, which is such an important part of the recovery process for these communities." Tickets for most of the events are already on sale. Check out Music Victoria's website for all the details. Images: Supplied
Australia should've given rise to The Moogai before 2024, and prior to the SXSW Midnight Shorts Grand Jury Award-winning short of the same name four years earlier as well. An Aussie horror film born out of the Stolen Generations where the monsters of colonisation, White Australia policies and attitudes since remain inescapable, and where Indigenous children today are also snatched away by a literal monster, is a brilliant idea — one that instantly feels as if it needed to have been made decades back. But writer/director Jon Bell and his stars Shari Sebbens and Meyne Wyatt appreciate how deeply that this is a movie for now. Indeed, The Moogai doesn't just explore the direct ramifications of the Stolen Generations; it proves as clear-eyed about the reality for First Nations Australians today. This is not the only recent Australian film to grapple with the nation's past. Sweet Country, The Nightingale, The Drover's Wife The Legend of Molly Johnson, The New Boy, The Furnace and High Ground have all stepped into the same terrain. The Mystery Road franchise, including the initial movie's big-screen sequel Goldstone and then three seasons of TV, feels the echoes that the country's history has now and, when the saga jumps backwards, not that long ago. Making his first feature after creating The Gods of Wheat Street, developing Cleverman, and also penning episodes of Redfern Now, Black Comedy, Mystery Road and more, Bell was sparked by the inhumanity of taking children away from their parents — not only when forced child removals were the abhorrent policy in Australia, but as the trauma from that practice remains a presence. The Moogai begins on the Red River Aborigines Mission in 1969, where two sisters (debutants Aisha Alma May and Precious Ann) attempt to avoid being separated from their family by white men, only for one to be spirited away instead by the picture's namesake. When it jumps to half a century later, the film spends its time with Indigenous couple Sarah (Sebbens, The Office) and Fergus (Wyatt, Strife). A lawyer and a carpenter, and parents to six-year-old Chloe (newcomer Jahdeana Mary) with a new baby on the way, they each possess different ties to their heritage. Sarah was taken from her birth mother Ruth (Tessa Rose, Firebite) not long after her first breath, then adopted by white parents (While the Men Are Away's Tara Morice and Plum's Nicholas Cassim). Newly reconnected with the woman that gave her life, she's cautious, while Fergus heartily welcomes his mother-in-law. When the Moogai enters Sarah and Fergus' lives, Sarah's fears of the malevolent force impact her every moment. Her agitated state is dismissed by doctors, however, who think that she's simply struggling after a difficult birth. Painting anything but the portrait of a perfect family also immediately earns attention from anyone watching on, medical professionals, Chloe's teachers and the police included. Alongside Australia's history that constantly demands confronting, Bell was inspired by his and his wife's anxieties when his grandchildren were born, knowing how quickly that judgements can be made in a hospital situation. Australia's past haunts its present on- and off-screen, then, in this powerful picture — a movie that was labelled "Australia's Get Out" when it made its world premiere at the 2024 Sundance Film Festival, ahead of charting the Aussie fest circuit, then hitting local cinemas in general release on Halloween. "It is a good comparison, because Jordan Peele, through his sketch-comedy career, too, the amount of story you have generate to be able to do that sort of stuff — no wonder Get Out was such a success and so on-point," Bell tells Concrete Playground. "And so in those terms, that's a good touchstone for us, because we're certainly trying to bridge those same audiences: people who are going to come see something, and see that it's got something to say, but it's also going to give you the genre stuff that you need. There's scares in this, but it's not grotesque and gruesome. There are also some laughs in there, which Get Out has as well. And I think there's a message in there, too, and there's a lot of heart." "I think as an artist, I don't particularly love comparisons in that way, but I absolutely understand why they're useful for audiences and for people to grasp onto something and have a quick point of reference," notes Sebbens, who also starred in the short alongside Wyatt. "But I will say it's a valid comparison and that it's Jon very much writing from a place of culture, very much writing from a place of Blackness — and employing elements of comedy. I wouldn't call this a comedy-horror by any means, but it is a psychological horror with just moments of comedy peppered throughout, and I totally understand why it reminds people of something like Jordan Peele's Get Out. Also, I'm like, man, if you're going to be compared to any director, that's the one," she tells us. Wyatt advises that he's excited about "what indigenous people will think about the film here in Australia, particularly, because I think it's a film for them in a lot of ways." He continues: "Aboriginal people love horror films, and there's a lot of humour in there as well. And I think there's something that you can claim and take ownership of, being that Jon is the writer and the director, Mitchell Stanley's the producer, Shari and I are acting, and Tessa Rose. It's got a cast of Indigenous filmmakers, this is one of our stories that we can tell and it has been authored by First Nations people." We also chatted with Bell, Sebbens and Wyatt about the fact that the film's premise feels like it should've been explored before, their journey with The Moogai from short to feature and ensuring that it comments on today's reality as much as the past — and more. On How Writing the Short as Proof of Concept for the Feature Helped Shape The Moogai Jon: "It's a good process to go through. I'd encourage anybody to do that, because trying to tell your story in different lengths really highlights structure in a lot of ways. It also gives the feature, if there's any flab, that will get cut off. Because with the short, you're so focused on everything having to earn its place because you've got very little time. And then with the feature, I think this is certainly under 90 minutes — I think it might be 86 or 87. And in trying to get that narrative drive, the script at a certain point, I think it might have got up to 114 pages, and then I cut it down before we started shooting. Then we just cut, cut, cut to try and get narrative pace, because these days people don't give too much time to anything. It's not even change the channel, they can just click off so easily. So you've got to get an audience and you've got to keep them. And writing the two lengths brought some of those issues into sharp focus." On Sebbens and Wyatt Both Starring in the Short as Well as the Feature — and How the Former Helped Them Prepare for the Latter Shari: "Definitely as an actor, you secretly hope, but it's also so completely out of your control. And I know that that's something that Meyne and I'm just so thankful for, is a chance to come back and play in the feature. Because it's really rare, actually, that actors get to be involved in the proof of concept in the short and then make it to the big screen. So it's definitely a hope that we were holding out on. But you can't ever say it out loud. I don't know, you probably can say it out loud — there probably are actors that go 'I want to be in this'. But I guess there's also an element of still being blackfullas, we're a bit ashamed to do that stuff. But it was definitely something we both really wanted. And when it came about, we were just over the moon. It's a dream come true to get to follow the story from that concept size all the way to its full fruition. Meyne: "For me, if it was offered to me, I was always going to go from the short to the feature. But I don't know how Jon feels about it or the production house. What was in the short was a good encapsulation of the feel of what the feature is and where the film gets to go. And I think I certainly jumped at the opportunity to be a part of the feature because I feel like Fergus, in particular, had been fleshed out in a very nuanced and interesting, juicy role that had come to life in the feature. So I was always excited to be involved. And I think that the short is probably a different film to the feature in some ways. One gives you the feeling and then the next, I think they're telling a different story. And I think that's a good thing. You're able to explore something in the feature that in short-form storytelling you won't be able to, and that was always an exciting thing to jump into." Shari: "I think the biggest thing was I've never done genre before. I've never done horror before as a as a genre specifically. So it was a great exercise in knowing the mental and emotional stamina it takes to maintain a taught psychological wire for an extended period of time, but still look after yourself, and still be able to exit and enter a process every day as an artist. It also just meant that we had a really great understanding of how to work with Jon, what he wanted to say and what he wanted to do. We had a shorthand with him, which was really useful for us on set." On How the Concept for the Film Came About for Bell Jon: "Part of the initial inception, the first time I had some of those ideas was when my oldest grandson, he's a teenager now, but when he was born, me and my missus throughout all of our grandkids, when they were born we were nervous about hospitals making a judgement — as we've worked with DoCs trying to reunite families. We had seen how easily from the government's point of view reports and judgments could be made. And then we also had our own experiences, our own family experiences with close calls, and I had an uncle who was part of Stolen Generations and stuff. So we had some personal experience. But when the grandkids came along, that was another thing that brought it into sharp contrast again, because one would think that we were past this in our history, but the fear that was inside us and the way, not anxiety, but the way we were just on our toes — we were on our toes the night before, for perceptions and judgments. We were just very aware of that stuff, and we didn't want any of our grandkids to be in the system. As soon as you're in the system, then another government department pulls something up and then bam, all the stuff comes up. So we were super watchful. In a lot of ways, that was probably the initial idea. That fear just followed us. It didn't matter how many generations deep we were, this fear just followed us." On The Moogai's Premise Instantly Standing Out Shari: "I say this a lot, but I came across Jon's writing in 2012 when we did The Gods of Wheat Street together, and I was like 'oh my god, who is this person writing such rich, incredible tapestry of black lives and family on screen, and on top of that, black women?'. I was convinced that a woman had written The Gods of Wheat Street, actually. And so when I found out it was a man, I was like 'what? This brotherboy's got such a beautiful respect and understanding of women'. And so when I came across that Jon was doing a horror, and he had such great ambition and vision for it — I've trusted this man and admired this man's work for years, of course I want to be a part of that. He's someone that pushes his boundaries and his own abilities, and what he thinks he's capable of himself, so I knew that this was going to be an ambitious project and actually be — I think I'm safe in saying this — the first Aboriginal-produced directed horror film, and will stand as the first in what I hope is a long line, a huge canon of horror works to come from First Nations artists. But just the fact that it was Jon who had written it is what absolutely drew me to it in the first place. And we're very close with Mitchell Stanley, one of the co-producers as well. So it felt immediately that there was a group of Black people that wanted to reach and try something new that traditionally we've been kept out of. Because yeah, people love gritty Indigenous drama in this country, like contemporary gritty indigenous drama, and that has a place, absolutely, to speak to who we are here and now as a nation. But there's no reason why we shouldn't get to play with form and genre and style as well, like every other artist." Meyne: "One, it's a genre film, so that was always exciting. And I think that's a rare opportunity to in Australia, I think, to be involved — and particularly a First Nations genre film, a horror, psychological thriller. That was always exciting. I think what Jon's able to do is Trojan horse this social commentary. You think it's one thing and then there's something else going on entirely. I think going away with the audience, coming up with their interpretation of what's going on, and showing people rather than knocking them on their head — it's allowing you to go away and have those conversations with the people that you go 'what about that bit?'. I feel like those are always the films that I enjoy and I'm entertained by, so I always wanted to be a part of a film that allowed for that opportunity. And in the same token when you talk about Get Out, those social thrillers, horrors, it's in the social consciousness at the moment, and they are all touching on something that's saying two things at once. And I think in an Australian context, I feel like this is the right time to do it. Like you were saying before that it should have been a film that had been made — but I don't think it would have been made until Jon, a First Nations writer/director, could make that film. That was always an exciting thing to have the privilege to be involved in." On Whether There's a Sense of Responsibility in Making a First Nations Film That Treads New Ground Shari: "Oh big time. Yeah, it's something that, to be honest, it's something that you're all-too-keenly aware of every time you're taking on a role as an Aboriginal actor, because you're so aware that no matter what you do, you are seen to be representing your entire people. And it's an impossible weight and an impossible job. You can't represent every blackfulla. So I think in terms of Jon and Meyne and Mitchell, all the Aboriginal creatives around it, it's a responsibility and a weight that we were all familiar with. It wasn't a new experience to us to feel that. But I think you turn that fear into excitement, and you turn that into a challenge, and you turn that into 'well, how can we keep pushing boundaries and showing people that not one person can be responsible for an entire race of people and a representation of entire people, but that a group of us working together will bring complexity and nuance that is so often afforded to non-Indigenous stories and artists?'." On the Importance of the Movie's Connection Between Past and Present Jon: "That was one of the things that was very important to me. After Kevin Rudd made his apologies, it feels like that people are just being like 'okay, well he said sorry, can we just move on now?'. No. People are still living with this pain. And those kinds of White Australia policies, they are, probably under the United Nations definition, they are in fact genocide. Those are genocidal practices. Just trying to wrap your head around that, that's of vital importance. But at the same time, I think that this film is very much a horror film, and the horror or fear that plagues your family can absolutely be a universal thing. We've all got stuff in our past —that saying 'you don't grow out of your childhood, you escape it' — we've all got stuff that we're probably hanging on to, all of the things that have affected us. So in that sense, it's very much a universal story. You could say that the Moogai for someone else means a different thing. But in terms of where I was coming from, it was absolutely there." Shari: "I think there's no way to tell it without that, without being truthful to what the reality is for us mob, for our families, for our communities. I think there would have been absolutely — I'm just spitballing and projecting onto Jon — but I imagine for a writer/director, there are moments where it's like 'well, yeah, how much do I delve into Fergus' moment with the police?'. I think for Jon, I imagine it's what I feel, which is if your projects don't have an element of reality in them — I guess that's the scariest thing about the horror, is that the reality and the history and the current situation for so many Black people is far scarier than what you can put on-screen ever. But I think he would probably feel a bit inauthentic if that scene with Fergus and the police wasn't in there, just because that's Jon's experience as a Black man. It's Meyne's experience as a Black man. It's so many people's experience as Black people in this country. It's not saying that you have to always put these things in there as a political statement, but actually the personal is political in that way. So what they're really doing — what we're all doing — is just trying to recount things in an authentic, genuine way to get people to understand what the hell is still happening here." On Sebbens Playing Someone Who Is Devoted to Her Family, But Also Cautious About Her Heritage — And Navigating Coping with a New Baby While Also Certain that the Moogai Is Taunting Her Shari: "It's mad when you say it all out straight like that. It's like 'oh yes, that is a lot of things, isn't it, to happen to someone'. Jon and I would talk a lot, Meyne and I would talk a lot, about backstory and history — and certainly for Sarah, that's on the screen. The history of her Aboriginality that she has been denied through government policy, and that she has also denied herself because of adopted ways of thinking and shame and, I guess, internalised racism. But also Sarah is someone that wants to deeply belong, which I think is why she seeks out an Aboriginal partner in Fergus. And so in that sense, we could load ourselves up — and I did load myself up with all this history and backstory — but at the end of the day, also you just have to let it go and play what's on the page, and be present with those words and those scenes. All that work hopefully informs the weight that you bring into scenes, and it informs choices you make. But for me particularly, I was just like 'if I keep getting bogged down on this, I'm going to try and play all of those things at once'. And actually, if I just play what's on the page, it felt like the clearest way through for me." On Wyatt Stepping Into the Role of the Worried Husband and Father Who Wants to Believe Sarah, But Is Also Concerned with How She's Coping Meyne: "I think Fergus is, at one point, he should be the perspective of the audience. And you should be concerned and worried about what's going on with Sarah. There's a fine balance with him that he has to believe her, but then there has to be that skepticism. And I think he makes some decisions that are questionable and maybe problematic, but I think that's nuanced character. With Jon, there were conversations about trying to find that balance with Fergus and making sure that he's being supportive, but also touching on the trope of being the husband that isn't quite believing the wife — and as a horror film, making sure you're ticking off those boxes and those touchstones, but making sure that he isn't a complete arsehole and that it's coming from a real place, and this is a real person and it's nuanced. And someone who possibly doesn't know how to deal with, one, a malevolent spirit, but two, mental health — and not having the tools to be able to deal with somebody. I think that can always be trying for anybody, having that for the first time, especially a loved one, because it's a delicate line you're toeing." The Moogai released in Australian cinemas on Thursday, October 31, 2024. Images: Elise Lockwood / Sean Ryan.
Autumn is still beach weather on Hamilton Island. Getting cosy in Tasmania is one of the best ways to embrace an Australian winter. Celebrating spring or kicking off summer on either the Gold Coast or Sunshine Coast, or in Byron Bay, will get you primed for sunny days. With Qantas' latest flight sale, discounting one-million seats across routes to 60 domestic destinations — with 35-plus routes under $150 — they're all options. The airline's usual sale starting price for a one-way fare is $109 — and this time, that'll get you either from Brisbane to Proserpine on the Whitsunday Coast or from Sydney to Byron Bay/Ballina (and vice versa on both routes). Flights between the Gold Coast and Sydney kick off at $119, as do fares from Adelaide to Kangaroo Island. For $129, you can head from Sydney to the Sunshine Coast or Tamworth. Then, specials on the Sydney–Brisbane route begin at $139, as do Sydney–Hobart, Melbourne–Adelaide, Sydney–Bendigo and Adelaide–Whyalla. If you're eager to venture between Melbourne–Sydney or Albury–Sydney, that'll set you back $149. Brisbane–Hamilton Island, Burnie–Melbourne, Orange–Sydney and Melbourne–Mildura fares are all $159. Or, $169 covers Brisbane–Melbourne, Davenport–Melbourne, Adelaide–Mount Gambier and Merimbula–Sydney legs, while $179 will get you from Perth–Geraldton, Mt Isa–Townsville and Griffith–Sydney. For those feeling flush and keen to travel business class, that's also part of the airline's sale, starting at $369 from Brisbane to Proserpine. Wherever you're hoping to vacation, you'll need to be able to travel between Tuesday, April 29–Thursday, June 26, Tuesday, July 22–Thursday, September 18 or Tuesday, October 14–Wednesday, December 10, all in 2025. So, that gives you choices across autumn, winter, spring and early summer trips, although the specifics vary per destination — as always. If this is the answer to your holiday dreams, you'll need to get in before 11.59pm AEDT on Sunday, March 2, 2025. And yes, the usual caveat applies: if fares sell out earlier, you'll miss out. [caption id="attachment_928567" align="alignnone" width="1920"] Tourism Tasmania, Luke Tscharke[/caption] Qantas' 'The 1 million seat sale' runs until 11.59pm AEDT on Sunday, March 2, 2025, or until sold out if prior.
Sometimes, Zac Efron earns headlines because he's spending the pandemic in Australia. Sometimes, it's thanks to whichever film he has in cinemas. And, sometimes it's because he's been in the gym preparing for a movie, as has Jeremy Allen White. That flick getting the Gold and The Bear stars bulked up and bringing them together? The Iron Claw. In this wrestling drama, the Von Erich family is rumbling onto the big screen, with help from not just Efron and White but also Harris Dickinson (Scrapper), Maura Tierney (Your Honor), Holt McCallany (Mindhunter) and Lily James (What's Love Got to Do with It?). The IRL brood get the biopic treatment in this 80s-set effort from Martha Marcy May Marlene and The Nest director Sean Durkin — and if you're wondering why, then you've clearly never heard of the "Von Erich curse". As the just-dropped trailer for the A24 film shows, the Von Erich brothers are all keen wrestlers under the guidance of patriarch Fritz (McCallany), who is pushing his inseparable offspring to be the best. The line between encouraging and domineering is thin, however, in a tale that piles on more than its fair share of tragedies along with championships. "Ever since I was a child, people said my family was cursed," says Kevin (Efron) in the first sneak peek at The Iron Claw, which is named after a wrestling move associated with Fritz and the family. "Mom tried to protect us with god, pop tried to protect us with wrestling," he continues. "He said if we were the toughest, the strongest, nothing would ever hurt us. I believed him. We all did." What happens from there will hit picture palaces in the US on Friday, December 22, and then on Thursday, January 18 Down Under. From the first footage from the film — which comes set to Blue Öyster Cult's '(Don't Fear) the Reaper', cowbell and all — viewers can expect training scenes, pressure, plenty of skin, Fritz issuing his sons rankings regarding his favourites, complicated family bonds, trauma, in-the-ring action and James as Kevin's wife Pam. Check out the trailer for The Iron Claw below: The Iron Claw hits cinemas Down Under on Thursday, January 18. Images: Brian Roede / Eric Chakeen.
If you haven't made the December pilgrimage to southeast Queensland's Woodford Folk Festival at least once, have you truly celebrated the end of the year to the fullest in Australia? No, no you haven't. Due to the pandemic, however, that hasn't been an option for the past few years — but the beloved festival has confirmed its return to see out 2022 and welcome in 2023. Mark December 27–January 1 in your diary, and prepare to catch a heap of bands, wander between arts performances and get a little muddy. Exactly who'll be playing the fest, which takes place about 90 minutes north of Brisbane, hasn't yet been revealed. But the 2019–20 fest boasted Lior, Horrorshow, The Herd, Kate Miller-Heidke, Electric Fields, Emma Louise, Archie Roach with Paul Grabrowsky, and Kasey Chambers, which gives you an idea of the kind of mix of artists that's usually on the bill. Also typically part of the Woodford experience: over 2000 artists putting on more than 1600 shows across the festival's 25 stages, in venues that range from a 25,000-seat amphitheatre to chilled-out hangout spots. Exactly what this year's figures will hit also hasn't been advised as yet, but this is never a small-scale fest. Indeed, announcing the event's return, Woodford General Manager Amanda Jackes advised that "over the past two years, Woodfordia organisers have delivered 1372 shows with 1032 artists over eight national tours and eight multi-day events, to an audience of 20,000 with overnight visitation totalling 50,192. To put this into context, as only one event, Woodford Folk Festival hosts 1800 shows across 25 stages featuring 2800 individual artists and performers to an aggregate audience of 132,000 with overnight visitation totalling 222,356." Beyond the numbers — yes, Woodford is massive — Founder and Director Bill Hauritz said that "this year will see the festival built from the ground up with new ideas, new programming, a new layout but always maintaining the festival tradition of the key corner stones of what has made it so successful for a long period of time." "In the past we have spent a lot of time planning, sometimes two and three years ahead, which we've been unable to do during COVID times," he continued. "Instead, we've been creative in the space and using the time to both restructure our organisation, always making improvements to our considerable systems." The festival will once again take over its Woodfordia parklands base, which now boasts a lake — and is in the process of getting 20 permanent glamping tents installed. And, as always, the fest's lineup will span everything from music, art, circus and cabaret to yoga, dance and comedy again, plus spoken word, comedy, workshops, bars, cafes and restaurants. If you're already keen to buy tickets, they're expected to go on sale in mid-June. The 2022–23 Woodford Folk Festival will run from December 27, 2022–January 1, 2023 at Woodfordia on the Sunshine Coast. For more information, head to woodfordfolkfestival.com Images: Woodford Folk Festival via Flickr.
If you're on the lookout for a summertime adventure, a weekend away at Mount Hotham and Dinner Plain (just a 15-minute drive away) ensures you head home with endless memories. While these alpine peaks are known for their snowy activities, you might be surprised to learn that the warmer months are just as bountiful. With incredible hiking, mountain biking and glamping to be found in every corner of the region, there's also a great collection of restaurants, pubs and lodges that ensure your visit is suitably dreamy. Ready to hit the road? We've partnered with Victoria's High Country to highlight some of the area's must-visit destinations. [caption id="attachment_834174" align="alignnone" width="1920"] Victoria's High Country[/caption] BIKE YOUR WAY THROUGH MOUNTAINOUS TRAILS When there's this much alpine beauty to admire, you want to be able to experience as much of it as possible. The Dinner Plain Mountain Bike Park is one of the best places to go on two wheels, thanks to its 24-kilometre stretch of easy, flowing trails that weave their way through the famous snow gum terrain. If you'd prefer to tackle a day-long adventure, the 26-kilometre-long Brabralung Trail passes through mountainous plains and dense woodland to provide visitors with copious vistas. With the lofty JB Hut offering a wonderful camping spot, you can also pitch a tent and explore more of this pristine area when the sun comes up. [caption id="attachment_834178" align="alignnone" width="1920"] Victoria's High Country[/caption] SOAK IN SKY-HIGH VIEWS AT VICTORIA'S SECOND-HIGHEST PEAK There's no shortage of stunning hikes in the Alpine National Park, but the 22-kilometre Razorback Trail is one of the very best. It leads outdoor adventurers from Diamantina Hut to Mount Feathertop — Victoria's second-highest peak, which reaches 1922 metres above sea level. As you follow along the high, tapered ridge, moseying from one striking slope to the next, you'll be presented with mightily impressive views thanks to your position above the treeline. Don't fancy doing the full 22 kilometres? Take your tent and set up camp overlooking one of the many impressive vantage points. [caption id="attachment_834986" align="alignnone" width="1920"] Victoria's High Country[/caption] PAIR A GUIDED HIKE WITH A FIRESIDE FEAST Rather than weighing down your daypack with gourmet goods, join up with the Hike 'n' Feast experience instead. As this guided 15-kilometre stroll follows along the Huts Walk, you'll get to admire Mount Hotham's most historic (and famous) cattlemen's huts, as well as panoramic views of the surrounding peaks from the top of Mount Loch. When you reach the end of the trail, you'll wander into a remote eco-camp where you'll relax by the fireside, get to know your fellow hikers and dine on a gastronomic meal. With everything included in the price, this is a stellar way to experience Victoria's High Country. [caption id="attachment_834990" align="alignnone" width="1920"] Victoria's High Country[/caption] SLEEP IN ALPINE SURROUNDINGS AT AN ECO-GLAMPING CAMP Get back to basics — sort of — with a summertime stay at Mount Hotham's premier eco-glamping camp. Operated by Alpine Nature Experience, it lets you sleep suspended above the ground in a cosy tree tent, all while soaking up the sparkling night sky and the roaring campfire. Each booking comes with breakfast, and you can get platters and hampers for lunch — and fire-cooked dinners. As well as an array of daytime activities like yoga, guided hikes, paragliding and abseiling, there's also a wood-heated outdoor bath to maximise your relaxation if you book into the premium tree tent. SPEND A NIGHT IN A COSY ALPINE CHALET If you're really looking to get the most out of your alpine experience in Dinner Plain, staying overnight in a luxe highland chalet means that you can jam-pack your schedule even more. There are loads of places to choose from, ranging from charming freestanding chalets to six-bedroom manors with sprawling countryside views. With these chalets all positioned within the tight-knit Dinner Plain township, you'll also be able to stop in at the area's much-loved restaurants and pubs to keep you well and truly fed during your visit. And, thanks to access to nearby hikes, waterfalls and stirring lookout points, booking accommodation for the weekend will take your experience to greater heights in a variety of ways. The best part? You won't have to leave your fur baby at home — Dinner Plain is as dog-friendly as towns get, with most of the accommodation allowing your four-legged bestie to stay with you, too. [caption id="attachment_835410" align="alignnone" width="1920"] Victoria's High Country[/caption] ENJOY BURGERS AND CRAFT BREWS IN AN ALPINE BEER GARDEN Keen for a big feed? The Hotel High Plains is one of the top destinations in the region. Open from afternoon onwards, the kitchen serves up burgers, parmas and smokehouse meats. It also slings woodfired pizzas as the sun begins to set on Wednesday nights. Situated in the heart of Dinner Plain, Hotel High Plains also boasts a top-notch selection of craft beers from breweries like Panhead and Wolf of the Willows — plus a wine list that features a variety of local drops. A visit here means not only getting a bite and a beverage, but settling in at the wide-open beer garden to relish the fresh alpine air. [caption id="attachment_834994" align="alignnone" width="1920"] Victoria's High Country[/caption] SAY CHEERS TO AUSTRALIA'S HIGHEST ALTITUDE PUB Perched on the slopes of Mount Hotham, The General is a local institution. With a claim to fame as Australia's highest altitude pub — it sits at a dizzying 1750 metres above sea level — it pairs an eye-catching mountain backdrop with a stellar all-day menu. Plus brews, obviously. As you drink in the views from the pub's breezy balcony, The Genny serves classics like chicken parmas and beef burgers, as well as smaller options like corn fritters, pork tacos and chicken karaage. You can't go wrong with a feast at what feels like the top of the world. [caption id="attachment_835415" align="alignnone" width="1920"] Victoria's High Country[/caption] RELAX WITH YOGA SESSIONS AND COCKTAIL-MAKING CLASSES After you've spent the day trekking up and down the countryside, The Hub in Dinner Plain invites you to rest and recuperate. As a social enterprise dedicated to physical and mental wellbeing, it hosts soothing in-house yoga sessions and pilates classes, offers e-bike rentals, and also sports a fully stocked gin and whisky bar. Alongside a sumptuous selection of local pastries and barista-quality java provided by Bright's Sixpence Coffee, there are even regular cocktail-making classes. So, you can learn how to master numerous potent concoctions — then impress your mates when you return from your holiday. For more information on things to see and do at Mount Hotham and Dinner Plain this summer, head to the Victoria's High Country website. Images: Victoria's High Country
It's finally going to happen: someone is going to be named as Logan Roy's (Brian Cox, Remember Me) successor, or no one will and this business-magnate family will just keep feuding. Either way, whatever occurs in Succession season four when it arrives this March, that'll be the end of the story, with the award-winning HBO drama ending with this next batch of episodes. In an interview with The New Yorker ahead of season four's arrival — on Monday, March 27 in Australia and New Zealand, airing week to week — the series' creator and showrunner Jesse Armstrong advised that this fourth go-around is the last for TV's current favourite bickering brood. Love all those delicious insults slung by Logan and his adult kids Shiv (Sarah Snook, Pieces of a Woman), Kendall (Jeremy Strong, Armageddon Time), Connor (Alan Ruck, The Dropout) and Roman (Kieran Culkin, No Sudden Move) — plus Shiv's husband Tom Wambsgans (Matthew Macfadyen, Operation Mincemeat), and Roy-family cousin Greg (Nicholas Braun, Zola)? Of course you do, and you've only got ten more new instalments to enjoy them. "Who knows about the psychological reasons, but the creative ones were that it felt really useful to not make the final, final decision for ages. You know, there's a promise in the title of Succession," Armstrong said. "I've never thought this could go on forever. The end has always been kind of present in my mind. From season two, I've been trying to think: is it the next one, or the one after that, or is it the one after that?," he continued. "I got together with a few of my fellow-writers before we started the writing of season four, in about November, December 2021, and I sort of said, 'look, I think this maybe should be it. But what do you think?'. And we played out various scenarios: we could do a couple of short seasons, or two more seasons. Or we could go on for ages and turn the show into something rather different, and be a more rangy, freewheeling kind of fun show, where there would be good weeks and bad weeks. Or we could do something a bit more muscular and complete, and go out sort of strong. And that was definitely always my preference." All that scheming, all those grudges, that blood pressure-raising tension over who'll run the family company (and that wondering if Logan will just sell the whole thing off and leave his kids high and dry): that's all winding down. Succession is certain to go out with a bang, though. In the trailer for season four, Shiv announces: "this is not about getting back at dad. But, if it hurts him, it doesn't bother me." Shiv, Kendall, Roman and Connor have banded together to form a rebel alliance against their father, a move sparked by the season-three decision to offload the Roy's company Waystar Royco to a tech visionary played by Alexander Skarsgård (The Northman) — who also returns in season four. Unsurprisingly, not everyone is thrilled. When an entire series is about who'll take over the lucrative and powerful family business, removing that option for everyone is going to cause some hefty fallout. It was back in 2021 when HBO announced that Succession would return for a fourth run, after its Emmy-winning third season proved that exceptional — and popular. Now, however, viewers are in for just one more season of power struggles and savaging of the one percent, aka more of what Succession has always done best. Indeed, if you're a fan of twisty TV shows about wealth, privilege, influence, the vast chasm between the rich and everyday folks, and the societal problems that fester due to such rampant inequality, there have been plenty of ace examples of late, including The White Lotus and Squid Game. No series slings insults as savagely as this tremendous series, however. No show channels feuding and backstabbing into such an insightful and gripping satire, either. Check out the most recent teaser for Succession season four below: Succession season four will start streaming from Monday, March 27 Down Under, including via Foxtel, Binge and Foxtel On Demand in Australia and Neon in New Zealand. Check out our review of season three. Via The New Yorker. Images: Claudette Barius/Macall B Polay, HBO.
Winter's well and truly on its way, and yet we're foreseeing many a sky-high sip in your immediate future, thirsty Melburnians. And much of that is thanks to the city's newest rooftop bar, which finally opens its doors in South Yarra this week. Much-anticipated all-day venue Beverly makes its official debut this Thursday, April 13, gracing the top of the Goldfields House building, soaring 24 storeys above Chapel Street. Expect an effortlessly sophisticated bar and diner for all occasions and any time of year, delivering show-stopping 270-degree views across the city. Helmed by Cameron Northway (founder of LOTI, Rocker Bondi and drinks company Sweet&Chilli), along with Goldfields' Marco Gattino and Lachlan Thompson, Beverly is designed as a serene, sky-high retreat that'll glide easily from long lunch destination to after-dinner cocktail pit-stop. Taking cues from the cool-kid rooftop haunts of LA, the indoor-outdoor space has been imagined by acclaimed Melbourne studio Mitchell & Eades (Grill Americano, Carlton Wine Room, Rock Sugar). Boasting a retractable glass roof that's primed for Melbourne's erratic weather changes, it's a vision of earthy sunset tones and foliage, set against that backdrop of sweeping panoramas. Sippers of all persuasions have found themselves a new haven up here, thanks to a broad curation of drops that celebrates local goodness. Biodynamic and organic pours rule the expansive wine list, and there's an evident soft spot for quality sake, while the globe-trotting cocktail lineup reimagines the classics using Aussie spirits and native botanicals. Try the sakura-infused Sake-Tini, or the signature Goldfields crafted on Pampero Anejo Especial, Cointreau, Frangelico and tonka bean. From the open kitchen, chef David Ball (the UK's Le Manoir aux Quat Saisons, The Glass House in Hobart) delivers a menu anchored in seasonality and sustainability. It's got swagger, yet remains approachable, bundling southern Californian influences together with a touch of modern Australian flair. After work, you might find yourself matching knock-offs to snacks like burrata and truffle fondue with aged balsamic, creme fraiche and lobster cannoli, pulled duck and caviar sliders, and prawn ceviche elevated with coriander mojo and jalapeno cream. A hero pasta dish features marron and spanner crab in a shrimp bisque with preserved tomatoes, while barramundi gets a lick of smoked seaweed butter. And a flame-driven portion of the menu showcases everything from a share-friendly chicken with fries and coriander ají salsa, to three different cuts of wagyu. [caption id="attachment_898772" align="alignnone" width="1920"] Sean McDonald[/caption] Find Beverly at Level 24, 627 Chapel Street, South Yarra, from April. It'll open from 4pm–late Tuesday, and from 12pm–late Wednesday to Sunday. Images: Jake Roden
Melbourne's edition of nocturnal arts celebration White Night might have switched off its last light projection back in 2019, but we haven't quite seen the back of it just yet. The fun is set to continue in regional Victoria, with organisers revealing two hefty programs to mark White Night's return to Bendigo and Geelong this spring. Last gracing the two regional centres in 2018, the festival's 2022 instalment will descend on Bendigo on Saturday, September 3, before heading to Geelong on Saturday, October 8. And it's set to be bigger than ever before, playing to each city's unique persona with a grand lineup of installations, projections, music and food. [caption id="attachment_865360" align="alignnone" width="1920"] The Electric Canvas[/caption] So just what's in store for White Night-ers as this year's festival responds to the theme 'Everything on the Land Is Reflected in the Sky'? Well, both fests are set to kick off with a Welcome to Country ceremony led by traditional owners, before a giant celebration of the arts parties through the night until 1am. Bendigo's Gold Rush-era buildings will be decked out with vibrant projections courtesy of The Electric Canvas, featuring artwork by First Nations artists Troy Firebrace and Natasha Carter; while a shimmering, 10-metre-long lion-like puppet wanders the streets, paying homage to the city's Chinese legacy. Leading drag performers will be strutting their stuff aboard The Cabaret Tram, a nine-metre-high unicorn head is set to flash in solidarity with the LGBTQIA+ community and a plethora of neon works will include a group of luminous dogs playing fetch in Rosalind Park. [caption id="attachment_865356" align="alignnone" width="1920"] The Cabaret Tram[/caption] The evening's soundtrack is set to serve something for every palate, too; from DJ sets by Andy Trieu, to a lineup of local acts playing on the back of a vintage Dodge for the Homegrown Stage. Geelong's White Night offering is no less bold, as you'll agree once you see JOFMAKESART's striking performance work, which sees a car slowly crushed to oblivion, its demise soundtracked by two guitar-thrashing rock musicians. First Nations artists including Kait James, Billy-Jay O'Toole and Jenna Oldaker will illuminate Johnstone Park with their projection art, while a school of neon sea creatures are set to descend on the Geelong foreshore. [caption id="attachment_865357" align="alignnone" width="1920"] The Homegrown Stage[/caption] A sea of handcrafted flowers will take over Steampacket Gardens with a cacophony of sighs and yawns; First People's connection to the land and night sky is being captured in a City Hall projection by Matt Bonner; and a swag of performers will be popping up along Western Beach Road throughout the night. As in Bendigo, the tunes will be flowing, ranging from local talent playing beneath the stars, to top Aussie drag acts taking the stage for Drag City. Catch White Night Bendigo from 7pm–1am on September 3, and White Night Geelong from 7pm–1am on October 8. For full programs, see the website.
In 2022, Netflix asked a question: what happens when you take the Australian teen series of the 90s and update it to the 2020s, all while riding a huge wave of nostalgia for all things stemming from three decades back? The answer seemed obvious on paper, but there were no guarantees about the new Heartbreak High revival until it actually arrived. The answer, thankfully, was a worthy successor to the beloved 1994–99 hit that every 90s Aussie kid watched. No one said "rack off" to the Sydney-set show's latest run, clearly, or to its new batch of Hartley High teens, or their fresh dose of messy teen lives. Not Aussie audiences, with the series making Netflix's top ten TV shows in the country for the five weeks after its September 2022 release. And, not the streaming service itself, given that it promptly renewed the show for season two. That was last year's news — and, if you've been hanging out for Heartbreak High's return, Netflix has just started confirming season two details. Firstly, you'll be waiting until 2024 for school to be in session again. Secondly, there'll be a couple of new students. Sam Rechner (The Fabelmans) will play country boy and classic cinema fan Rowan Callaghan, and he's destined for a love triangle. Also, Kartanya Maynard (Deadloch) joins the Hartley crew as Zoe Clarke, who has big thoughts on celibacy — she's in favour — as part of a gang of Puriteens. Attention students! Next season, we'll be joined by some new members of the class... Please make them feel welcome at recess 💔 🏫 #HeartbreakHigh pic.twitter.com/jUNGrdb57N — Netflix ANZ (@NetflixANZ) July 7, 2023 On the returning crew, character-wise: Amerie (Ayesha Madon, The Moth Effect), Harper (Asher Yasbincek, How to Please a Woman), Darren (screen first-timer James Majoos), Quinni (Chloe Hayden, Jeremy the Dud), Dusty (Josh Heuston, Thor: Love and Thunder), Ca$h (Will McDonald, Home and Away), Malakai (Thomas Weatherall, Troppo), Spider (Bryn Chapman Parish, Mr Inbetween), Ant (debutant Brodie Townsend), Sasha (Gemma Chua-Tran, Mustangs FC) and Missy (fellow newcomer Sherry-Lee Watson). Season one started with Amerie becoming a pariah at Hartley after a big revelation — an "incest map" plotting out who's hooked up with who throughout the school — and also struggling with a sudden rift in her friendship with bestie Harper. Attempting to repair her reputation, she called on help from her new pals Quinni and Darren, all while working through her crush on Dusty and developing feelings for Malakai. And that's just the start of the Heartbreak High revival's season one story. In season two, everyone will back for a second term after doing some growing up over the holidays, and Hartley is now the lowest-ranking school in the district. Netflix is teasing that threesomes, chlamydia and burning cars will be distant memory for the gang — but there'll still be teen chaos, of course, or this wouldn't be Heartbreak High. It was back in 2020 that Netflix initially announced that it was bringing the series back — and yes, it sure is a 2020s-era take on the Aussie classic, including everything from friendship fights, yelling about vaginas from the top of a building and throwing dildos at walls through to consent, crime, drugs and police brutality. The original Heartbreak High was a massive deal, and was filled with now-familiar faces, including Alex Dimitriades, a pre-Home and Away Ada Nicodemou, and Avengers: Endgame and Mystery Road's Callan Mulvey as Drazic. It painted a multicultural picture of Australia that was unlike anything else on TV at the time. And, for its six-year run across two Aussie networks, the Sydney-shot show was must-see television — not bad for a series that started as a spinoff to the Claudia Karvan and Alex Dimitriades-starring 1993 movie The Heartbreak Kid, too. Check out the trailer for the Heartbreak High revival's first season below: Heartbreak High season two will arrive sometime in 2024 — we'll update you with an exact date is announced. The show's first season is available to stream now via Netflix. Read our full review.
Some TV shows start with a wild and wonderful premise, such as strange things happening in a small town, teenage girls fighting to survive in the wilderness and solving mysteries across America because you're a human lie detector. Others stick with everyday scenarios, which is what Beef has chosen. So, if you've ever been involved in a road-rage incident, or witnessed one — if you've ever held a grudge against a stranger for a petty reason, too — you'll instantly empathise with this newcomer's concept. In the ten-episode Netflix and A24 dramedy — which marks the latest show from A24 after everything from Ramy and Euphoria to Mo and Irma Vep — Danny Cho (Steven Yeun, Nope) and Amy Lau (Ali Wong, Paper Girls) get in a fender bender, and neither handles it well. Cue a feud that they can't shake, infiltrating their lives and relationships. If their quest for revenge each other just fizzled out, there obviously wouldn't be a series. Part of Beef's ongoing beef stems from a comedy staple: putting opposites together and seeing what springs. Danny is struggling as a contractor and isn't happy about it, while Amy lives a seemingly idyllic life thanks to her success as an entrepreneur. They both share a need to get back at each other, though, as the just-dropped first trailer for the show makes clear. The series premiered at this year's SXSW — the OG version in the US, not Sydney's offshoot to come later in 2023 — before plunging streaming viewers into its faceoff on Netflix from Thursday, April 6. Yeun and Wong also executive produce, while Beef hails from creator and showrunner Lee Sung Jin (a veteran of It's Always Sunny in Philadelphia, Dave and Silicon Valley). On-screen, as well as Minari Oscar-nominee Yeun and Always Be My Maybe's Wong, the series features Joseph Lee (Searching), Young Mazino (Prodigal Son), David Choe (The Mandalorian) and Patti Yasutake (Pretty Little Liars) — plus Maria Bello (NCIS), Ashley Park (Girls5eva), Justin H Min (After Yang), Mia Serafino (iCarly) and Remy Holt (The Afterparty). Check out the trailer for Beef below: Beef streams via Netflix from Thursday, April 6. Images: Netflix.
When Darth Vader told Luke Skywalker that they're more than just mortal enemies, it became one of the most famous lines of dialogue in movie history (and one of the most misquoted). If you've seen Star Wars: Episode V — The Empire Strikes Back, you'll know that it's a powerful, memorable moment that changes the shape of the entire space saga. Even if you haven't, you still know what we're talking about. Now, imagine just how epic it'll feel when you're watching the flick on a big screen and listening to John Williams' iconic score played by a live orchestra. Yes, The Force is strong in Melbourne once more, with Melbourne Symphony Orchestra staging the next in its series of Star Wars events: The Empire Strikes Back in Concert. This isn't the first time that the MSO has done the honours with this very film, but after returning to Star Wars: Episode IV — A New Hope already in 2023, it's clearly working its way back through the space-opera franchise. This time, there'll be multiple screens and performances over two weekends at Hamer Hall: from Thursday, October 5–Sunday, October 8 and Thursday, October 19–Saturday, October 21. Jedis, wookiees and droids alike can expect tussles between the Rebels and the Empire, Luke learning his true parentage, Han flirting with Leia and getting frozen in carbon, Chewbacca being awesome, R2-D2 being adorable and C-3PO being annoying (well, he is). Plus, it's the flick that marks the first appearance of Lando Calrissian and the first time 'The Imperial March' is heard. Conductor Nicholas Buc will be leading the charge again, and expect an energetic performance — it's his favourite Star Wars score. Updated: Friday, October 6, 2023.
Last week's Australian Interior Design Awards had us fawning over the most majestic new spaces and mentally redecorating our own little corner of the world. But they also seemed to capture something else — a more confident, unique sense of Australian style, all earth and light, outdoorsy and unfussy. The nature of the Australian aesthetic is fodder for an exciting mini-conference at this year's Vivid Ideas. In Australian Interiors, prominent voices in Australian design such as Sibella Court, Russel Koskela, Alice Blackwood and Rachel Castle will speak on their own practice, current style and future trends. Ahead of that, they talk to us about that big question, Australianness, and how it finds expression in design. Sibella Court Sibella Court is an interior stylist, product designer, historian, globetrotter and creative director who's designed some of our favourite Sydney spaces, such as Mr Wong, Palmer ? Co and The Fish Shop (pictured above). Do you think there is such a thing as a contemporary Australian aesthetic in interior design? Contemporary Australian design doesn't follow a trend; it is eclectic and a great mix of history and creation. Geographically, we are a shipping nightmare! Our lack of product access makes Australians more creative, resourceful and awesome. There’s an embracing of collaboration and a celebration of new and upcoming designers and artisans. Australian style is laidback, and our outdoors and surrounds are already so beautiful, we are a product of our landscape. What is the future for ‘contemporary Australian' interior design? What new trends do you see emerging? Australians have their finger on the (global and local) pulse when it comes to design. Perhaps due to our distance from the rest of the world we have a slight dose of FOMO! The lifestyle of Australia influences our design: a casualness and comfort to our style, as well as creatively experimenting with all sorts of different trends, without ever actually following a trend. Social media is a huge influencer of this, especially Instagram. It is a virtual portfolio, and everyone is watching. It’s a fantastic means of discovery of artists, designers and makers, and it lends itself to being the base of exciting collaborations. Russel Koskela Russel Koskela founded Koskela with his partner Sasha Titchkosky in 2000. They've become a fixture for minimal, sustainable, unique furnishings and Russel last year won both an Idea Award and Eat Drink Design Award for his designs. Do you think there is a contemporary Australian aesthetic in interior design? Yes I do, although I don’t think it’s completely definable. I think there is a relaxed casualness and playfulness to Australian interiors that reflects our climate and attitude. What is the future for ‘contemporary Australian' interior design? It’s very difficult to pick any trends as it’s almost like ‘anything goes’ at the moment. We really noticed this when we were in Milan earlier this year — there was something there for everyone. Even with colours it was almost impossible to pick trends. Alice Blackwood Alice Blackwood is Melbourne editor at Indesign Media, having last year completed a five-year stint as Editor of DQ (Design Quarterly) magazine. Do you think there is a contemporary Australian aesthetic in interior design? Absolutely there is. The way we live and the built environments in which we live directly reference Australia's unique natural environment, our climate, lighting, lifestyle, cultural habits and more. Our love for the outdoors, for example, is hugely influential on our approach to interior design, that creation of a seamless transition between indoors and out being a common element among most contemporary Australian spaces. If I had to apply a general descriptor to the Australian aesthetic, I would say, natural, honest materials; open spaces that allow for lots of natural light; clean, uninterrupted lines (moving away from poky, old Victorian spaces), and open-plan spaces that integrate kitchen and living into one. What is the future for ‘contemporary Australian' interior design? I tend to question, are we capitalising on our local vernacular properly? I've seen a real push-pull among furniture and interior designers — some are keen to 'own' the Australian vernacular, while some feel pigeonholed by it (we are, after all, constantly fighting our 'tyranny of distance') ... In terms of emerging trends, having just come back from the Milan Furniture Fair, I saw a profusion of mixed material use, as well as natural material use, which I think resonates very strongly with our Australian aesthetic. Marble was hugely popular, the cold, beautiful, elemental 'feel' of it resonating strongly with Aussie designers already. Do you have a personal favourite bar or restaurant interior that nails ‘contemporary Australian'? At Indesign Media, we're loving Mocan and Green Grout in Canberra, which we covered recently on Habitusliving.com. It’s located on Capital Hill, and does coffee and bicycles, (how cool!). The interior fit-out features lots of beautiful timber joinery, it receives lots of natural light during the day. The fact that it also specialises in bicycles resonates strongly, I think, with our love for health and wellbeing, and being active outdoors! As well, there’s no denying the growing popularity for cycling and bike culture in Australia. Rachel Castle Rachel Castle of CASTLE designs and manufactures her own bedlinen and homeware range that is full of colour, life and non-boringness. Do you think there is a contemporary Australian aesthetic in interior design? I think these days its really hard to pinpoint a definitive Australian aesthetic. Its like asking us to define our Australian fashion; it's so varied. I think the explosion of interiors blogs and online imagery banks such as Pinterest have allowed anyone and everyone to evolve their own unique aesthetic. I think in general though, we all try to keep it quite relaxed and uncontrived. I think people now are as interested in what they put in their homes as what they put on their bodies, so its wonderful to see such an engaged audience. It's no longer necessary to pick and look and stick to it. You can read the mags, the books, go online, and start to really hone your own aesthetic and source it online, from anywhere in the world. If I had to define a style I would say its a very personal mix of natural materials and products, lots of handmade product, with pops of colour and tons of white for backdrop, and am loving seeing a resurgence for indoor plants! My personal favourite. What is the future for ‘contemporary Australian' interior design? I think we're going to see everything start to pare back a bit. There has been a trend for pattern and pattern and more pattern, which I personally love, but I think it can become a little overwhelming, so am seeing a lot more recently, in the mags especially, a simplistic, cleaner look. Metallics and blush are everywhere, which hello we love, and a softer colour palette with the neutrals and greys and pastels starting to emerge. Do you have a personal favourite bar or restaurant interior that nails ‘contemporary Australian'? I would have to say Kitchen By Mike [designed by and sharing space with Koskela]. Utilitarian, communal, friendly, warm and earthly. Yummy food too. Sibella Court, Russel Koskela, Alice Blackwood and Rachel Castle are all speaking as part of Vivid Ideas' Australian Interiors: Objects, Furnitures, Textiles from 10am - 2pm on Saturday, May 24, at the Vivid Ideas Exchange on Level 6 of the MCA. It's one of our picks of the top ten events to see at Vivid Ideas — check out the rest here.
The roll call of food favourites setting up shop at 80 Collins Street continues to grow, with four final venues announced for the $800 million CBD development. Melbourne's already getting excited for new eateries from Chin Chin's Chris Lucas and Sepia's Martin Benn and Vicki Wild, Alejandro Saravia's new paddock-to-plate Farmer's Daughters restaurant and a Melbourne outpost of high-end cocktail and Champagne bar Nick and Nora's by the Eau de Vie team. Now, it's been revealed that Handpicked Wines, Glacé, Colours Bowls and Maverick will also be joining the party. Handpicked Wines will launch its first Melbourne urban cellar door, showing off its award-winning range of drops. The site is set to boast a retail space and wine bar, dishing up cheese, charcuterie and vino for taking away or enjoying in. There'll be wine flights, workshops and barrel tastings, as well as a rotation of tap wines, with nifty refillable bottles to minimise waste. The two-level Glacé venue will be a flagship for dessert queen Christy Tania's artisanal creations, complete with an open kitchen, a Parisian-inspired tea house and a dedicated dessert bar. This one's set to be a go-to for stunning cakes and sweet treats, lush high tea sessions and decadent dessert degustations. Colours Bowls is the latest from young gun chef Charlie Carrington, riffing on his well-known Colours by Atlas concept. Mediterranean-inspired plant-based fare will reign supreme here, in a space inspired by Carrington's recent jaunts in Tel Aviv. [caption id="attachment_634417" align="alignnone" width="1920"] Glacé[/caption] Fronting Little Collins Street, Maverick will be the next offering from the minds behind Richmond's Mayday Coffee & Food and the original Petty Officer in Albert Park. The contemporary cafe is set to deliver ethically sourced specialty coffee from Axil and a creative menu filled with local, seasonal produce. The space itself is a warm, playful setting, that comes courtesy of Pitch Architecture & Developments. Slated for completion in 2020, the 80 Collins development will also boast a futuristic new office tower, a 255-room boutique hotel and a luxury retail offering, alongside its star-studded hospitality precinct. 80 Collins Street is slated for completion in 2020.
Here's what just might be the tastiest food challenge there is: hunting down Frankenstein's monster-style dessert mashups and tasting them all. Gelato Messina's various ice cream flavours and special treats often fall into this category, frequently turning another beloved dish into gelato. So do plenty of Lune Croissanterie's pastries. Often Krispy Kreme's doughnuts make the cut as well. Actually, right now you can grab a Krispy Kreme doughnut that owed a huge debt to another dessert: the Maxibon doughnut. After proving a hit in 2018, this collaboration with Peters Ice Cream is back for a limited — and tasty — time. And yes, it's a Maxibon in doughnut form. Back when Krispy Kreme joined forces with Reese's for a peanut butter-heavy doughnut earlier in 2023, there were multiple versions available. With the Maxibon doughnut, there's just one. You will still need to be able to eat nuts, though, because this one comes with a hazelnut and vanilla biscuit crumb. So, what makes up a Maxibon doughnut? A Krispy Kreme doughnut filled with Maxibon vanilla kreme, then covered in that crumb over chocolate, plus a chocolate Maxibon bikkie on top. You'll find the Maxibon doughnut on offer from Tuesday, August 1 at Krispy Kreme, 7-Eleven and selected Woolworths stores for a limited time. Trying to pick between ice cream and fried pastries just got a bit easier. We're betting that when Maxibons were first whipped up as a blend between a biscuit and everyone's favourite cold and creamy dessert, no one anticipated this happening as well. Krispy Kreme's Maxibon doughnut is available from Krispy Kreme, 7-Eleven and selected Woolworths stores for a limited time.
There's something about spending a long lazy summer day at the beach that just can't be beat. Some of our overseas friends have got this down to a fine art — think beach chairs and shady umbrellas set up ready and waiting on the white sand of a Brazilian beach, with caipirinhas and coconuts served up from the little stalls dotting the shoreline. But fear not! Although we're a little short on beach bars (except this one), back in Australia we've perfected beach luxury, BYO-style. Here are our ten favourite beach chairs to bring along with you to your favourite sandy spot, whether it's on the grassy knoll at North Bondi, on a buzzing Gold Coast main beach, Victoria's quaint Brighton Beach or a tiny secret beach at the mouth of the Hawkesbury. BANANA SUNLOUNGE, SOMMERSAULT We couldn't resist. No list of beach chairs would be complete without the humble banana lounge. They'll take you to the sand, to the park, and all the way back to those memories of the days before water restrictions when you plonked one under the sprinklers in the backyard. You can even pull them out for sleepovers. Inexpensive, functional, iconic... and don't forget they fold flat for easy storage with that familiar 'click-click'. BEACH SEAT HAVANA, SUNNY LIFE Modern comfort, lightweight portability and a retro-inspired colourful print? This chair ticks a lot of boxes for seaside adventuring. As well as that, being from the clever people at Sunny Life, you can even find a beach umbrella or towel to complement your chair. But it's not just about looks — this chair has a handy pocket providing a place to stash your valuables. And see that strap? That makes for easy carrying without bumping aluminium poles all over your shoulder. DANIA FOLDING TEAK BEACH CHAIR, SKAGERAK We know teak is pretty — Danish mid-century furniture sure taught us that. But did you know this tropical hardwood also has a number of special properties that make it an excellent outdoor material? A high oil and rubber content make it naturally weatherproof, it's strong, and with a little love and recent finishing is easily cleaned. This teak beach chair will let you bring all those perks to the beach, in a fetching Danish design. If you're into your eco-credentials and a bit wary of tropical hardwoods, check out this bamboo option, and the recycled number below. TRIOPLINA CHAIR, MUUMUU DESIGN With lush covers to choose from including black and white cowhide, leather, cotton canvas and even kangaroo, Muumuu Design makes each of their stunner folding chairs by hand right in Sydney. Featuring sustainable marine-grade plywood frames and hand-finished with either a stain or clear protective finish, they're designed to last, as well as look good. The Tripolina design was first patented in 1877, and has been popular as a campaign or safari chair ever since. This is a chair with a pretty long history — and it's had a modern update thanks to the folks at Muumuu Design. Check out their full range. RECYCLED DECK CHAIR, ECOCHIC We love a good folding deck chair. Especially when they're locally made and recycled, like this chair from Ecochic. Handmade out of recycled Australian hardwood, these chairs come in natural or white. As well as being made-to-order, they're made to last — right down to the stainless steel screws and bolts. Ecochic are on a bit of a mission to make eco-friendly furniture available to people around Australia, whether or not they have access to a store. That means they keep their shipping fees as low as possible. You can check out their eco credentials here. PANTONE FOLDING CHAIRS, SELETTI Introducing Seletti, the company bringing Pantone to the beach. Their range of folding chairs are available in those familiar colours loved by many a design aficionado. Team up with your friends and see what colour palette works best for your beach times this summer. TREKKER LOUNGE, THERMAREST Next on the lounging front is this cleverly designed number from Thermarest. Known for their top-notch sleeping mats, if you do already have a Thermarest packed away for your outdoor adventures, all you need is the Trekker Lounge chair to convert your mat into a lounge chair fit for the beach. It's pretty clever, and as a bonus it's super lightweight which means it can see you from the beach to the bush, if you're planning some summer hiking too (or both, if you're lucky enough to be hiking to a secret beach somewhere). ORSON DECK CHAIR, RODA Last but not least, check this one for style. Designed by Gordon Guillaumier for RODA, the lovely lines of this chair are perfectly complemented by its matching footstool. The chair features a teak frame, and the little capote (that's the shade sail) means this is another super comfortable, shady chair to kick back in. All that's missing from this picture is some kind of delicious cool drink, and maybe one of Sydney's cracker sunsets after a day at the beach. BUNGALOW BEACH CHAIR, BUNGALOW As part of our search for the ideal beach chair, something came to us. Shade. How nifty is it to have a little awning over your head, protecting your face from the beating rays and your arm muscles, tired from shielding your face all day? So it was with much delight we stumbled across the Bungalow Beach Chair. Not only does it have a comfy towel design that lets you lounge out right on the sand, there's a hammock-shaped back to support you. But what we're eyeing off the most is that shady shade, right above where our heads go. This chair also comes with a zippered pocket for your things. Want the ultimate summer set-up? Check out these seven nifty beach tents.
In the dramedy that bears his name, which streams in Australia via Stan, Ramy Youssef is a quintuple threat. The standup comic and Mr Robot and Don't Worry, He Won't Get Far on Foot actor created Ramy. He plays the eponymous Ramy. He also executive produces the series and, across all three seasons to-date, he frequently writes and directs. It's a show about a Queens-born first-generation American Muslim raised in New Jersey to Egyptian parents, too, as Youssef himself is. Indeed, there's no doubting that Ramy springs from a personal place, a feeling that echoes in every one of its 30 episodes so far. There's a difference between bringing your own exact existence to the screen and conveying the truth behind your experiences, however. Ramy falls into the second category. As the series charts its titular figure's struggles, specifically as his faith conflicts with his lifestyle, it doesn't pretend for a second that its two Ramys — Youssef off-screen, Hassan on-screen — are one and the same. Instead, it proves deeply steeped in the lived reality of feeling torn between two cultures, and so specific in the details that stem from that fact, while also universal and relatable in its emotions and insights. That's been the case since Ramy's first Golden Globe-winning season in 2019, and none of the above changes in the newly released third batch of episodes, which rank among the show's finest moments yet. In this ten-episode latest run, the lives of Ramy and his loved ones are rarely blessed with fine moments, no matter how eagerly and desperately they seek them. Youssef's on-screen alter-ego keeps threatening his own heart, mind and soul with his choices, and being disappointed with the outcome. Season two ended with a brief marriage to Zainab (MaameYaa Boafo, The Mysterious Benedict Society), the daughter of Sheikh Malik (Mahershala Ali, Swan Song). With one lustful bad decision, Ramy blew up his personal and religious connections, leaving him alone in a car with only an incarcerated pal's dog for company in its last scene. A year has passed on-screen now, but the fallout still lingers because nothing is easy to escape in this series. Zainab won't talk to Ramy, but there's a cash payout that needs settling for breaking their marriage contract. Accordingly, Ramy has thrown himself into making his Uncle Naseem's (Laith Nakli, Ms Marvel) diamond dealership a success — as a distraction, and to take care of his debt — and, as the season continues, he branches out on his own with Jewish friend Michael (Michael Chernus, Severance) and his Israeli-syndicate backers. He now has money, as well as his own place. Soon, he has his own jewellery business, and the boost to his ego that its triumph brings. But none of this herald's happiness, or comfort, or the ability to truly work out who he wants to be as he still tussles with balancing his beliefs with impulses, and overcoming his selfishness in general. It's easy to think of Uncut Gems while watching Ramy stake his sense of self on the money and hustle of the jewellery game, but that isn't the only Safdie brothers film that springs to mind in season three. Youssef doesn't sport bleached hair as Robert Pattinson did in Good Time, but he has a similarly careening vibe — and the same propensity to always put himself first, usually by making the worst move he can, while thinking he's helping others. In the new season's Ramy-focused instalments, the show sports the same feverish energy, too; there's no heists here, but that's the engrained mood. Actually, is Ramy heisting himself all along? He thinks he can bluff his way to contentment by getting big in the jewellery game and boosting his bank balance, but he's just as conflicted in this run of episodes as he's always been. One of Ramy's strengths has always been its willingness to see its protagonist, his flaws and poor choices with clear eyes, while remaining empathetic to his attempts to honour his faith — even as he makes such terrible decisions. Also one of the series' highlights: that it isn't simply about Ramy, with full episodes surveying his family and friends' lives as they grapple with their own woes. For his sister Dena (May Calamawy, Moon Knight), striving hard to take the bar exam isn't paying off, especially when her parents Maysa (Hiam Abbass, Succession) and Farouk (Amr Waked, Wonder Woman 1984) are open about how differently they see her and her future to Ramy's — and she's reassessing not only her dreams, but what's behind them. That's one of the third season's big themes, with a question bubbling up again and again: are the lives that the Hassans have been working towards truly what they want, and what'll bring them emotional, physical, psychological and spiritual fulfilment? That query ripples with an immense sense of melancholy with the elder Hassans, who are adjusting to Farouk being out of work, a bad financial investment that might mean they have to sell the family home and decades of feeling like they're treading water. And, it informs the subplot with Naseem, who is visibly hurt by Ramy leaving him behind, and also frantic about potentially being outed when one of his app-driven hookups turns out to be friends with Dena. Storylines involving Ramy's friends Steve (Steve Way, Nepotism), Ahmed (Dave Merheje, Mr D) and Mo (Mohammed Amer, Mo) are all guided by a similar train of thought, thoughtfully so. Season three serves up character study after character study, and with humour and insight in tandem, including laughs that echo because sometimes that's the only way to cope with life's chaos. Three seasons in, the fact that Ramy boasts one of the best casts on TV isn't new news. That said, an appearance by Bella Hadid as Steve's new The Office-worshipping girlfriend plays awkwardly, but James Badge Dale's (The Empty Man) bit part as televangelical-style Muslim convert is a cringe-inducing scene-stealer — as is Christopher Abbott's (On the Count of Three) efforts as one of Ramy's wealthy customers. No matter who pops up around them, though, the show's core group of actors keep turning in standout work. That Ramy keeps remaining a stunningly perceptive and engaging exploration of the battle to remain true to oneself — and one's hopes, dreams and religion — is firmly a communal effort. That it's a rich, authentic, poignant and devastatingly potent comedy that just keeps getting better and diving deeper is as well. Check out the trailer for Ramy season three below: Ramy streams via Stan.
The latest line of merch you never knew you needed has just dropped — and it's celebrating yet another old-school favourite. This time, it's South Australia's strangely beloved milky treat, Farmers Union Iced Coffee (FUIC), that's been emblazoned on some sweet threads. Much like beer brands VB and Melbourne Bitter before it, the new line of branded goodies has a bit of a vintage feel. The streetwear collection — which features mens and womens designs — runs from classic hoodies and tees to beanies and a denim cap, with prices starting at $35. Each piece is adorned with the iced coffee's recognisable brown and turquoise logo, so you can share your love of the caffeinated drink — or simply let people know you're from Adelaide — without having to say a word. Everything is all printed right in FUIC's homeland of South Australia — so it's basically a symbol of SA pride. If you happen to be in Adelaide and really keen, an FUIC pop-up hits Adelaide's Rundle Mall this Friday, June 28 and Saturday, June 29. Otherwise, you'll find the full range on sale at online. Farmers Union Iced Coffee's new line of gear is on sale now at fuicgear.com.au.
