Have you ever fallen asleep while reading a classic text, and dreamt of something much more lively? One assumes Seth Grahame-Smith has, given that his main claim to fame is taking iconic characters and mashing them up with the undead. Having already seen an Abraham Lincoln: Vampire Hunter adaptation, a big screen take on his 2009 novel Pride and Prejudice and Zombies seemed like only a matter of time. Unfortunately, the film follows in the footsteps of its presidential predecessor, failing to provide either laughs or gory thrills. To be fair, Pride and Prejudice and Zombies makes a much more convincing attempt than Grahame-Smith's take on honest Abe. You can see how writer-director Burr Steers (Charlie St. Cloud) is trying to splice together his seemingly conflicting components. Sadly, you can see the gaps as well. It's not the concept that the film struggles with, but the tone and the requisite balance, never managing to be as funny or as ridiculous as its director so desperately desires. The film concerns the Bennet sisters, trained zombie killers on the lookout for suitable husbands. Second sibling Lizzie (Lily James) is less than enthused about matrimony, despite the pleading of her father (Charles Dance) that she think about her future, and the machinations of her mother (Sally Phillips) to see her daughters married off to wealthy men. As her sister Jane (Bella Heathcote) courts wealthy new neighbour Mr Bingley (Douglas Booth), Lizzie can't help noticing the stern but somewhat mysterious Colonel Darcy (Sam Riley). He's not the only potential suitor in her midst however, with her pompous cousin Parson Collins (Matt Smith) and debonair soldier Mr Wickham (Jack Huston) also making their interest clear. If the above description emphasises the romantic aspects of the story, it's simply taking its cues from the film. Think of it as Pride and Prejudice with a few zombies thrown in as a gimmick; a way to differentiate the movie from the numerous other big screen versions of the tale. Those familiar with Austen's prose might raise a smile as Lizzie's headstrong ways find a perfect outlet in combat, and will likely enjoy scenes of banter paired with physical duels. As a matter of fact, Pride and Prejudice and Zombies offers a surprisingly serviceable interpretation of its original source material. Those after literal brains, however, will find very little in the blood and gore department. What Steers fails to realise is that there's more to a zombie flick than talking about them, training montages, and throwing in a few shots of decaying faces now and then. Given the charm James shows as a feisty heroine fending off flesh-eating foes, it's disappointing she's not given more opportunities for action. Along with the rest of the cast, she does her best to act like she's in the kind of movie Pride and Prejudice and Zombies should be, rather than the one it actually is.
What happens when some of Melbourne's most beloved burger bosses go head to head? Well, you can find out, when the likes of Beatbox Kitchen, Mr Burger, Royal Stacks, Sydney's BL Burgers and more all descend on the Welcome to Thornbury lot for this year's new and improved Burger Invitational for the Melbourne Food and Wine Festival. It'll be an evening of fierce foodie competition as each vendor vies for burger glory — plus, one lucky burger fan will score themselves a year's supply of burgers from their favourite. There's a range of tickets to suit varying degrees of burger obsession, from the $16 Burger Starter Pack, which includes entry, your choice of burger, and an exclusive t-shirt; through to the group-friendly Party Pack, with burgers and booze for four people.
Since 2014, the Queen Victoria Gardens has been the home to the temporary architectural structure MPavilion and an extensive cultural program every spring. And it has just been announced what this year's eye-catching structure will be: a floating geometric building, combining architecture and urbanism, designed by Spanish architect Carme Pinós, of Estudio Carme Pinós. It will be open to the public between October 2018 and February 2019. Featuring sharp floating planes in a carefully considered geometric configuration, the structure has two timber latticeworks that intersect to form the pavilion's roof. The surrounding landscape has been altered to form three large grassy mounds that offer seating, and enclose the event space where MPavilion's huge community-focused cultural program will be presented. Discussing the inspiration behind her design, Pinós says, "Whenever I can, I design places where movements and routes intersect and exchange, spaces where people identify as part of a community, but also feel they belong to universality." Pinós's design will host this year's program running from October 8 to February 3, 2019. With more than 400 free events, talks, workshops, performances, and installations, the program will features themes of building communities, women in leadership and inclusive cities, plus the exploration of visual languages like fashion and architecture, regional contexts, and landscape and nature. Pinós has played a significant role in the rise of contemporary Spanish architecture, producing progressive projects throughout Europe, Asia and the Americas. Renowned for architecture that displays a strong commitment to a site's local or regional identity, her work ranges from large urban developments to social housing, public works and furniture design. Carme Pinós's MPavilion will be open to the public between October 8, 2018, and February 3, 2019, inside Melbourne's Queen Victoria gardens. For more info, visit mpavilion.org.
One of the tastiest times of year is officially upon us thanks to an event that is dedicated to our favourite things — eating and drinking. Throughout May, loads of restaurants are serving up one-off menus, offering discounts on dishes and sharing culinary secrets for American Express delicious. Month Out. With so much on offer, it can be hard to decide where to go — that's where we come in. To help you find your ideal feast, we've scoured the program to bring you our top picks.
In one of Galveston's revealing scenes, hitman Roy (Ben Foster) is told a bleak truth: "you're not as handsome as I remember". The statement comes from an ex-lover (Heidi Lewandowski) who hasn't seen the on-the-run criminal for more than a decade, and it's designed to wound. Uttered in a grimy crime drama that sends its characters hiding from their complicated lives in the titular Texas island city, the unflattering words also cut to the heart of this grim yet gripping film. Nothing is quite as beautiful, peaceful or comforting as anyone hopes in Galveston. Nothing goes smoothly, happens easily, or lives up to anyone's hopes, dreams or expectations. All of the above proves true in New Orleans in 1988, when the hard-boozing, possibly terminally ill Roy is sent on a routine job by his shady boss (Beau Bridges). It remains true when the hit goes south, and when Roy rescues 19-year-old escort Rocky (Elle Fanning) in the aftermath. Following a quick stop to pick up toddler Tiffany (Anniston Price and Tinsley Price), it's still true when the trio check into a coastal motel and take stock of their difficult and dangerous situation. The tired, troubled assassin; the young sex worker with a good heart and a bad past; the scenic hideout that can't solve a world of problems: like much of Galveston's recognisable plot, all of these elements have long been noir and crime tropes. But again, nothing is exactly as it seems in this movie — be it memories, supposedly easy gigs or genre staples. In her fourth stint behind the lens and in her English-language directorial debut, actor-turned-filmmaker Mélanie Laurent crafts a film out of familiar parts. Given that the script was written by True Detective's Nic Pizzolatto (under a pseudonym, and based on his own novel as well), that really does prove the case. And yet, while it's hardly overflowing with surprises, Galveston still feels like its own distinctive creation. Maybe it's the narrative, which refuses to completely stick to the standard formula, hewing close but happily branching out in interesting directions. Maybe it's the dynamic between Roy and Rocky, which avoids the most obvious, highly cliched path and feels all the more real and resonant for it. Or, perhaps it's the darkness that infuses every second, even when the movie's main players are enjoying their sunny surroundings or daring to believe that something could change. Roy's conversation with his ex-girlfriend proves relevant again in encapsulating the film's permanent brooding mood — when he tells her that he's dying, her casual response is "aren't we all?". Definitely having an impact are Foster and Fanning, two consistently impressive talents who add to their stellar resumes. The more that Galveston's running time ticks by, the more the film becomes a two-handed character study, with its leads shouldering their heavy burdens with ease. Perhaps that's another reason that the movie never becomes the run-of-the-mill flick it could've been: its protagonists might seem thin on paper, but these struggling lost souls are teeming with complexity on screen. The quiet sorrow that Foster exuded in Leave No Trace also infects his work here, and the inner pluck that made Fanning such a highlight in The Neon Demon is evident as well. But neither actor could be accused of retracing their own footsteps, and Laurent certainly doesn't ask them to. Instead, Galveston serves up layers — layered performances, layer upon layer of gloomy themes for its characters to wade through, and a layered approach to its visuals. As she demonstrated in one of her earlier filmmaking gigs, the teen-focused French drama Breathe, Laurent is a skilled director who always finds the perfect approach for each scene. Sometimes she lets the camera hang back, giving Foster and Fanning space to bounce off each other. Sometimes she peers intimately, whether the film is cosying up as Roy, Rocky and Tiffany form a makeshift family, or getting almost uncomfortably close when Roy and Rocky share their life's traumas. Often, this deceptively affecting picture says more with less, including in its climactic moments. If only all seemingly by-the-book crime flicks could do the same. https://www.youtube.com/watch?v=WAad6w1pYrM
In case you missed it at GLOW Winter Arts Festival last year, the enormous cavern of light that littered your Instagram feeds last year is back once more. This time it's migrated from the south side to the CBD, taking to the ACCA forecourt as part of the inaugural Summersalt Arts Festival. But trust us — it's still as great as ever. At 53 metres long and nine metres high, this large-scale luminarium from UK artists Architects of Air is unlike anything you've seen before. This virtually-designed inflatable sculpture is a hideaway of nooks, crannies, paths and entrancing patterned domes takes its inspiration from Gothic cathedrals, Islamic architecture and unusual geometric structures and is sure to immediately put you in a walking daydream. The artwork is open from 11am-8pm every day until Sunday, February 1, but you will need to pre-book your places ahead of time via the Summersalt website. Unfortunately session times are capped at a mere half hour so you'll have to control the urge to nap and/or claim it as your home.
We're always looking for an excuse to indulge and an international celebration for everyone's favourite sweet seems as good a reason as any. This Saturday, July 7 is World Chocolate Day, and, as you would expect, Australia's oldest family-owned bean-to-bar chocolate maker, Haigh's Chocolates, is ready to celebrate the good stuff. Haigh's Chocolates certainly knows a thing or two about delicious artisan choc, seeing how it's been crafting chocolate from raw cocoa beans since 1915. The Adelaidean chocolate purveyors now offer more than 250 different specialist varieties produced at its SA-based factory. This Saturday, Haigh's will be offering free delivery on online purchases for purchases over $25. And, if you visit a Haigh's store, staff will be handing out free chocolate frogs. And to treat you, our lovely readers, even further, Haigh's has given us $200 for one of you to spend at any Haigh's Chocolates store or online. Enter below, and you could turn World Chocolate Day into World Chocolate Month with your winnings. Once you've entered, make sure you also save this Haigh's chocolate fondant recipe to try with your winning haul. INGREDIENTS: 150 grams Haigh's 70 percent dark chocolate pastilles, roughly chopped 150 grams unsalted butter, plus extra for greasing, cut into cubes 200 grams light brown sugar 4 large eggs 1 large egg yolk 1 teaspoon vanilla extract 1/2 cup (75 grams) plain flour, sifted Cocoa powder, to dust DIRECTIONS: Pre-heat oven to 200°C (180°C fan-forced). Grease the inside of six dariole moulds or ramekins. Place butter and chocolate together in a medium mixing bowl over a saucepan of barely simmering water, stirring occasionally until melted and smooth. Add sugar, stirring to combine and remove from heat. In a separate bowl, combine eggs, yolk and vanilla together, stirring until combined. Add to the chocolate mixture, stirring until well combined. Sift the flour over the chocolate mixture, stirring until well combined. Divide mixture between prepared dariole moulds, making sure each mould is no more than 2/3 full. Place dariole moulds in preheated oven and cook for 15 minutes or until tops are set and coming away from the moulds. Remove from oven and allow to stand for one minute. To serve, use a small spatula to very gently ease the fondant away from the edge of the mould. Carefully invert each mould onto small serving plates and dust with cocoa powder. Serve with a dollop of jersey cream and fresh raspberries. Note: filled dariole moulds can be chilled ahead and baked just before serving. [competition]675143[/competition]
While the Carlton segment of Lygon might be a mini Italy, the East Brunswick end of the street is a trip around the world. Superb culinary options from India (Kake Di Hatti), Lebanon (Rumi), Italy (Bar Idda), Thailand (Thaila Thai), Greece (Hellenic Republic) and beyond are on offer here; Kumo completes the world tour, taking us to Japan via its expansive izakaya-style restaurant. In Japan izakayas are known for their homeliness: a neighbourhood place to drink and dine where everyone knows your name. While Kumo's mess hall-style space (built in 1956 as a large bank) is not necessarily conducive to an intimate, homely feel, the friendly staff and long communal table down the centre — lined on one side by cosy booths — really makes a go of the idea. The menu is an education in the contemporary izakaya dining experience. Go for the omakase option ($59) and let the chef feed you his best selection of dishes — think sher wagyu tataki with ponzu, crushed prawn katsu with tonkatsu sauce and plum tartare, seared scallops with butter, soy and bonito flakes, and a spicy black vinegar karaage chicken. If you want full control over your menu, the confit duck leg with plum wine chutney and watercress salad ($17.80), pork belly butakushi skewers with chilli mayo ($11.80) and seared scallops sashimi with ume salsa and crispy wonton pastry ($12.80) are great options. The food is sophisticated, delicate and beautifully presented — just as you'd expect from experienced Japanese chefs who have previously frequented the kitchens of Yu-U, Bar Lourinha, Kobe Jones and the Royal George Hotel. The menu can also be presented specific to almost any dietary requirement, with vegan, gluten free, egg free, fish free, dairy free, nut free and many more (even allium/onion/garlic free) menus available. About drinking as much as it is about eating, Kumo offers its own rare brand of premium sake, bottled exclusively for the restaurant by owner and renowned sake master Andre Bishop. If you don't like the drink enough to drop $120 on it — don't worry — there is an extensive list of alternatives. Of course there's also house cocktails, wine, beer and plum wines to finish.
"Siri — write my Her review". "[da-dup]…I'm not sure I understand". Yeah, okay. So, it's not perfect, but the fact is, I just had a conversation with my phone. What's more, I didn't feel weird about it, and — most crucially — neither did the people around me. It's for this reason that Spike Jonze's new movie Her feels eerily and uncomfortably plausible. Familiar, even. In fact, inevitable. Set in the almost certainly near future, Joaquin Phoenix plays Theodore Twombly — a gentle, retiring man who works at BeautifulHandwrittenLetters.com penning heartfelt correspondence between people he's never met. In his personal life, his wife (Rooney Mara) has left him and now communicates exclusively via their lawyers. In short, nobody really talks anymore. Then one day he buys and installs a new operating system called 'OS1' — an artificially intelligent construct that names herself, or rather itself, 'Samantha' (voiced to perfection by Scarlett Johansson). At first Samantha simply streamlines Theodore's life, triaging his emails and encouraging him to get out more, but gradually, as she evolves and learns more from their interactions, they begin to fall in love. It seems ridiculous, yes, but thanks to Jonze's masterful script and direction, it never really feels it, and that's what makes HER the first must-see film of 2014. "Is it a real relationship?" Theodore asks his best friend (a game designer played by Amy Adams), to which she replies: "Well… what is real?" It sounds like hack freshman philosophy but actually cuts to the core of the film, because — in essence — Theodore's relationship is largely indistinguishable from every real-world, long-distance one. In this increasingly international age where overseas employment and study opportunities beckon with greater frequency and ease, it often feels like the number one obstacle for couples to overcome is mere geography. Hence, nobody bats an eyelid when two people attempt to sustain a relationship exclusively and indefinitely via phone calls, meaning — to the outside world — Theodore's interactions with Samantha are just as commonplace and unremarkable. And ultimately, who's to say they're not? Look around you right now. How many people are on their phones — talking, listening, scrolling, reading or playing? The loneliness and isolation of an increasingly interconnected world is a pervasive and fascinating phenomenon, but few have yet explored how humanity's growing fusion with technology might lead to actual relationships with it. Well, except maybe for the Japanese. To say much more is to risk giving away precious moments and quiet surprises (of which there are many), though it's worth noting Her pleasantly avoids a lot of tech in-jokes and future gags that could easily have rendered it a far more pedestrian affair. Ultimately, it is a beautiful, imaginative and provocative offering by Jonze that asks some fascinating questions about the direction love is taking in the technological age. Could we love an operating system, and — more importantly — could it love us back? "Siri - do you love me?" "[da-dup] Look…a puppy!" Man, love is hard. https://youtube.com/watch?v=ne6p6MfLBxc
There was plenty to get excited about when Rising was first announced in March earlier this year. Now, the 12-day twilight festival has revealed a unique line-up of specially-curated culinary events featuring an all-star line-up of Melbourne's most renowned and loved chefs. 1800 Lasagne's Joey Kellock, Hector's Deli's Dom Wilton, Smith & Daughter's Shannon Martinez (and recently opened Lona Misa), Atlas Dining's Charlie Carrington and Anchovy's Thi Le are just some of the big names creating pop-up and once-off dining menus for Rising. [caption id="attachment_795675" align="alignnone" width="1920"] Joey Kellock's brick and mortar 1800 Lasagne restaurant.[/caption] Headlining the gastronomic offering is David Moyle (ex-Longsong), who will lead the food program at The Lighthouse. The glass-walled restaurant will be perched at the top of the Sidney Myer Music Bowl and set against The Wild's dense bamboo forest. If you manage to snag one of the 130 seats on offer, you'll be treated to Moyle's bespoke three-course menu with matched wines by Jess Ghaie of Blackhearts & Sparrows. While the exact menu is still under lock and key, it promises to include dishes smoked to order with a small army of onsite smokers expected as special guests. Two pop-up kitchens will also host nightly once-off collaborations with some of Melbourne's biggest names. Shannon Martinez will takeover 'kitchen one' with the likes of Wilton, Kellock and Ian Curley (of Kirk's Wine Bar) depending on the evening. In 'kitchen two' Lee Ho Fook's Victor Liong will team up with co-head chef Chase Kojima of CHUUKA, Carrington will partner with former-Middle Eastern restaurant Bar Saracen, and Le brings a fresh menu in collaboration with a surprise interstate chef. [caption id="attachment_810907" align="alignnone" width="1920"] Andrew McConnell's menu at Meatsmith.[/caption] Elsewhere during Rising, Meatsmith's Andrew McConnell will team up with butcher Troy Wheeler to bring a special menu to Birrarung Marr. Enjoy char-grilled snacks like slow-cooked beef short ribs with pickled daikon radish, and fried chicken sandwiches within view of the illuminated 200-metre long eel installation. Fancy Free, the roving pop-up bar by ex-Black Pearl bartenders, will be in attendance at Golden Square. Rising is set to house 133 different projects and events involving more than 750 Victorian artists across 12 evenings, from Wednesday, May 26–Sunday, June 6. You can check out all the events and get tickets via the Rising website. Tickets for The Lighthouse are $90 per person for a three-course set menu and entry to The Wilds.
Melbourne's 24-hour nightlife is held in high regard, and without those pesky lockout laws that have befallen other cities, you can keep dancing (or eating) until dawn. Gaze upon the sprawling city from the rooftop bar at Fitzroy's Naked For Satan, before catching a band at The Worker's Club, an intimate live music venue only metres away. If you've caught the boogie bug, stick around for their resident DJ, Cassette Walkman, who'll be spinning rock and roll tracks until 1am. Round off your night with a burger and some chilli fries at Le Bon Ton, Collingwood's late-night eatery that serves food until 3am, and showcases flavours from the American South. And when that second wind kicks in, head to Nieuw Amsterdam for a drink and a sneaky snack — they've got a 24-hour license, and will be more than willing to serve you a beverage alongside some late-night eats.
In attempting to engage the lucrative teenage market, a film could do worse than conclude its opening monologue with the line, "Everybody knows where they belong... except me". "Oh my god," say those teenagers, "that's basically what I think! I need to get all my friends and see this movie eighteen more times!" There's a reason more than 17 million copies of the novel by Veronica Roth are in print worldwide with no signs of slowing down. Sure, there's the plot about a post-apocalyptic, dystopian world in need of courageous teenagers to save humanity, but at its heart, Divergent remains a simple story about teenage isolation and the possibility that a cute boy might actually like you. Set 'after the war' (that's as much detail as we're given), the survivors of this Chicago 2.0 have instituted a new form of social order to ensure the sustained peace. The community is divided into five factions: carers, pacifists, protectors, thinkers and truth-speakers. When the teenagers come of age, they're subjected to a series of tests to determine their factional predisposition, and while 99 percent of them fall clearly into one group or another, every so often a 'divergent' individual comes along whose skills and feelings cross into multiple factions. A simple but boring version of this idea would be: In a world of left-handers and right-handers, some people are ambidextrous. And then those ambidextrous people are hunted down and murdered. The problem with divergents, you see, is that they can't be controlled. They're a threat to the system because they don't play by the rules. So now, in addition to cute boys and isolation, there's a heady dose of 'screw you mum — you can't tell me what to do!' The divergent in this instance is 15-year-old Beatrice (Shailene Woodley), a daughter of two 'Abnegation' parents who dreams of being one of the 'Dauntless' caste, the fearless (if also reckless) group charged with maintaining order in the city. But some, like Erudite leader Jeanine (Kate Winslet), believe the system is broken, and as the balance of power begins to shift with dictatorial-like qualities, 'Tris' finds herself having to choose between faction and family. Woodley is the standout in Divergent; an undeniably talented young actress whose performances since The Descendants have shown both range and maturity beyond her years. She commands attention in every scene and convinces as the conflicted heroine who prefers not to pull the trigger but can and will without hesitation if necessary. Around her is a substantial supporting cast, including Ashley Judd, Jai Courtney and Zoe Kravitz, with Theo James as her sufficiently attractive and brooding love interest, Four. In the end it's all very Hunger Games Lite, mixed in with a bit of Brave New World for good measure. With much of the film centred around Tris's training instead of any actual conflict, it suffers from a lag that struggles to shake free until well into the second hour, by which time what action there is feels rushed and unsubstantiated. Fans of the books will be happy, especially given the film's fidelity to the material; however, newcomers may struggle to get on board. https://youtube.com/watch?v=336qJITnDi0
Ever been on a bushwalk or beach stroll and and wondered if you can eat that shrub or flower? Maybe it was a pepperberry or some type of edible beach succulent — but who really knows. Well, now you can now go foraging for wild food more easily than ever, thanks to a new app developed by René Redzepi, chef and co-owner of Noma. He made the announcement yesterday at World's 50 Restaurants 15th anniversary talks event in Barcelona. The app, which is called VILD MAD (meaning 'wild food' in Danish), shows you what edibles are nearby according to landscape. There are also instructions (in both Danish and English) on how to eat and cook them, including a few recipes. Plus, you can record your foraging adventures and keep notes on what you find. Redzepi is perhaps the most famous champion of native foods, and, as well as cooking with them at his Copenhagen restaurant, he made the most of Australia's native ingredients when Noma popped up in Sydney in 2016. "Knowing your ABCs in nature, the flora and the fauna, the patterns in the landscape, and the rhythms in the seasons is as important, we believe, as learning math, learning to read, learning to write — especially today when people think cacao milk comes from brown cows," Redzepi said at the 50 Best Talk, as reported by Eater. The app is just one part of a bigger initiative led by the Danish chef. Along with lots of useful resources on his MAD website, Redzepi is also leading some serious foraging education opportunities, including workshops to be delivered all over Denmark by park rangers and a curriculum for Danish school kids. His aim? To get people to pick food from nature like they do from supermarket shelves. While a lot of the content is specific to Denmark, anyone can download VILD MAD for free at the App Store or Google Play and identify some ingredients. While we'd love an Australian and New Zealand app like this to be developed, in the meantime, you can get acquainted with Australian native foods and which restaurants use them over here. Via Eater.
If you've managed to nab a ticket to Paul Kelly's Making Gravy tour back in 2017, 2018 and 2019, then you were one of the lucky ones. If you weren't and have been lamenting ever since, you can stop. The songwriting legend has just announced that he'll be performing the show all over again this December, this time heading to Melbourne and Brisbane — in the lead up to Gravy Day itself, December 21. Like the song, the tour — now in its fourth year — is becoming a bit of an Aussie Christmas tradition. Time to start thinking about getting the tinsel and ugly jumpers out of storage. As in past years, you can expect to hear a stack of songs from Kelly's four-decade long career. Listen out for all the hits, from 'Dumb Things', from the album Live, May 1992, to 'Love Never Runs On Time' from Wanted Man (1994). The Christmas classic 'How To Make Gravy', first released in 1996 on an eponymous EP, is on the menu, too. The tour will coincide with the release of Kelly's new Christmas Train record, his first-ever festive album — and yes, it includes a new version of 'How To Make Gravy'. Kelly won't be hitting the road alone, either — he's inviting a bunch of special guests. He'll be joined by Ball Park Music, Sycco and Emma Donovan & The Putbacks. MAKING GRAVY DATES 2021 Melbourne — Sidney Myer Music Bowl, Thursday, December 9 Brisbane — Riverstage, Saturday, December 18 Paul Kelly Making Gravy pre-sale tickets will be available from midday AEDT on Thursday, November 4 with general sales from 1pm local time on Monday, November 8.
Melbourne's beer hotspot Richmond has welcomed another brewery to the neighbourhood with the opening of Nice Guys. Four years in the making, the craft brewery pays homage to the gritty end of Victoria Street with its retrofuturistic interior and has a sustainability first mentality. Opened by long-time home-brewer and first-time hospitality owner Grant Morley, the brewery itself is open to the public. Beer punters can explore the large steel tanks, which reflect the venue's red and purple lights, and take a peek inside the red cool room where up to 12 different types of beers sit ready to be served. But, these beers aren't poured out of tanks like at your regular pub. "We serve all our beer out of chilled serving tanks," Morley told Concrete Playground. "This means not only does the beer stay fresher, we also don't have to fill kegs, which can be wasteful. Every time a vessel is filled, oxygen gets in, which impacts on freshness and flavour. This way it's better for the environment and for the beer." [caption id="attachment_801864" align="alignnone" width="1920"] Julia Sansone[/caption] Popular selections across Nice Guys' 25 taps include a Kiwi lager made with New Zealand barley malt that boasts a slight fruitiness and makes for an ideal hot day beer, and an NEIPA with mango and passionfruit undertones. For those looking for something heavier, the venue's speciality dark beer, a vanilla porter, is a sweet end-of-night serve with notes of chocolate and coffee. The flavour comes from whole vanilla beans that are cut up, extracted using vodka and added at the end of the fermentation process to give the brew a full-bodied result. "Even people who don't usually drink beer will love these," Morley said. "Flavours like chocolate, orange and cardamom are always a huge hit. If it works in food, it works in beer. I look to food trends and see how I can translate them into my craft." As part of the team's commitment to sustainability, the venue is on a mission to reduce glass waste. Morley is in the process of finalising a selection of local Victorian wines, classic cocktails and craft cider to all serve on tap. Espresso martinis and Aperol spritzes are on the lineup, too, so those who aren't sold on a beer can still enjoy sips with friends. [caption id="attachment_801782" align="alignnone" width="1920"] Julia Sansone[/caption] With community involvement at the forefront of Nice Guys, Morley has commissioned local artists to fill the space with locally made furniture, handmade macrame and custom lamp shades. Cantilever chairs, swivel stools and velvet couches help create a space that feels like a vintage furniture bazaar. Out front, the dog-friendly alfresco garden area is filled with lush indoor plants and a fireplace centrepiece to keep the area cosy during the cooler months. "There was never even any design on paper for the place," Morley said. "I worked organically with the builder on the architectural features and we used cardboard cutouts to experiment with the structure of the ceilings, as well as the arch that halos the front of the entrance." Next on the list for Morley is the soon-to-open kitchen, which will — in the coming months — serve a rotating menu of bao, buns and American barbecue. Bold, moreish flavours are set to feature, with beer serving as the palate cleanser. Find Nice Guys at 306 Victoria Street, Richmond from 3–11pm Wednesday–Friday and 12–11pm Saturday–Sunday. Images: Julia Sansone
When Succession roves over New York's skyline — in its opening credits, as set to that bewitching theme tune, or just during its episodes — it gleams with wealth and privilege. Depiction doesn't equal endorsement, however, with the stellar HBO satire sharply cutting into its chosen world at every chance it gets. As one of the show's supporting cast members, Dasha Nekrasova slides into that realm, too, but that's not her only dalliance with the city's architecture, power brokers and all that both represent. The Scary of Sixty-First, the Red Scare podcast host's feature directorial debut, also savages the rich and seemingly consequence-free. It clasps onto a real-life story that's made that case inherently, abhorrently and monstrously. There's no gentle way to put it, but the fact that Nekrasova plays a woman investigating if a bargain Upper East Side duplex was one of Jeffrey Epstein's "orgy flophouses" says much about this purposefully provocative conspiracy thriller horror-comedy. College pals Addie (Betsey Brown, Assholes) and Noelle (the film's co-screenwriter Madeline Quinn) can't believe their luck when they find the cheap property, even if it does visibly need a clean — and have mirrored ceilings, as well as some questionable lock choices — and even if they don't appear completely comfortable with committing to live together. But from night one, the literal nightmares begin. Soon they're spying blood stains, scratched walls and eerie tarot cards, and feeling unsettled in a variety of ways. Enter Nekrasova's stranger, who comes sporting a dark-web rabbit hole's worth of paranoia and bearing the Epstein news. Addie and Noelle take the revelation in vastly different fashions, with the former seeming possessed by one of Epstein's child victims, and the latter diving deep into potential theories with her unnamed new friend. Letting a headline-monopolising sex offender loom large over the plot is an instant attention-grabber — and, while The Scary of Sixty-First doesn't lunge straight down that path, it feels like Nekrasova and Quinn's starting point. Their movie smacks of conjuring up a controversial premise, then fitting parts around it; thankfully, they have more than one target in their sights, plenty to ponder, and Nekrasova's bold vision bringing it all together. From the outset, there's much to mine about the hellishness of finding somewhere to live in your twenties, and in NY especially. The things you'll settle for in that situation clearly also earns the feature's focus. The same rings true of post-college life and its intrinsic awkwardness in general — and being expected to act like a fully functioning adult, and make pivotal decisions, without yet amassing the experiences to match. By contemplating the hostile real-estate market and the ordeal that is trying to find your place in the world (emotionally, intellectually and physically), The Scary of Sixty-First immediately unpacks power, money and privilege. If Addie and Noelle could afford somewhere else or had other support at their disposal, there wouldn't even be a story. When Nekrasova appears and drops Epstein's name, that excavation digs down several levels. Again, there's no shortage of ideas, directions or tangents to explore, and the script explodes as many as possible. This is a movie about a dead billionaire paedophile, the wealth of theories that've sprung up around him and the 24-hour news cycle that's made his tale inescapable. It's also about how doomscrolling has become routine, the grim routes incessant web searches can take you down, the normalisation of true-crime obsession, the proliferation of conspiracy-driven rhetoric and relentless chaos as the natural state of the world. Addie has an interminably unpleasant boyfriend, Greg (Mark Rapaport, Pledge), who also sparks an array of questions — because even when he's turned off by her descent into inappropriate baby talk during sex, he still sees his own needs as more important than anything else. Indeed, while The Scary of Sixty-First is messy by choice, and also lets its 16-millimetre frames frequently look the part, nothing here is accidental. That's true of outdoor masturbation scenes and out-there theories alike, all of which make a statement. Usually, the movie isn't coy; as the possessed Addie gets more forceful with every action, her sloppy kissing of Prince Andrew's photo couldn't be more overt. Repeatedly, though, the film sends multiple messages at once; when her glistening fingers, fresh from a stint of self-pleasure, caress Epstein's initials outside his apartment building, The Scary of Sixty-First also comments on how taboo such feverish displays of female sexuality still prove on-screen. It's still easy to see the influences coursing through Nekrasova and Quinn's screenplay, and in Nekrasova's directorial choices. If the movie itself was haunted, it'd be by 70s and 80s horror flicks and thrillers, Italian giallo cinema, every picture that's probed New York's underbelly and, quite pointedly, by Eyes Wide Shut and Rosemary's Baby as well. Making his feature debut, too, cinematographer Hunter Zimny synthesises that hefty list of touchstones into a visual style that takes little bits from everywhere, but also fittingly makes it all feel like a dreamy swirl, jittery onslaught and tormented experience. Aesthetically, The Scary of Sixty-First just keeps spiralling from the uncertain and the otherworldly to the uncontrollable, mimicking another of the script's strong observations about 21st-century life. Careening wildly is one of The Scary of Sixty-First's key traits, intentionally so, as also seen in its central performances — Brown, Quinn, Nekrasova and Rapaport all turn in committed portrayals — and its sense of humour. There's no shaking the pitch-black comedy of it all, again by design, but even the film's most absurd moments and farcical touches are steeped in reality in one way or another. Its most nightmarish inclusions are as well, and that's part of the feature's knowing, winking seesaw ride. Yes, a global paedophile ring among the elite sounds like the sickest kind of fiction and an unhinged conspiracy. Yes, there's elements of truth to such horrendous sex-trafficking. The Scary of Sixty-First doesn't always completely come together, but Nekrasova has crafted an uncompromising and compelling movie that acknowledges both, plays like a slap in the face and isn't easily forgotten.
As winter is finally descends upon us and we bunker down for the grey and chilly months, June's selection of contemporary Melbourne art exhibitions will help you see the brighter side of spending your time indoors. This month you can consider colonisation through an immersive jumping castle, explore Australian art history with the Boyd family legacy or engross yourself in 'free-form abstract' paintings. With these and many more great exhibitions to see throughout June, escaping the incoming wind and rain is actually quite enjoyable.
Into every generation, a slayer is born — and into What We Do in the Shadows, too. The TV series based on Jemaine Clement and Taika Waititi's 2014 vampire sharehouse mockumentary of the same name has spent two seasons so far pondering the dynamics of its Staten Island household; however, it has also slowly started to explore an existential threat to its bloodsucking protagonists: a vampire killer in their midst. That's where the US television show's third season promises to pick up, all while still mining its concept for as many laughs as possible. So, Nandor (Kayvan Novak, Four Lions), Laszlo (Matt Berry, Toast of London) and Nadja (Natasia Demetriou, Eurovision Song Contest: The Story of Fire Saga) once again navigate the usual undead housemate tussles, including with energy vampire Colin Robinson (Mark Proksch, The Office). And, they endeavour to live with the knowledge that Nandor's familiar Guillermo (Harvey Guillen, Werewolves Within) has a very particular family history. Also part of this upcoming season: power struggles within the key group of vampires, after they've ascended to the head of the Vampiric Council. Another promising batch of episodes in a fantastically funny horror-comedy sitcom will hopefully be the result — based on the just-dropped full trailer for the third season and an earlier teaser trailer, at least. When the original film hit cinemas, viewers instantly yearned for more, which this American spinoff has been delivering in just as smart, silly and hilarious a fashion as its big-screen predecessor. Thankfully, spending time in this supernatural realm isn't going to end any time soon, either — with US network FX, which screens the show in America, announcing that What We Do in the Shadows has been renewed for a fourth season before its third even airs. What We Do in the Shadows is the second TV series in this specific on-screen universe, after the New Zealand-made Wellington Paranormal — which follows the movie's cops (Mike Minogue and Karen O'Leary) as they keep investigating the supernatural. It proved a hit as well, and has already returned for both a second and third season. Back with the vamps, What We Do in the Shadows' new episodes are due to start streaming in Australia via Binge from Friday, September 3 — which is at the same time as the US. Check out the full season three trailer below: It's a game of...throne. Watch the official Season 3 trailer for #ShadowsFX, returning Thursday, Sept. 2nd on FX. Next Day #FXonHulu pic.twitter.com/cRRJLEXaLq — What We Do In The Shadows (@theshadowsfx) August 13, 2021 What We Do in the Shadows' third season starts streaming in Australia via Binge from Friday, September 3.
The 23rd annual Queenscliff Music Festival is swiftly approaching — and, boy, is there a lot to celebrate. As always, the lineup offers an great mix of talent, with Missy Higgins, The Cat Empire, Newton Faulkner, Fools, The Delta Riggs and Clare Anne Taylor all on the bill. In total, 60 acts and events are slated across the three days from Friday, November 22 to Sunday, November 24. Tickets always move quick for this annual fest, whether you're keen on a pass for the whole weekend or just heading along for one day. This festival is a prime music event for those who like to kick back and soak up the friendly atmosphere of a well-organised festival, just before the madness of summer hits. If this sounds like something you can get down with, hit up QMF.
Despite what the weather might have decided, Melbourne is cruising towards December — and that means another season of the NGV's Friday night parties is almost upon us. The much-loved mash-up of art, music and food is set to return weekly from Friday, December 16–Friday, April 14, with a truly tempting lineup of artists in tow. While Aussie-first exhibition Alexander McQueen: Mind, Mythos, Muse graces the gallery's spaces with an exploration of one of fashion's greats (from December 11–April 16), the new season of Friday nights will respond with a fittingly glittery, creatively-charged program of after-hours fun and live tunes. On the bill, you can look forward to an opening night gig from renowned Aussie neo-soul star Nai Palm, as well as appearances from the likes of Electric Fields, Banoffee, Emma Volard, Kee'ahn, C.FRIM, The Belair Lip Bombs, Billy Davis and stacks more. [caption id="attachment_862591" align="alignnone" width="1920"] Electric Fields, by Morgan Sette[/caption] As always, Friday Nights guests will score late-night access to the NGV's current exhibitions — this time around, that'll involve swooning over more than 110 garments and accessories designed by McQueen himself, plus numerous more artworks that drove his inspiration. Friday Nights will also feature screenings of some of the fashion legend's most dazzling runway shows, during which you'll spy many of the gorgeous designs currently being exhibited. [caption id="attachment_879195" align="alignnone" width="1920"] Tobias Titz[/caption] Meanwhile, the Moët Champagne Terrace Bar will be pouring Moët Impérial and Moët Rosé Impérial; the Great Hall's Yering Station Wine Bar will be offering wine tastings and a tidy range of Yarra Valley vino; and gin-lovers can get their fix with classic G&T's and signature sips courtesy of the the Four Pillars Gin Bar. And in the NGV Garden, don't miss a DJ set or two, played live within the 2022 NGV Architecture Commission, Temple of Boom. The facade of this Parthenon replica is soon set to be decorated with overlapping large-scale artworks by a crew of Melbourne-based artists. [caption id="attachment_879200" align="alignnone" width="1920"] NGV's announcement of 'Alexander McQueen: Mind, Mythos, Muse' at NGV International, Melbourne. Photo: Kim Landy Getty[/caption] THE NGV FRIDAY NIGHTS SUMMER 22–23 LINEUP: December, 16 2022: Nai Palm, C.FRIM December, 23 2022: Nikodimos & his Orchestra, Vincent Sole December, 30 2022: The Belair Lip Bombs, Billos + Klomp January, 6 2023: 30/70, Zepherin Saint January, 13 2023: Emma Volard, Priya January, 20 2023: Billy Davis, Simona January, 27 2023: Kee'ahn, Adriana February, 3 2023: Banoffee, Priya February, 10 2023: Niine, Mabel February, 17 2023: Electric Fields, Crybaby February, 24 2023: Middle Name Dance Band, Afrodisiac March 3, 2023: Thibault, DJ JNETT March 10, 2023: Aarti Jadu, So Much So Much March 17, 2023: Waari, Lucreccia Quintanilla March 24, 2023: Elle Shimada Curates: Co-Dreamers Experience, Henry Guala March 31, 2023: Teether & Kuya Neil, Ada & Olypso April 7, 2023: Komang, Moopie April 14, 2023: Izy, Darcy Justice NGV Friday Nights will run from December 16–April 14, at NGV International, St Kilda Rd, Melbourne. For tickets and details, jump online. Top Images: Tobias Titz
This time two years ago, across the weekends of April 28–30 and May 5–7, 2017, a new music festival was supposed to take place. Spearheaded by the now-incarcerated Billy McFarland, Fyre Festival was slated to take over a Bahamian island, treat attendees with luxury facilities, boast musicians such as Blink-182 and Major Lazer on the bill, and live up to its plethora of celebrity endorsements. Because model-filled viral marketing campaigns can prove to be just that — glossy marketing — we all know what came next. If you didn't read about Fyre Festival when it happened (or, to be more accurate, didn't), you probably discovered its shady tactics, wholesale lack of planning, emergency tent setup, paltry cheese sandwiches and all-round failure via Netflix's documentary Fyre: The Greatest Party That Never Happened, which dropped internationally on the streaming platform in January. Rival service Hulu also released their own take, Fyre Fraud, the very same week — but it hasn't been available to watch in Australia until now. Channel 7 has now aired Hulu's doco, and also made it available on its online service 7plus. Prepare to step back into a tale so astonishingly ridiculous that it can only be true, featuring everyone from Ja Rule to Bella Hadid to Emily Ratajkowski. If you're wondering about the difference between Fyre: The Greatest Party That Never Happened and Fyre Fraud, other than being made by competing streaming services (and by different filmmakers, obviously), that's understandable. They cover similar material, of course. Fyre was also co-produced by Jerry Media, who happen to be the social media agency responsible for promoting Fyre Festival, while Fyre Fraud paid conman McFarland to give a lengthy to-camera interview. Each film has its highlights and flaws; however if you just can't get enough of this trainwreck of an event, or want to keep pondering what it says about today's influencer and FOMO-saturated culture, you'll absolutely want to watch both. Check out the Fyre Fraud trailer below: https://www.youtube.com/watch?v=ljkaq_he-BU Fyre Fraud is now available to stream on 7plus.
Welcome to... your latest reason to be surrounded by lifelike prehistoric creatures in 2024. After roaring into Sydney in 2023, and teasing a trip further south since early this year, Jurassic World: The Exhibition has a date with Melbourne from August. When you head to The Fever Exhibition Hall from Friday, August 2, expect to feel like you've been transported to Isla Nublar, complete with a walk through the big-screen saga's famed gates. From there, you'll mosey around themed environments featuring life-sized versions of the movie franchise's dinos, including a brachiosaurus, velociraptors — yes, get ready to say "clever girl" — and a Tyrannosaurus rex. Also linking in with the animated Jurassic World: Camp Cretaceous series, there'll be baby dinos, such as the show's Bumpy. Attendees will be able to get roaming while staring at animatronics, including the new ankylosaurus and carnotarus. Fingers crossed that a velociraptor pops up in advance of the exhibition's arrival, as it did up north as well. Now, all that's left is to decide which Jurassic franchise character that you want to emulate (the best choices: Laura Dern's palaeobotanist Ellie Sattler, Sam Neill's palaeontologist Alan Grant and Jeff Goldblum's mathematician Ian Malcolm, of course). And no, when Michael Crichton penned Jurassic Park in 1990, then Steven Spielberg turned it into a 1993 film, they wouldn't have expected that this'd be the result 31 years — and five more movies — later. It's been a great time to fascinated with dinosaurs over the past few years — we've seen two seasons of Prehistoric Planet on streaming in 2022 and 2023, too — and this latest exhibition arrives as part of a global tour. A showcase with the same name displayed in Melbourne back in 2016, but the new visit comes after stops everywhere from London, San Diego, Paris and Madrid to Seoul, Shanghai and Toronto. Jurassic World: The Exhibition will return to Melbourne from Friday, August 2, 2024 — head to the exhibition's website for tickets from 6pm on Thursday, May 23. Images: Universal Studios and Amblin Entertainment.
Do you feel like each week flies past in an uncontrollable blur? Friday afternoon comes and you can't remember what you have achieved but you still somehow feel exhausted? If yes, then it's time for a change. Each day you can elevate your life by aiming for just one easy win — even small tweaks to your routine will help take your week up a notch. To help you out, we've teamed up with our mates at Coopers Dry to bring you a list of 'easy wins' — small things that will enrich your life without you needing to stage a full-scale overhaul. MONDAY: CLEAN OUT YOUR CLOSET Kick off the week with a closet cleanse and rid thyself of unnecessary clutter. If it no longer fits, you don't like it or it's in poor condition — donate or chuck it. Those jeans from when you were 19, yeah, they've got to go. Set aside a couple of hours — grab a beer, crank your favourite tunes, channel your inner Cersei Lannister and be merciless. Clearing out the unworn clothes from your wardrobe frees up physical and mental space that you didn't even know you needed. Take your haul to a charity shop to help out the community, reduce waste and give yourself some good karma. TUESDAY: SIP A SMOOTHIE IN THE SUN Forget eating lunch at your desk, at least for today. Instead, head to your local park, let the sun work its magic and get a nice dose of vitamin D. Catching some rays each day can help to clear up your skin and improve your mood — but do it safely, of course. Boost your nutrient intake and add a smoothie to the mix, you'll be smiling for the rest of the afternoon. WEDNESDAY: DISCUSS SOME LITERATURE WITH A FRIEND Tagging your mates in memes is fun, but why not discuss something a little deeper. The aim of the game is simple: both of you choose an article, read the respective pieces, then discuss over an after-work beer. It's like a two-member book club, minus the effort of getting through an entire novel. For inspiration, check out Alex Tizon's 'My Family's Slave' — which is about a Filipino-American family who kept a slave for 56 years — or Gay Talese's 'The Voyeur's Motel' — a creepy true story about a guy who buys a motel just so he can secretly watch his guests. Both are fascinating and somewhat divisive reads sure to generate conversation. THURSDAY: HIT UP A PUB TRIVIA NIGHT An easy win is bonding with your colleagues over a set activity with a built-in competitive element. The team that plays together stays together, and all that jazz. Just make sure you've got someone to cover each element — geography, film, music, history, current events and sport. Get the beer rounds flowing and test your collective smarts. On Thursdays in Sydney, head to the Botany View Hotel in Newtown for trivia with a cash prize. In Melbourne, make your way to The Penny Black for trivia in the beer garden, and in Brissie, you can catch beer garden trivia at The Wickham. [caption id="attachment_691868" align="alignnone" width="1920"] Lentil as Anything, Abbotsford.[/caption] FRIDAY: EAT FOR A GOOD CAUSE Cop a tasty feed and support charitable endeavours in the process — it's an easy win for altruism, and your taste buds. The not-for-profit vegan chain Lentil as Anything has four thriving stores in Melbourne and one in Sydney. The restaurants operate via a unique pay-as-you-feel model, with contributions going towards a number of education programs and social projects, as well as keeping the Lentils running. For those in Brisbane, sink your teeth into a slow-cooked beef shank or baked huevos rancheros at Hope Street Cafe. Hope Street employs people who have difficulty finding work and helps them to acquire new skills and gain hands-on experience. [caption id="attachment_659655" align="alignnone" width="1920"] Maroubra to Malabar, Sydney.[/caption] SATURDAY: GO FOR AN EARLY MORNING WALK Start the weekend in a wholesome manner with a brisk walk by the water's edge. No matter where the day takes you thereafter, you'll feel good. Honestly, it's just science — exercise releases endorphins, endorphins make you happy —the crisp ocean breeze and stunning views also help. Stroll along the river in Brisbane, check out the stunning headlands on the Maroubra to Malabar coastal track in Sydney or wander along the Yarra in Melbourne. While it's a little too early for beer, find your favourite spot along the track and return later for a few sundowners (provided alcohol is permitted, of course). [caption id="attachment_555015" align="alignnone" width="1280"] Fatto, Melbourne.[/caption] SUNDAY: ENJOY A LONG LUNCH WITH FRIENDS The Ancient Greek philosopher Epicurus spent his days pondering what made life worth living, eventually, he concluded that great food shared among even better friends resulted in a good life. We will happily cosign that. Enjoy an Epicurean moment of your own with a Mexican feast at SoCal Neutral Bay (Sydney), riverside modern Italian at Fatto Bar & Cantina (Melbourne) or head to the grassy courtyard of Lokal & Co for an indulgent Norwegian spread in West End (Brisbane). Daytime hangs are perfect for spring and summer when the weather is beautiful. Kick off your 'easy wins' by enjoying a Coopers Dry, or two, with your mates.
Happiness, then horror. That's what Herself's earliest moments serve up. When the gripping and poignant Irish drama opens, it's with the sight of Sandra (Claire Dunne, Spider-Man: Far From Home) being given a makeover by her two daughters Molly (Molly McCann, Vivarium) and Emma (debutant Ruby Rose O'Hara). The younger pair tenderly apply lip gloss, blush and shimmering eye shadow as they talk about their mother's under-eye birthmark, then the trio dance blissfully in the kitchen to Sia's 'Chandelier'. But Gary (Ian Lloyd Anderson, Vikings) arrives home mid-song, and he's angry. He's found a roll of cash hidden in the family's car, and he's soon unleashing his furious thoughts and unforgiving fists in response. The film cuts between the violence that follows and Emma's rushed run to a local shop to seek help for her mother — but even just seen in glimpses, the ordeal that Sandra is put through by her savage spouse is both harrowing and heartbreaking. Survivalist films typically pit humans against the elements, nature or space, frequently testing a character's endurance when they're cast adrift in the ocean (as in Kon-Tiki and All Is Lost), endeavouring to prevail in unwelcoming expanses (Into the Wild, Arctic), coming face to face with animal predators (The Grey, Crawl) or ascending to the heavens and all that it entails (Gravity, The Martian). Herself doesn't tick a single one of these boxes, but it still fits the genre. In fact, it might be one of the most essential survivalist movies yet. What else is a feature about a woman trying to escape an abusive marriage, care for her two children alone and build a safe future that's all her own, if not a story of survival? What else is Sandra doing but simply attempting to persist and persevere when she leaves Gary, then weathers the consequences — because neither life in general, nor social services and government bureaucracy specifically, are particularly hospitable to women in her situation? Herself needn't wonder what it's like to try to hold on while you're cut off from the world, or to navigate that other survivalist film staple, the post-apocalyptic realm, because it dives straight into a torturous life-or-death situation that happens every day around the globe. It's clear from the outset that Sandra and Gary's marriage hasn't been content for some time, and that she's long had the bruises to prove it. Her badly fractured hand, a marker of this latest outburst, becomes the latest physical symbol of their domestic horror, as well as the catalyst that gets Sandra to finally farewell their relationship. Forging a path forward proves complicated at every turn, however. The authorities can only house the trio in a hotel far away from the girls' school, with the wait for permanent housing expected to take years. Juggling two jobs to barely scrape by becomes even trickier and, by court order, Gary still gets weekend visits with the kids. Then, thanks to a spark of unexpected inspiration from a bedtime story, Sandra decides to try to build her own house — a €35,000 self-build that only becomes possible due to an overwhelmingly thoughtful gift from one of her bosses, Peggy (Harriet Walter, Killing Eve). Also pivotal: the kindness of a construction industry veteran Aido (Conleth Hill, near-unrecognisable from his time as Game of Thrones' Varys), who knows Gary's reputation; and all the help she can muster from friends and colleagues, plus whoever they can round up to assist as well. An actor with an extensive theatre history, Dunne turns in a phenomenally rich and vulnerable performance — one that would silence an entire room if she was on a stage, rather than on the screen. In her hands, Sandra is determined, but she also knows all too well what it's like to feel defeated. She's no longer willing to stay with her husband for their children's sake, and she can understandably barely stand to be in the same place as him, but she also mourns for what their relationship once was. She knows what's against her at every turn, she has the pluck to keep soldiering on again and again, but she's no saint or martyr. She struggles, she wavers between not knowing how to accept help and almost demanding it, and she grapples with finding her voice and her sense of agency — especially when put on the spot in court — after being robbed of both for so long. With What Richard Did's Malcolm Campbell, Dunne co-wrote Herself's script, too, and it's clear that she breathes every speck of pain, despair, diligence and fortitude that Sandra so visibly cycles through. As a writer, Dunne doesn't make easy choices. Her narrative doesn't follow a straightforward path, either. Herself's script highlights the devastating complexities that surround Sandra constantly, but it avoids plotting the obvious course — because more hopeful and more grim moments are always in everyone's futures, even when it seems that worse surely can't come. Stress, resilience, affectionate gestures and uncaring powers-that-be are all a part of this story. So is interrogating a system that's quick to push back at victims in the name of family, and showing the impact upon children who grow up in a household blighted by domestic violence. Herself fleshes out this reality, but always hurtles onwards, because that's all that Sandra can do. Worlds away from the two other features on her resume — Mamma Mia! and The Iron Lady — director Phyllida Lloyd helms an intense, compassionate but still clear-eyed drama. It's as bleak as French standout Custody, which also plunges into an abusive marriage and the impact upon both partners and children. It's also as brutal in its unflinching depiction of navigating bureaucracy as fellow Irish film Rosie, which also tells of a mother trying to find housing for her kids. And yet, without any cloying sentiment, with purposeful but never heavy-handed symbolism, and as shot with tender naturalism and an abundant wellspring of empathy, there's hope and tenacity coursing through this sensitive and compelling drama as well.
UPDATE, July 31, 2022: Wash My Soul in the River's Flow is available to stream via Stan, Google Play, YouTube Movies, iTunes and Prime Video. A silent hero and a rowdy troublemaker. That's what Ruby Hunter calls Archie Roach, her partner in life and sometimes music, then characterises herself. She offers those words casually, as if she's merely breathing, with an accompanying smile and a glint in her eyes as she talks. They aren't the only thoughts uttered in Wash My Soul in the River's Flow, which intersperses concert and rehearsal clips with chats with Hunter and Roach, plus snippets of biographical details from and recollections about their lives as intertitles, and then majestic footage of the winding Murray River in Ngarrindjeri Country, where Hunter was born, too. Still, even before those two-word descriptions are mentioned, the film shows how they resonate within couple's relationship. Watching their dynamic, which had ebbed and flowed over three-plus decades when the movie's footage was shot in 2004, it's plain to see how these two icons of Australian music are dissimilar in personality and yet intertwine harmoniously. Every relationship is perched upon interlocking personalities: how well they complement each other, where their differences blend seamlessly and how their opposing traits spark challenges in the best possible ways. Every song, too, is a balance of disparate but coordinated pieces. And, every ecosystem on the planet also fits the bill. With Hunter and Roach as its focus, Wash My Soul in the River's Flow contemplates all three — love, music and Country — all through 2004 concert Kura Tungar — Songs from the River. Recorded for the documentary at Melbourne's Hamer Hall, that gig series interlaced additional parts, thanks to a collaboration with Paul Grabowsky's 22-piece Australian Art Orchestra — and the movie that producer-turned-writer/director Philippa Bateman makes of it, and about two Indigenous stars, their experience as members of Australia's Stolen Generations, their ties to Country and their love, is equally, gloriously and mesmerisingly multifaceted. When is a concert film more than a concert film? When it's Wash My Soul in the River's Flow, clearly, which is named for one of Kura Tungar's tracks. Bateman could've just used her recordings of the legendary show, which won the 2005 Helpmann Award for Best Australian Contemporary Concert, and given everyone who wasn't there the chance to enjoy an historic event — and to bask in the now-late Hunter's on-stage glories more than a decade after her 2010 passing — but that was clearly just the starting point for her movie. With Roach as a producer, the documentary presents each of its songs as a combination of five key elements, all weaved together like the feather flower-dotted, brightly coloured headpiece that Hunter wears during the performance. With each tune, the film repeats the pattern but the emotion that comes with it inherently evolves, with the result akin to cycling through the earth's four seasons. First, a title appears on-screen, overlaid across breathtakingly beautiful images of the Murray and its surroundings, and instantly steeping every song in a spectacular place. From there, the Kura Tungar rendition of each tune segues into practice sessions with Grabowsky and the AAO of the same track, plus both text and on-the-couch chatter between Hunter and Roach that speaks to the context of, meaning behind and memories tied to each piece. Hunter's 'Daisy Chains, String Games and Knuckle Bones', which springs from her childhood, gets that treatment. Roach's unforgettable 'Took the Children Away' does, too. 'Down City Streets', as written by Hunter and recorded by Roach, also joins the lineup. The list goes on, and the power that each song possesses alone — which, given the talent and topics involved, is immense — only grows when packaged in such a layered manner. What a story this symphony of tunes and its entwined materials tells, spanning Hunter's recollections about being taken from her family under the guise of a trip to the circus; the coin flip that saw Roach head to South Australia from Mildura after a season spent grape-picking, where he'd meet Hunter when both were teenagers; and Hunter's certainty before that, when she spied Roach on television as a kid, that she'd marry him. The Ngarrindjeri, Kokatha and Pitjantjatjara woman's way with words continues throughout the film, including when she explains how that stroke of fate that brought Roach to Adelaide's People's Palace when they were both homeless adolescents saw her stop "her gambler from his rambling". For the Gunditjmara and Bundjalung man, he shares snippets of his own past alongside his overflowing love for Hunter. Indeed, when he marvels about how she can remember everything in her life, the Murray River's pelicans and the Dreamtime among them, it's a statement of pure and joyous affection. Along the way, Bateman ensures that her documentary tackles a dark chapter of the country's history head on, because it's impossible to relay Hunter and Roach's tales without exploring the nation's Stolen Generations. Her film is a tribute to her subjects and their work first and foremost — a tribute from Roach to Hunter overwhelmingly, too — but the resilience and fortitude that it's taken to weather everything that the government policy sent their way shines just as vividly. Both of Wash My Soul in the River's Flow's main figures are candid although, true to her own self-description, Hunter repeatedly takes the lead. Still, Roach's striking admission that, until the pair met, he thought it was just him and his siblings that'd been forcibly removed from their home, is nothing short of heartbreaking. Also intensely affecting: getting the chance to spend an intimate 90 minutes in Hunter and Roach's company, especially the former, the first Aboriginal woman to be signed to a major record label, following her death; and those awe-inspiring shots of Ngarrindjeri Country, as shot by cinematographer Bonnie Elliott (The Furnace), that keep returning with each soulful song. Combined with the movie's music, plus its dedication to unflinchingly diving into the problematic past, Wash My Soul in the River's Flow becomes a quintessential portrait of Australia. Championing two First Nations icons, their culture and their connection to Country; exploring the injustice they've endured at the hands of the government, and how they've ultimately thrived and healed together and through their talents; and showcasing the art they've made and the land they love — this moving movie couldn't ask for anything more. Letting it wash over you, and its silent hero and rowdy troublemaker with it, is simply inescapable.
UPDATE, December 17, 2022: Glass Onion: A Knives Out Mystery screened in cinemas from Wednesday, November 23–Tuesday, November 29, then streams via Netflix from Friday, December 23. Glass Onion: A Knives Out Mystery opens with a puzzle box inside a puzzle box. The former is a wooden cube delivered out of the blue, the latter the followup to 2019 murder-mystery hit Knives Out, and both are as tightly, meticulously, cleverly and cannily orchestrated as each other. The physical version has siblings, all sent to summon a motley crew of characters to the same place, as these types of flicks need to boast. The film clearly has its own brethren, and slots in beside its predecessor as one of the genre's gleaming standouts. More Knives Out movies will follow as well, which the two so far deserve to keep spawning as long as writer/director Rian Johnson (Star Wars: Episode VIII — The Last Jedi) and Benoit Blanc-playing star Daniel Craig (No Time to Die) will make them. Long may they keep the franchise's key detective and audience alike sleuthing. Long may they have everyone revelling in every twist, trick and revelation, as the breezy blast that is Glass Onion itself starts with. What do Connecticut Governor and US Senate candidate Claire Debella (Kathryn Hahn, WandaVision), model-slash-designer-slash-entrepreneur Birdie Jay (Kate Hudson, Mona Lisa and the Blood Moon), scientist Lionel Toussaint (Leslie Odom Jr, The Many Saints of Newark) and gun-toting, YouTube-posting men's rights activist Duke Cody (Dave Bautista, Thor: Love and Thunder) all have in common when this smart and savvy sequel kicks off? They each receive those literal puzzle boxes, of course, and they visibly enjoy their time working out what they're about. The cartons are the key to their getaway to Greece — their invites, in fact — and also perfectly emblematic of this entire feature. It's noteworthy that this quartet carefully but playfully piece together clues to unveil the contents inside, aka Glass Onion's exact modus operandi. That said, it's also significant that a fifth recipient of these elaborate squares simply decides to smash their way inside with a hammer. As Brick and Looper also showed, Johnson knows when to attentively dole out exactly what he needs to; however, he also knows when to let everything spill out. Claire, Birdie, Lionel and Duke share something else: they're all considered "disruptors" by tech mogul Miles Bron (Edward Norton, The French Dispatch), form part of his inner circle and get together annually for one-percenter vacations on his dime. He's behind their unexpected packages and their latest lavish getaway, which takes them not only to a picturesque private island, but also to a sprawling mansion decked out with a glimmering dome he actually calls a glass onion. Also in attendance is Miles' former business partner Andi Brand (Janelle Monáe, Antebellum), with whom nothing ended well, which gives the trip a skin of tension. And, there's the cravat-wearing Blanc, who couldn't be a better addition to the guest list — Miles has corralled this distinctive cohort for a weekend-long whodunnit party, after all. Blanc doesn't quote Sherlock Holmes and proclaim "the game is afoot" in Glass Onion, as he did the first time around, but it is. Several are. Miles wants his visitors to solve his own faux murder, but soon there's a real death slicing into what's meant to be a fun jaunt. Everyone is a suspect, because that's how this setup works. The Southern-drawled Blanc's presence proves mighty handy, swiftly segueing into "world's greatest detective" mode. No one needs him to glean the murder-mystery fundamentals, though. As told with an initially more linear narrative, little is what it seems on this swanky, intricately crafted vacation, including among the mostly high-achieving but secretly spatting group. And yes, as the bickering and backstabbing gets bloody — and the fast-paced story keeps unfurling — everyone has a motive. The Knives Out films can be enjoyed as pure on-screen rounds of Cluedo of the most entertaining kind, and as self-aware, affectionate and intelligent detective puzzles in the Agatha Christie mould. With their sharpness, mischievousness and effervescence, they easily show up the author's most recent page-to-screen adaptations, aka the clunky latest Murder on the Orient Express and Death on the Nile. Johnson also has the keenest of eyes for ensuring that every inch of every frame and every detail in every set entices and teases, with impressive help from his now six-time cinematographer Steve Yedlin, The Lord of the Rings: The Rings of Power production designer Rick Heinrichs and returning costumer Jenny Eagan. His whodunnit flicks get viewers gleefully playing along, lapping up surprises and thrills. And yet at the same time, they have audiences happily sitting back for the ride as both Johnson and the never-more-delightful Craig do their best. Everyone's doing stellar work in Glass Onion, especially the killer cast. This is the latest of many, many starry crews with a murderer in their midst —see also: fellow 2022 releases Bodies Bodies Bodies and See How They Run — and it's superbly compiled, including Jessica Henwick (The Gray Man) as Birdie's exasperated assistant, Madelyn Cline (Outer Banks) as Duke's girlfriend and a heap of genre-adoring cameos. As a sweep-you-long feature, the film serves up the sheer pleasure of watching its actors play their parts with such aplomb, and also benefits from fleshing out its characters before there's a body count. There needs to be such meat on this movie's bones, and more than merely one-note pawns on its board, because getting biting and blistering — and also being timely and topical — is another of the series' ongoing highlights. A more-cash-than-sense billionaire making a mess? The entitled, privileged set doing anything for money, and to uphold their status and lifestyles? Yes, the Knives Out franchise is eating the rich again, this time on a The White Lotus-esque holiday. Accusations zip around Glass Onion with frequency, potency and a sting, but no one can accuse Johnson of just repeating himself. As an early reference to Bach's 'Fugue in G minor' nods at, this is an onion of a flick that stacks its layers atop each other to create something new, and shines in a different way with each one. Also, where plenty of sequels to successful pictures rinse and repeat, this instead builds a fresh game out of similar but never identical pieces. A case in point: the decision to set the movie in May 2020, when the pandemic is all that most people were thinking about, and lockdown life was far, far removed from international travel, pool dips and cocktails with a view. That choice brings more sight gags, like Birdie's pointless mesh mask, but more importantly it lets the film dice up its targets with more force. They're squabbling and slaying in luxury while everyone else was staring at their own four walls for months on end, and doesn't this new gem cut them up for it.
He gave The Social Network five stars, Hostel none, famously refused to grade Romper Stomper, and declined to cover Wolf Creek 2 at all. But how would David Stratton rate a documentary about his own life and love of film? It's a question we'll never know the answer to, although the fact that we're all wondering speaks volumes about the veteran film critic's impact. It also explains why there's now a doco about him and the Australian cinema landscape he has helped shape for more than half a century. Let's face it — for most Aussie film and television viewers, movies and David Stratton go hand in hand. For 28 years on SBS's The Movie Show and then ABC's At the Movies, he dissected the week's big screen releases on the small screen, with much of the country tuning in to catch his insights and hear his banter with co-host Margaret Pomeranz. He'd profess his hatred for shaky cam, she'd sigh "oh David," and their back-and-forth would make a conversation about an average film much, much more interesting. They even have their own board game. And while that might've all come to an end, the movie buff's movie buff isn't done sharing his love of cinema. Indeed, from the end of May, he'll talk audiences through the best flicks Australia has to offer in a three-part TV series. Consider David Stratton: A Cinematic Life the feature-length appetiser. Directed by experienced television helmer Sally Aitken, the documentary endeavours to do two things: step through Stratton's life and career, and explore a selection of influential Australian titles. The former comes complete with tales of the critic's cinema-obsessed youth, photos of his pre-beard days, a glimpse inside his catalogue of movie notes (which he refuses to digitise), and a number of famous faces popping up to sing his praises, including Nicole Kidman, Russell Crowe, and Mad Max director George Miller. To achieve the latter, the film takes Stratton around the country to visit locations immortalised on film while diving into explorations of the titles in question – from outback horror Wake in Fright and beloved comedy Muriel's Wedding, to the roadway thrills of the original Mad Max and the relatable warmth of The Castle. Understandably, there's plenty to fit in — the British-born Stratton arrived down under for what was supposed to be a two-year visit, became the director of the Sydney Film Festival for 18 years, and was the subject of ASIO interest thanks to his trips to overseas film festivals. Similarly, with around 100 flicks earning a mention, there's no shortage of movies in the spotlight. Using one as a gateway to the other, David Stratton: A Cinematic Life does an impressive job of weaving its two points of focus together. Hearing about Stratton's fascinating experiences will make you want to discover more (thankfully, his 2008 autobiography I Peed on Fellini can help fans do just that), while discovering his thoughts on an array of local films will make you want to dedicate the foreseeable future to an Aussie movie marathon. Deftly edited and filled with affection, David Stratton: A Cinematic Life is the kind of film the man himself would likely give several stars and probably more. We reckon Pomeranz would feel the same way, although here we have to be content with her commenting on her former sparring partner's shoes. Yes, that's another reason the documentary is worth watching. Come for the moving tribute and informative trip through Aussie film history, stay for the long-awaited David and Margaret reunion. https://www.youtube.com/watch?v=uoTbplWKvOg
If seasonal change has left you in a dizzy headspin of new colours and fabrics and prints and jackets — or if, y'know, you just like some fancy new clothes now and then — you'll be pretty pleased to know that the Big Fashion Sale is coming back to Melbourne for four days this October. The name pretty much says it all. This thing is big. You'll find thousands of lush items from past collections, samples and one-offs from over 50 cult Australian and international designers, both well-known and emerging, including Opening Ceremony, Isabel Marant, Kenzo, Marni, Phillip Lim, Karla Špetić, Adidas, Kowtow, Matteau Swim and more. With discounts of up to 80 percent off, this is one way to up your count of designer while leaving your bank balance sitting pretty too. Prices this low tend to inspire a certain level of ruthlessness in all of us, though, so practise that grabbing reflex in advance. This is every shopper for themselves. The Big Fashion Sale will be open 9am–6pm Thursday, 9am–8pm Friday, 9am–6pm Saturday, and 10am–5pm Sunday.
Since Iron Man first flew onto cinema screens back in 2008, the Marvel Cinematic Universe has banded its movies together in phases, with each group of films telling a particular part of the broader story. The initial phase ran through until the first Avengers movie, the second spanned Iron Man 3 to Ant-Man, and the third kicked off with Captain America: Civil War and ended with Spider-Man: Far From Home. Now, the fourth phase is upon us — and it includes TV shows as well. So far, you might've been watching WandaVision; however, it's about to have company on streaming platform Disney+. Once the Mouse House is done telling Wanda Maximoff/Scarlet Witch (Elizabeth Olsen) and Vision's (Paul Bettany) story (and nodding to classic sitcoms in the process), it's moving on to The Falcon and the Winter Soldier. Clearly, no one at Marvel and Disney+ has been taxing themselves while naming these series — so you instantly know who this one is about. Anthony Mackie and Sebastian Stan reprise the eponymous characters, with their characters teaming up and heading off on a global adventure. That tests their patience — as the initial sneak peek back in 2020 illustrated, and the just-dropped full trailer for the series now shows in more detail. The pair's exploits will span six episodes, and will bring back Daniel Brühl as Baron Zemo and Emily VanCamp as Sharon Carter. Wyatt Russell (The Good Lord Bird) will also join the MCU as John Walker. As for when you'll be able to see all of the above in action, the series starts streaming on Friday, March 19, just after WandaVision wraps up its nine-episode run. And yes, the MCU's fourth phase will include more TV shows — such as Loki, which hits in May; Secret Invasion, starring Samuel L Jackson as Nick Fury; and a series set in Wakanda. It'll kick off the film side of things with 2021 movies Black Widow, Shang-Chi and the Legend of the Ten Rings and Eternals. Check out the new full trailer for The Falcon and the Winter Soldier below: https://www.youtube.com/watch?v=IWBsDaFWyTE The Falcon and the Winter Soldier will hit Disney+ on Friday, March 19. Top image: Chuck Zlotnick, ©Marvel Studios 2020. All Rights Reserved.
The first half of 2020 hasn't served up a whole lot of goodness, but for dessert-lovers, there's at least one sweet new addition. While much of Melbourne was in lockdown, the Cannoleria crew was busy whipping up its biggest creation yet: a dedicated cannoli factory. Yep, the much-loved dessert producer has moved into spacious new digs at Heidelberg West, setting up shop a couple of suburbs away from sibling company That's Amore Cheese. And that means a whole lot more room — 500 square metres, to be exact — for the team to pump out those signature Sicilian sweet treats, featuring crunchy pastry tubes piped full of fresh ricotta. As well as allowing Cannoleria to up production, the new factory site will allow for even more experimentation, which means there should be a stack of new cannoli flavours to come. There are also plans to open an onsite eatery later this year, which'll serve up lunches, coffee and, of course, plenty of that freshly-made cannoli. The factory expansion comes as demand for Cannoleria's cult Italian treats continues to boom two years on from its debut, with people flocking to get their mitts on the all-natural, preservative-free desserts. The group's already got four popular retail stores under its belt — at South Melbourne Market, Preston Market, Watergardens Shopping Centre and Highpoint Shopping Centre — in addition to regular pop-ups and a catering arm. And, the good news for those preparing to enter lockdown again, the Cannoleria is offering delivery to most of metropolitan Melbourne. You can order those ricotta-filled babies to your house by heading over here. Cannoleria's new digs are located at 69 Sheehan Road, Heidelberg West. The onsite eatery is slated to open in spring 2020. You can order delivery over here.
It's been almost two years since Stranger Things last graced our streaming queues, and left everyone wondering what might've become of Hawkins' beloved police chief Jim Hopper (David Harbour, Hellboy). Just when the Netflix series is set to return for its fourth season hasn't yet been announced, but the platform knows that its viewers are all waiting eagerly — and, to keep us occupied, it has started teasing new glimpses at the long-awaited next batch of episodes. The platform initially provided a sneak peek at Stranger Things season four back at the beginning of 2020, which now seems like a lifetime ago. Given that things didn't seem to end too well for Hopper at the end of the show's third season — all thanks to the mind flayer, the Russian lab below Starcourt Mall and that pesky gate to the Upside Down — that initial glimpse picked up after the third season's Russian-set post-script. That said, while it did resolve the big cliffhanger, it also only ran for 50 seconds. This time around, the two new (and also brief) clips look backwards — and Eleven (Millie Bobby Brown, Godzilla vs Kong) is the focus. Both sneak peeks take place in Hawkins Laboratory, with the first peering at security camera footage, and the second listening on as Dr Martin Brenner (Matthew Modine, Operation Varsity Blues: The College Admissions Scandal) performs tests on kids with special abilities. The latter video then works its way down a corridor to a door marked with the number 11, and then shows a quick look at Eleven's face. So, it seems that as well as hopping over to Russia, Stranger Things is headed to the past. It's worth remembering that, when the platform announced the show's renewal for a fourth season back in 2019, it did so with the catchphrase "we're not in Hawkins anymore". We'll have to wait to see what that all means for its cast of characters — including not only Hopper and Eleven, the latter of which was last seen leaving town with Joyce (Winona Ryder, The Plot Against America), Will (Noah Schnapp, Hubie Halloween) and Jonathan (Charlie Heaton, The New Mutants), but also for Mike (Finn Wolfhard, The Goldfinch), Dustin (Gaten Matarazzo, The Angry Birds Movie 2), Lucas (Caleb McLaughlin, Concrete Cowboy), Max (Sadie Sink, The Last Castle), Steve (Joe Keery, Spree) and Nancy (Natalia Dyer, Things Seen & Heard). Check out the two new Stranger Things season four teasers below: https://www.youtube.com/watch?v=uRIpYFIlg5U https://www.youtube.com/watch?v=ILwLN6hV-X8 Stranger Things season four doesn't currently have a release date — we'll update you when Netflix announces its plans. Top image: Stranger Things season three.
UPDATE, March 19, 2021: Searching is available to stream via Netflix, Google Play, YouTube Movies, iTunes and Amazon Video. It's called 'screenlife': a growing group of horror and thriller flicks that trap their contents within a computer screen. Characters send emails, chat via video and text, scroll through social media feeds and Google whatever the narrative calls for, as viewers watch every move of the mouse cursor. The name is fitting for other reasons, too. Who doesn't live the bulk of their lives in front of a screen these days, after all? Indeed, in so simply yet savvily reflecting society's modern-day reality, this new filmmaking approach is more than just a gimmick — especially when it's put to such excellent use as seen in Searching. At first, the Kim family computer acts as a time capsule, exposing nearly two decades of memories as David (John Cho) and his wife Pamela (Sara Sohn) raise their daughter Margot. Through calendar reminders, emails and clips, the audience witnesses intimate and everyday moments, sees tragedy strike, and watches as David and a now 16-year-old Margot (Michelle La) struggle to cope in the aftermath. But more drama is set to follow. When Margot doesn't come home from a study session one evening and doesn't show up at school the next day either, David is frantic. Her laptop now becomes a sleuthing tool, as he uses every online means at his disposal to track down Margot's whereabouts, both with and without the help of police detective Vick (Debra Messing). A missing person thriller, Searching's premise has been done many times before, furnishing episodes of every procedural crime TV series that you can think of. While first-time writer-director Aneesh Chaganty and his co-scribe Sev Ohanian bring their own twists and turns, the essence of their narrative remains familiar. That's where the film's use of technology comes in. As both easily foreseeable and completely unexpected developments unravel on Searching's screen within a screen, each clue, keystroke and cascaded window feels urgent and immediate. Each choice and reaction that David makes, too. The movie has more than a few smart things to say about humanity's constantly online status, but it's smartest touch is using its immersive style to heighten the tension and suspense — and, in moments of extreme pressure, to show its protagonist reacting as everyone else would. Searching's casting proves as clever as its central conceit, as Cho emphatically demonstrates. Fourteen years after Harold and Kumar went searching for stoner snacks, it's long been a given that the actor should be a huge star. Searching isn't the only recent entry on his resume to back up that point (see his stellar work in Gemini and Columbus), but it is the biggest. The film is trained on his anxious face for the bulk of its 102 minutes, framing it close and tight via FaceTime videos, and he makes the most of every moment. It's not just worry and fear flickering in his darting eyes as David scrambles to find his daughter, but the dawning realisation that the computer knows more about Margot than anyone, even a father, could hope to. Known for Nightwatch, Daywatch, Wanted and Abraham Lincoln: Vampire Hunter, Russian-Kazakh filmmaker Timur Bekmambetov is the other crucial aspect to Searching. Here, he's in the producer's chair, adding another screenlife flick to his growing haul. He was behind the surprisingly effective Unfriended, and directed this year's other great computer screen-based effort, Profile, which follows a journalist trying to befriend a Syrian ISIS recruiter. Bekmambetov's studio also created the software that gives these movies their visual language, and has publicly said that he'd like to make 50 of them a year. Basically, the filmmaker is turning what might've been a flash-in-the-pan idea into its own genre, letting each subsequent entry illustrate the style's worth, effectiveness and astute capabilities. With Searching, he makes a resounding case. Even when it serves up a few over-the-top leaps, keeping your eyes glued to a computer has rarely been more riveting. https://www.youtube.com/watch?v=9eccvs0b_oU
Among the wealth of new content that Netflix drops on viewers each and every year, Dead to Me proved one of the streamer's 2019 hits. Taking a few cues from 2018 film A Simple Favour, the show's ten-episode first season told the tale of two women who meet, become friends despite seemingly having very little in common, and help each other with their daily lives — then find themselves immersed in more than a little murky business. Now, the twisty dark comedy is returning for another season — and stars Christina Applegate and Linda Cardellini are back as well. The former once again plays a just-widowed woman trying to cope with losing her husband in a hit-and-run incident, while the latter pops up as a positive-thinking free spirit. It has been some time since they initially crossed paths at a grief counselling session, though, so this definite odd-couple situation has evolved to feature more secrets, lies and complications, as well as more than one murder cover-up. When the show's first season ended, it did so with a huge cliffhanger. As the just-dropped full trailer for Dead to Me's second season shows, this new batch of episodes will see Applegate's Jen Harding and Cardellini's Judy Hale dealing with the aftermath of that big event. And, it also reveals that fellow series co-star James Marsden is back — although you'll obviously have to wait for the new season to find out just what that means. Created by 2 Broke Girls writer Liz Feldman, the series marks Applegate's first lead TV role since 2011-12 sitcom Up All Night. For Cardellini, it's a return to Netflix after starring on the streaming platform's drama Bloodline — and she also featured in A Simple Favour, too. Check out the full trailer for Dead to Me's second season below: https://www.youtube.com/watch?v=HmU7ylnmn_M Dead to Me's second season hits Netflix on Friday, May 8. Images: Saeed Adyani / Netflix.
No one likes receiving the same Christmas gift twice, but when it comes to festive-themed films and their sequels, that's typically what you get. Unfortunately, Bad Santa 2 doesn't escape that trap. Back in 2003, the original film prove a rude, crude blast of fresh air that flouted and took the piss out of yuletide clichés. By comparison, the long-awaited follow-up plays like a half-arsed version of the exact same thing. For Willie Soke (Billy Bob Thornton), that means drinking, brawling, swearing, screwing, stealing, scamming, cracking safes and soaking in his own urine, usually while dressed up as Father Christmas. He's reluctant to return to the red coat and wig, but he's also eager to pilfer whatever cash he can when Christmas rolls around — 'tis the season to be burgling, and all that. That's why he agrees to re-team with his duplicitous, diminutive former partner-in-crime Marcus (Tony Cox), trading an unsuccessful suicide attempt for a scheme to fleece a Chicago charity. That the third person in their thieving plans is his estranged ex-con mother (Kathy Bates) complicates matters considerably. Add a lustful love interest (Christina Hendricks), plus a well-meaning but dim-witted hanger-on (Brett Kelly), and the Bad Santa formula everybody knows and once loved is back in action. Alas, with original director Terry Zwigoff (Ghost World) and writers Glenn Ficarra and John Requa (Crazy, Stupid, Love) nowhere in sight — replaced by Mean Girls' helmer Mark Waters, first-time feature screenwriter Johnny Rosenthal and What to Expect When You're Expecting scribe Shauna Cross — Bad Santa 2 rides its sleigh straight into tired territory. If there's a cinematic equivalent of asking for a pony and getting a photo of one instead, Bad Santa 2 is it. Everything looks the part, but this follow-up is no substitute for the real thing. Instead of humour steeped in the dark side of the season — be it the rampant consumerism, the gnawing loneliness or the manufactured cheer — this sloppy second effort just dials up the obscenity and anti-social behaviour, then tops the tree with familial drama. Indeed, in trying to coast by with little more than a predictable premise, easy gags, outrageous situations, unlikeable characters and a late splash of sentimentality, Bad Santa 2 could be mistaken for one of the poor imitators that the first movie inspired. At least Thornton is on hand to do what he does best. If nothing else, the been there, done that air and apparent lack of effort suits his bad protagonist to the wearied, wise-cracking bone. Accordingly, when a handful of the script's grossly inappropriate jokes land, Thornton is usually the reason.
From this Friday, Melbourne's annual celebration of all things wining and dining rocks into town, with this year's Melbourne Food & Wine Festival promising as tasty a lineup as ever before. From epic sit-down dinners with a low-waste approach, to a food truck burger face-off, there's something among this smorgasbord of events to suit every palate and budget. Time to break out the stretchy clothes and feast yourself silly — here are ten MFWF events you can still grab tickets to.
Chances are, you burnt through your entire puzzle collection during the first lockdown and now you're in desperate need of fresh jigsaw talent to see you through these next few weeks of lockdown. If that's the case, Australia Unseen's Vincent Rommelaere is here to help. The photographer is known for capturing idyllic scenes of Aussie beaches and rockpools, which are sold as prints on his website. But as iso-life became the new normal earlier this year, Rommelaere began transforming some of his NSW snaps into stunning, 500- and 1000-piece jigsaw puzzles, bringing the great outdoors into living rooms across the country. Now, with Melbourne swept back into Stage 3 restrictions, Australia Unseen has kindly gone and dropped a new batch of puzzle designs, this time featuring a couple of iconic Victorian sights. You can keep your fingers busy piecing together a scenescape of the 12 Apostles ($65), or assembling an early morning view of the Princes Bridge and the Melbourne CBD skyline, complete with hot air balloons dotting the sky ($65). Or, if you're ready to start dreaming of future summer travel plans, try something from the original lineup — maybe a shot of waves crashing over Icebergs, a slice of Byron Bay paradise, or a bird's-eye view of a busy Bondi Beach. Each design is available to purchase on its own, or as part of a gift box teamed with an A4 art print and a personalised postcard message. In the coming weeks, there'll also be options to add thoughtful extras like chocolate and candles. All jigsaw puzzles in stock are shipped from Sydney within two business days and you'll score free shipping on orders over $100. Australia Unseen jigsaw puzzles are now available to buy over here.
When it comes to Australia's annual collection of Jewish cinema, variety isn't simply the spice of life — it's the festival's guiding principle. Showcasing the breadth and depth of Jewish culture and storytelling is this event's aim, and it has the range to match. In fact, 2017's Jewish International Film Festival lineup boasts 65 films from 26 countries, including Danish dramas, Aussie docos, Israeli love stories, restored Polish classics, Russian projects and everything in between. A heartbreaking array of factual efforts? Tick. The sounds of Yiddish? Tick again. Explorations of famous Jewish filmmakers? A Sundance-like range of US indies? Multiple perspectives on Israeli life? Just keep ticking. With the fest making its way around the country between October 25 and November 22, we've chosen our five must-see movies from this year's program. https://www.youtube.com/watch?v=83UoZcdX__Y MENASHE If you only see one Yiddish-language movie this year, make it Menashe, which has been earning ample praise since it premiered at Sundance back in January. Loosely based on the real life of its Hasidic first-time actor and star Menashe Lustig, writer-director-producer-cinematographer Joshua Weinstein's debut full-length film unravels the story of a grocery store worker desperate to keep custody of his son after his wife's death — but beholden to strict religious tradition that dictates otherwise unless he remarries. For extra authenticity, the film was reportedly shot in secret within New York's ultra-orthodox community. Screening in Sydney, Melbourne and Brisbane. https://vimeo.com/224428115 IN BETWEEN Three female friends cope with life, love and navigating society's standards in In Between, a film that sounds oh-so-familiar — until it comes to its setting and cultural perspective. Screens big and small are filled with similar stories, but this isn't just Girls set in Tel Aviv. Rather, first-time feature filmmaker Maysaloun Hamoud delves into the difficulties confronting her trio of Palestinian protagonists as they try to wade through several layers of oppression, refuse to conform to expectation, and — crucially — fight to be themselves in a world of rules, tradition and control. Screening in Sydney and Melbourne. https://www.youtube.com/watch?v=hjt3J9mM7aE REBEL IN THE RYE For a famous recluse who shunned the spotlight for the bulk of his adult life, the late JD Salinger is rarely far from public attention. Writing one of the most iconic novels of the twentieth century will do that. While Salinger refused to let anyone turn The Catcher in the Rye into a film (not that it stopped the likes of Marlon Brando, Jack Nicholson and Leonardo DiCaprio trying), the author's own tale keeps popping up on screen. Documentary Salinger stepped through his story back in 2013, and now Rebel in the Rye dramatises his early years — with Nicholas Hoult as the scribe and Mad Men actor turned writer-director Danny Strong behind the camera. Screening in Sydney, Melbourne and Brisbane. https://vimeo.com/209150832 SCARRED HEARTS After helming the nineteenth century-set Romanian art-western Aferim!, filmmaker Radu Jude once again opts for something far from ordinary with Scarred Hearts. Based on autobiographical writings by Jewish Romanian author Max Blecher, the film tells the story of a twenty-something man's bedridden state as he recovers from bone tuberculosis, falls in love with a recovering former patient, and endeavours to reach beyond his confined state. A tale of living, resting, trying to find small joys, and coping with both illness and Facism, suffice it to say that this isn't the type of film you see every day. Screening in Sydney and Melbourne. https://www.youtube.com/watch?v=BKXAkITImGU BOMBSHELL: THE HEDY LAMARR STORY She amassed 35 acting credits to her name in both Europe and the US, and starred alongside everyone from Judy Garland to Spencer Tracy to the Marx brothers in her '40s and '50s heyday. That's only part of Hedy Lamarr's considerable true tale, however. Bombshell: The Hedy Lamarr Story steps through the smarts behind the screen persona, with the Austrian-born talent not only an actress but an accomplished inventor. Self-taught, she devised a frequency-hopping signal that was used by the Allies during the Second World War, as this Diane Kruger-narrated documentary explores. Screening in Sydney and Melbourne. The 2017 Jewish Film Festival screens at Sydney's Event Cinemas Bondi Junction and Hayden Orpheum from October 26 to November 22, Melbourne's Classic Cinemas and Lido Cinemas from October 25 to November 22, and Brisbane's New Farm Cinemas from October 26 to November 1. For more information and to buy tickets, visit the festival website.
That next Japan trip might be a little further off than anticipated, but there's nothing stopping you from diving into regular bowls of hot, aromatic ramen in the meantime. And new delivery service Gomi Boys Ramen is making it even easier to score a weekly fix of that Japanese soup...minus the cooking and kitchen clean-up. Melbourne chefs Ryan Maher and Ben Reardon launched their ramen drop-off business back in June, delivering handmade, ready-to-heat soup kits to select suburbs each Thursday. They followed it with a couple of pop-ups at Thornbury bar Nasty's when restrictions eased, but are now back solely on delivery runs while the city's in lockdown 2.0. The duo's ramen skills are the result of regular travels to Japan, while their business name is a reference to the Japanese word for rubbish or trash. "We are basically nodding to the fact that we are two white boys making ramen," explains Reardon. "Hence the tag line 'rubbish humans, excellent ramen'". And, with a couple hundred orders flowing in each week, it seems that last part rings especially true. [caption id="attachment_776659" align="alignnone" width="1920"] Michael Oulton[/caption] Currently on the Gomi Boys menu, you'll find eight ramen varieties, with plenty of vegan, gluten-free and allergen-friendly options among them. All kits feature a mix of top local produce and premium Japanese ingredients, with fresh handmade noodles, toppings, broth and seasonings ready to be heated and assembled in your kitchen. The boys' signature soup is a Shinjuku-inspired niboshi tonkotsu shio ramen, starring a pork and chicken broth elevated with anchovy and fish sauce. Or, you might fancy shaking things up with the szechuan-spiced cauliflower tantanmen, featuring a mushroom-based broth with tahini and gochujang. Each kit clocks in at $19.45, with add-ons like pork belly chashu and extra noodles available for a few more dollars. While they're on the hunt for a permanent space, Maher and Reardon are operating out of West Footscray, so the Gomi Boys delivery area currently covers a range of northern and western suburbs. Kits are dropped off between 2pm and 7pm on Thursdays only, but they can be kept in the fridge to be used within three days. Orders are taken through the website between 12pm each Friday and 8pm on Mondays — or until they've sold out. Gomi Boys Ramen delivers to a range of suburbs each Thursday. Head to the website to check the delivery zone, see the menu and place an order (Friday to Monday). Delivery is free, but there's a minimum order of $38. Images: Michael Oulton
As we gear up for longer days and balmier temperatures, now's the perfect time to nurture that green thumb. On October 21 and 22, The Diggers Club again teams up with Royal Botanic Gardens Victoria for its second annual Botanic and Rare Plant Fair, taking over the Southern Cross and Observatory Lawns at Melbourne Gardens. Load up on inspiration, expert knowledge and lush new leafy mates, with this lineup of over 40 specialist stalls, programs and demonstrations. There'll also be eats from the likes of Benny Burger and Jardin Tan, and even a plant creche, to save you from lugging around all your new purchases.
Because we don't have enough incredible, intricately-made drinks on-hand at all times, New York cocktail bar Attaboy is taking a trip out to Australia to make a few concoctions for us. How thoughtful. Following in the footsteps of fellow NYC bar Please Don't Tell, which held a Melbourne pop-up last year, Attaboy will be doing two one-night-only residencies in our two biggest cities: at The Everleigh's Elk Room in Melbourne, and Dead Ringer in Sydney. It's a sort of homecoming for bartender Sam Ross, who was a part of the Melbourne bar scene before he moved off to New York. He'll be mixing drinks with fellow bartenders Michael McIlroy and Otis Florence tonight (Wednesday, February 10) in Melbourne, and Monday, February 15 in Sydney. There are no bookings, but they'll be starting their rockstar shifts at 9pm — so get there early to secure a prime posi. Attaboy, which has been a Lower East Side favourite since it opened in 2013, operates with no menu; the pro bartenders will make something that aligns with your taste or favourite spirit. So, head in with tasting notes — or an open mind. Attaboy will pop up at The Everleigh's Elk Room from 9pm on Wednesday, February 10, and Dead Ringer on Monday, February 15 from 9pm. For more info, visit Attaboy's Instagram.
Spending more time at home is much easier to stomach with a hefty range of desserts on hand, or at least that seems to be Gelato Messina's long-running pandemic motto. The gelato chain keeps spoiling our tastebuds with specials, with everything from decadent cookie pies to 40 of its best flavours and full tubs of its indulgent limited-edition desserts on offer over the past year or so. It has also whipped up its own take on that vanilla and chocolate-layered ice cream cake everyone considered the height of extravagance as a child, too — and now it's bringing that tasty take on Viennetta back for another round. If you've been indulging your sweet tooth as a coping mechanism lately — frozen desserts were subject to strict item limits last March, so plenty of folks clearly went big on sugary comfort food — then consider yourself primed for this super-fancy version of the nostalgic favourite. It's another of Messina's limited releases, with tubs of the rippled gelato creation available at all its stores for a very short period. There's a twist this time, however, with this Messinetta (as Messina calls its Viennetta) also inspired by its take on Golden Gaytimes. If you've tried a scoop of the brand's popular Have a Gay Old Time flavour, then imagine that, but turned into Viennetta. This limited-time-only dessert combines layers of caramel and milk gelato, then covers it with chocolate-covered biscuit crumbs, and finally tops it all with ripples of vanilla and caramel chantilly cream. And yes, the end result looks like the dessert you know and love, but in a caramel colour for a change. The latest release in Messina's new 'Hot Tub' series, the Have a Gay Old Time Messinetta can only be ordered online at 9am on Monday, August 2, with a one-litre tub setting you back $35. You can then go into your chosen Messina store to pick up your tub between Friday, August 6–Sunday, August 8. If you're in Sydney, just remember that you'll now need to be headed to a store within ten kilometres of your house. Gelato Messina's Have a Gay Old Time Messinetta tubs will be available to order at 9am on Monday, August 2, for pick up between Friday, August 6–Sunday, August 8 from all stores except The Star — keep an eye on the Messina website for further details.
In a Venn diagram of people who love musical theatre and awe-inspiring acrobatics, the ideal audience for Pippin sits in the centre. The Tony Award-winning revival of the 1972 musical first burst onto Broadway in 2013 and amassed critical attention for its extraordinary stunts — from jumping through hoops to balancing on medicine balls and dangling from death defying heights. Its new look won the production four Tony Awards including Best Musical Revival. [caption id="attachment_784142" align="alignnone" width="1920"] Terry Shapiro[/caption] The musical tells the story of Pippin, a medieval prince searching for his place in the world. The play within a play is told by a travelling troupe of actors and acrobats who often address the audience directly. And, in addition to the edge-of-your-seat action, it's also packed with memorable tunes like 'Corner of the Sky', 'No Time at All' and 'Magic to Do', all composed by Oscar- and Grammy Award-winning composer Stephen Schwartz (Wicked and Godspell). This summer, Australian audiences can experience the entertaining Australian production for themselves when Pippin comes to Sydney Lyric at The Star. As we live in uncertain times, there are flexible ticket options available, which might suit those planning to travel to Sydney especially for the show. Sydney Lyric at The Star also has a COVID-19 safety plan in place, in accordance with NSW Health. Pippin is showing exclusively in Sydney from November 24 to January 31. Tickets start at $69.90. Top image: Joan Marcus
UPDATE, January 15, 2021: Widows is available to stream via Amazon Prime Video, Google Play, YouTube Movies and iTunes. Widows begins with images of both passion and peril, contrasting intimacy with anarchy and the everyday with the extreme. Against crisp white sheets in their well-appointed Chicago penthouse, Veronica (Viola Davis) and Harry Rawlings (Liam Neeson) embrace. In a van filled with stolen cash, Harry also leads a gang of thieves that are being pursued by the police. Directing his fourth film, Steve McQueen jumps between the two scenes throughout Widows' opening moments, letting blissful domesticity and a chaotic chase clash together. It's an effective juxtaposition for many reasons, including the technical flair on display from McQueen's regular cinematographer Sean Bobbit (On Chesil Beach) and returning editor Joe Walker (Blade Runner 2049). It also couldn't better encapsulate this stunning heist movie. When Harry's job goes wrong, Veronica is left a widow. So are the wives of his accomplices, though mother-of-two Linda (Michelle Rodriguez) and Polish transplant Alice (Elizabeth Debicki) don't know each other, let alone Veronica. But this trio of women from different backgrounds has more in common than just their grief. The lives they previously knew explode in the hail of gunfire that claims their husbands, leaving them all struggling to get by. Moreover, they become targets for a local crim turned aspiring politician (Brian Tyree Henry), who needs the $2 million that Harry pilfered to battle his corrupt opponent (Colin Farrell) at the polls. Pierce the veneer of normalcy, and desperation follows. That's Veronica, Linda and Alice's shattered situation in a nutshell, with tough times calling for tough decisions and deeds. To deal with the mess they're now in, the three ladies decide to stage their own heist, using plans left in Harry's secret notebooks. Remaking the 1983 British TV series of the same name, writer-director McQueen teams up with Gone Girl's Gillian Flynn to paint a portrait of women doing what they have to to get by. That the uncaring, unjust and inequitable world has led them to this juncture never escapes attention. Nor does the fact that these ladies — including hairdresser-turned-getaway driver Belle (Cynthia Erivo) — are all too accustomed to society turning them a blind eye. A slick thriller with much to show, just as much to say and plenty of grim, purposeful swagger, Widows achieves what few heist flicks manage. When it comes to the nuts and bolts of the genre, it glides forward with exacting precision and bristling tension. When it comes to giving resilient, enterprising but far-from-perfect women their due — and in a testing situation, too — the film builds complex, capable and compelling characters. And when it comes to making a statement, McQueen and Flynn don't hold back. They're subtle more often than not, knowing that the most potent tool in their arsenal is simply depicting what these ladies are going through. That said, they also know when nuance isn't enough. A moving #BlackLivesMatter moment packs a blunt but powerful punch, for example. In short, Widows is the sum of its parts in the best, smartest and most entertaining possible manner. McQueen's knack for devastating drama, as so exceptionally deployed in Hunger, Shame and 12 Years A Slave, meets Flynn's knack for twisty female-driven tales — and both meet the well-oiled crime plot of Lynda La Plante, who scripted the original television show. The combination gives Widows a layered, lived-in feel that makes its quiet moments of mourning land hard and its action scenes land even harder. 2018's other caper about light-fingered ladies, aka Ocean's 8, this decisively isn't. Men play their part here, in the form of Neeson's criminal mastermind, Farrell and Henry's warring politicos, and Daniel Kaluuya as the latter's vicious enforcer brother. As the title suggests, however, Widows is firmly about women who've had much taken away — and who are fighting to survive the latest blows life has sent their way. The movie's lead actors are all fighting too, putting in career-best work across the board. Like their characters, there's much that connects Davis, Rodriguez and Debicki, who all say as much when they're not speaking as when they're uttering the film's smart dialogue. But perhaps the thing that binds them best is the multifaceted picture of womanhood that they offer. They're fragile and fierce, confident and uncertain, and messy and motivated all at once. Singling out one of their performances is no easy task, although Davis leads the charge. If you encountered her commanding, heartbroken protagonist in real life, you'd likely follow her. https://www.youtube.com/watch?v=qbKgqY3Fv9k
A film so light on its feet, yet so insightful in every frame, Let the Sunshine In could only be the work of one filmmaker. Never one to avoid trying new things, the great French writer-director Claire Denis makes her first romantic-comedy, but it's also an anti-romantic comedy of sorts. Love may be the movie's subject, and a long line of lusty encounters might await its lonely protagonist, however Denis understands one thing that upbeat on-screen amorous affairs tend to ignore. While connecting intimately with someone can feel like the most fulfilling thing in the world (even when it only lasts mere moments), everything involved with chasing that sensation — and it's always a constant chase — rarely inspires the same emotions. Giving a straightforward story more heft and depth than most labyrinthine plots, Denis' sophisticated and soulful take on love follows the romantic escapades of Parisian artist Isabelle (Juliette Binoche). In her 50s and freshly divorced, she has no shortage of suitors — from the banker (Xavier Beauvois) she's in bed with when the film starts, to an actor (Nicolas Duvauchelle) who crosses her path, to the ex (Laurent Grévill) that she's not quite done with. The list goes on, with Isabelle's affairs of the heart sharing much in common with the movie's sex scenes, and with sex in general. Limbs tangle and so do lives, as each of her rendezvous veers back and forth between the messy and the sublime. Conversation helps fill in the gaps, in a film overflowing with honest and authentic dialogue. In fact, candour proves Let the Sunshine In's driving force as it dissects the ups and downs of dating and desire. Co-writing the screenplay with novelist Christine Angot, and loosely taking inspiration from Roland Barthes' A Lover's Discourse: Fragments, Denis lets her movie move with the moment. It glows with the story's disarming delights in one scene, then fades with Isabelle's devastating lows in the next. But this isn't a portrait of yearning. It's not about searching for 'the one', or only feeling complete in someone else's arms. It's a frank account of a mature woman trying to find someone she's truly happy to share her time, heart, body and mind with, and working out what she really wants out of life in the process. Both defiant and vulnerable, there's no one better to play Isabelle than Binoche. The acclaimed actor is as vivid, magnetic and complex as she's ever been on screen, willingly embracing the many conflicts and contradictions evident in a character who always feels like flesh and blood. Astonishingly, Let the Sunshine In marks Binoche's first collaboration with Denis. It went so well that they quickly paired up again for a film that's just as stellar yet couldn't be more different: the soon-to-be-released dystopian sci-fi picture High Life. Binoche's performance in the latter movie is something else entirely, but there's a potency and freedom to her work with Denis in general, as if they're opening the floodgates to a world of women at once. Perhaps surprisingly for a romantically inclined film, though not for Denis' oeuvre, Let the Sunshine In is also visually striking. Always one for showing as much as telling — even in a movie with plenty of chatter — the director ensures her frames are as multifaceted as the protagonist within them. Indeed, it's possible to sense Isabelle's internal state just by soaking in the distinctive auteur's stylistic choices, as lensed with intimacy and empathy by her regular cinematographer Agnès Godard. Across a filmography that includes military exploits in Beau Travail, erotic horror with Trouble Every Day and immigration drama courtesy of 35 Shots of Rum, Denis has seared many an image onto the retinas of her viewers. The rich and resonant Let the Sunshine In is no different. https://www.youtube.com/watch?v=0w_thDNw8Ww
Here in Melbourne, pub grub is something we hold pretty dear to our hearts, and it's that love affair that's set to be the star of the show at the Melbourne Food and Wine Festival's inaugural Smorgasburb celebrations. Hosted by Sand Hill Road — the same guys behind some of your all-time favourite pub feeds — this promises to be one tasty afternoon. They'll be pulling together the likes of Bossam pork belly tacos from the Terminus Hotel, a sardine katsu brioche sandwich from the Prahran Hotel, kombu- cured cobia from the Garden State, and the Bridge Hotel's toasties. It's all being served up against that iconic backdrop of the Bridge Hotel's interior laneway, and teamed with a hefty drinks list worthy of any great pub sesh. Pre-purchase your tickets and you'll get tokens to use on food and drink on the day.
If your end-of-month plans included a trip to the Gold Coast to see Travis Scott, Logic, Chvrches and Carly Rae Jepsen, then we have bad news: Sandtunes, the new festival with all three leading the lineup, has been cancelled. The event has endured a tumultuous run since it was first announced in July, when it was billed as a two-day seaside music fest at Coolangatta Beach. In September, "after listening to responses from the local community", organisers moved the festival to the definitely not-by-the-shore Metricon Stadium. But it seems that patrons weren't impressed with the change of venue, even when ticket prices were slashed to help reignite interest. As the event notes, "without sand between our punters' toes, the very notion of the beachside festival in a stadium meant low sales". As a result, the debut fest won't be going ahead — on its scheduled dates of Saturday, November 30 and Sunday, December 1, or at all. https://www.facebook.com/SandTunesFestival/photos/a.352133325459956/410100329663255/?type=3&__xts__%5B0%5D=68.ARApmpGdy5jXx8Xi-9m6RCcZxSnRhY1fQxz9d-ZUZpM7EGPBFrtO1wf-gOYL8tJ0qZ-nxEwmhqno3z-rlZM-1sSPnoKyC5l7CHaq6J3pSmrLQJIrBQeGrziAYhbHJ5qYUVDLaE9HMU8sR6BvffsvLOyKj-cqCrTvjyqnZ0tgaCJJGEe_A9cL_17b23XlTQ3vUg5ZYjn2tqg7MInBAQmSmgVc84QzoHWNgXd7QloG2ER7vWs4JS7GH35iCwI9kS34Fj6jcSGwONORmWpmiUJbF3zmmzzTifplLQWUUoq4rAk-chmpA1emaWuC3FsBe-MsT0GUvOHyEE1oq0wZH3r3dGU&__tn__=-R That also means that the fest's plans not just to run this year, but to become an annual part of southeast Queensland's event calendar, have fallen by the wayside. "This whole concept started with bringing a great music festival to the beach which we see happening the world over in major locations like Spain (Barcelona Beach Festival) and Alabama (Hangout Music Festival). I'm disappointed because I believed this could have grown year-on-year into something really big but unfortunately, we weren't even able to get it off the ground here," said Paul Dainty, president and CEO of promoters TEG Dainty. While it's hardly surprising that the change of location away from the beach dampened music fans' enthusiasm, Sandtunes' timing in general wasn't fantastic, with the fest's dates overlapping with part of Schoolies. The rest of event's lineup was also slated to feature Juice WRLD, Dean Lewis, Sampa the Great, Tkay Maidza, Cub Sport, Kait, Kwame, WAAX, Kian, Alice Ivy, Genesis Owusu and Saint Lane. For folks keen to see Scott, it's especially unwelcome news — Sandtunes would've been the Texas-born rapper's only Australian performance this year. It seems that Carly Rae Jepsen's Aussie tour will still go head, just not in Queensland, with tickets for her Sydney and Melbourne shows still on sale at the time of writing. As for Logic, Sydney and Melbourne ticket sales have "been postponed while we work through some tour logistics", although co-presenter Triple J reports that his visit won't be going head. Sandtunes ticketholders who purchased by credit or debit card will receive refunds automatically within ten working days, while those who purchased in an agency will be contacted by phone with a fortnight to make refund arrangements. For more information about Sandtunes' cancellation, visit the festival website.
Victorians have become accustomed to a specific pattern over the past few months. When Premier Daniel Andrews takes the podium at a press conference to announce the latest easing of restrictions, he often reveals just when he'll next be hopping behind the microphone to do it all over again. So, since Sunday, November 22, the state's residents have known that more information would be coming today, Sunday, December 6. On the agenda: a heap of new changes, with most coming into effect tonight at 11.59pm. As keeps proving the case at each stage, you'll be able to gather in more places with more people with fewer limits, including at home and in public gatherings with your friends and family outdoors; at cafes, bars and restaurants; and at entertainment venues. Last month, Premier Andrews revealed that Victorians would be able to host more people in their houses before Christmas, with the cap going up from 15 to 30 (and from any number of other households). That's a daily limit, so you can only have 30 people over across one whole day, even if they come at different times in different groups — but it'll now kick in a week earlier than initially planned, from 11.59pm on Sunday, December 6. It's important to note that your home also includes your front and back yards, though. Fancy heading outdoors with your nearest and dearest elsewhere, beyond your own patch of land? In good news, public outdoor gatherings will increase to 100. So your next trip to the beach or the park with your mates can now feature quite the crowd. Also, travel-wise, you'll be able to head out of town in line with the private at-home gathering cap (so in groups of 30 people from any number of other households). https://twitter.com/DanielAndrewsMP/status/1335375495131660289 In the hospitality sector, all venues are moving to a density quota only, rather than a strict numbers limit. One person will be allowed for every two square metres of space both indoors and outdoors, including at food courts. For smaller venues, they can welcome in up to 25 people before the density quotient applies. The above is only permitted to come into effect in tandem with electronic record-keeping for contact-tracing purposes, though — so if there's no QR codes to track who is in a venue, the one-person-per-four-square-metres rule applies. Oh, and standing service is now allowed. Places with a dance floor will also have a stricter limit applied to said space for making shapes. One person will be allowed to show off their fancy footwork per four square metres of dance floor, up to a maximum of 50 people. Yes, that includes nightclubs — which'll be permitted to serve drinks to standing patrons. Both indoors and outdoors, seated entertainment venues (such as cinemas and theatres) will be able to up their capacity to 75 percent, maxing out at 1000 people at a density of one person per two square metres. Again, that's contingent on venues using QR codes. So, again, if they don't, the one-person-per-four-square-metres rule kicks in. Indoor non-seated entertainment venues, like galleries, can move to 50-percent capacity, up to 1000 people, at a density of one person per two square metres — and again, that's only with QR codes. Outdoors, it's just the one-person-per-two-square-metres rule that has to be abided by, with no patron limit. Gyms and fitness studios will increase to a maximum of 50 people per class, with one person per four square metres. Indoor pools can have one person per four square metres, while outdoor pools can host one person per two square metres. And religious gatherings, weddings and funerals will be able to have one person per two square metres with no caps — unless they're in a private residence, where the 30-person limit kicks in. Regarding masks, the rules are changing there as well. You'll need to keep wearing them only in certain situations, such as large and busy indoor indoor shops, and on public transport. You will always need to carry one with you, though. Work-wise, offices in the private sector can increase the number of employees working onsite to 50 percent of workers from January 11, and to 75 percent from February 8. The public sector will move to 25 percent of workers in the office from January 11 and to 50 percent from February 8. Running through all of the above, Premier Andrews noted that Victoria is now at a phase the government is calling a "COVID-safe summer", and that it'll "be in place until at least the end of January, giving Victorians a bit more certainty about what the next couple of months will look like". As always, the usual rules regarding hygiene, social distancing and getting tested if you display any possible COVID-19 symptoms all still apply as restrictions keep easing. For more information about the status of COVID-19 and the current restrictions, head over to the Department of Health and Human Services website — and for further details about Victoria's steps for reopening, head to the roadmap itself. Top image: Kate Shanasy.
December, 2005. Two cars circle the beachside Sydney suburb of Cronulla, each filled with hotheaded locals looking for a fight. In one vehicle, the aggressive Jason (Damon Herriman) and his Ned Kelly-worshipping pal Ditch (Justin Rosniak) take the well-meaning but not-so-bright Shit Stick (Alexander England) and his kind-hearted Down Syndrome cousin Evan (Chris Bunton) in search of folks of Middle Eastern descent to bash. In the other, Hassim (Lincoln Younes) tears himself away from his studies to scour the streets for his missing brother – though his pals Nick (Rahel Romahn) and D-Mac (Fayssal Bazzi) and his devout uncle Ibrahim (Michael Denkha) are all keen to cause some physical damage to the area's ocker residents along the way. It's a scenario inspired by reality, in a film filled with harsh truths. If you're feeling a little awkward or even confronted by a comic take on the Cronulla race riots, that's okay. You're supposed to be. Like British terrorism satire Four Lions before it, Down Under addresses a subject everyone is aware of but no one wants to talk about, in perhaps the only way that it can. Feeling like you shouldn't be laughing at what you're seeing is part of the point. Thinking about why you're laughing is as well. Accordingly, the plot of Down Under offers a peek at the ugly side of Australian life. Conflict, discrimination and violence is inescapable in this film, as is the sense of discomfort by those watching. In his polished, purposefully provocative return to feature filmmaking after 2003's Ned, writer-director Abe Forsythe revels in the controversial nature of a situation that no one in the country can claim is unrealistic. After all, we all saw the scenes that made the news just over a decade ago; in fact, that's the footage Down Under begins with. As the two groups spend a day and a night driving around searching for weapons and arguing amongst themselves, the film manages to find the delicate balance between making a statement and making you laugh. Gags that stress the similarities between both sides provide many of the film's funniest and most astute moments, while Forsythe's clearly committed cast ensures that the characters never feel like mere caricatures – even when they're spouting idiotic, bigoted crap. Ultimately, Down Under isn't simply attempting to get viewers cackling about an uncomfortable topic. Forsythe is primarily trying to highlight the nation's deep-seeded intolerance, as well as the pointlessness of spewing hate based on cultural differences. It's little wonder that the film that results isn't just a comedy, but a tragedy as well. And given the current political and media landscape, this movie and its message really couldn't be more timely.
