There's only one Wes Anderson, but there's a litany of wannabes. Why can't David O Russell be among them? Take the first filmmaker's The Grand Budapest Hotel, mix in the second's American Hustle and that's as good a way as any to start describing Amsterdam, Russell's return to the big screen after a seven-year gap following 2015's Joy — and a starry period comedy, crime caper and history lesson all in one. Swap pastels for earthier hues, still with a love of detail, and there's the unmistakably Anderson-esque look of the film. Amsterdam is a murder-mystery, too, set largely in the 1930s against a backdrop of increasing fascism, and filled with more famous faces than most movies can dream of. The American Hustle of it all springs from the "a lot of this actually happened" plot, this time drawing upon a political conspiracy called the White House/Wall Street Putsch, and again unfurling a wild true tale. A Russell returnee sits at the centre, too: Christian Bale (Thor: Love and Thunder) in his third film for the writer/director. The former did help guide the latter to an Oscar for The Fighter, then a nomination for American Hustle — but while Bale is welcomely and entertainingly loose and freewheeling, and given ample opportunity to show his comic chops in his expressive face and physicality alone, Amsterdam is unlikely to complete the trifecta of Academy Awards recognition. The lively movie's cast is its strongest asset, though, including the convincing camaraderie between Bale, John David Washington (Malcolm & Marie) and Margot Robbie (The Suicide Squad). They play pals forged in friendship during World War I, then thanks to a stint in the titular Dutch city. A doctor, a lawyer and a nurse — at least at some point in the narrative — they revel in love and art during their uninhabited stay, then get caught in chaos 15 years later. Amsterdam begins in the later period, with Burt Berendsen (Bale) tending to veterans — helping those with war injuries and lingering pain, as he himself has — without a medical license. He once had a Park Avenue practice, but his military enlistment and his fall from the well-heeled set afterwards all stems from his snobbish wife Beatrice (Andrea Riseborough, The Electrical Life of Louis Wain) and her social-climbing (and prejudiced) parents. As he did in the war, however, Burt aids who he can where he can, including with fellow ex-soldier Harold Woodman (Washington). That's how he ends up lending a hand (well, a scalpel) to the well-to-do Liz Meekins (Taylor Swift, Cats) after the unexpected death of her father and their old Army general (Ed Begley Jr, Better Call Saul). The bereaved daughter suspects foul play and Burt and Harold find it, but with fingers pointing their way when there's suddenly another body. Two police detectives (The Old Guard's Matthias Schoenaerts and The Many Saints of Newark's Alessandro Nivola), both veterans themselves, come a-snooping — and Burt and Harold now have two tasks. Clearing their names and figuring out what's going on are intertwined, of course, and also just the start of a story that isn't short on developments and twists (plus early flashes back to 1918 to set up the core trio, their bond, their heady bliss and a pact that they'll keep looking out for each other). There's a shagginess to both the tale and the telling, because busy and rambling is the vibe, especially with so much stuffed into the plot. One of Amsterdam's worst traits is its overloaded and convoluted feel, seeing that there's the IRL past to explore, a message about history repeating itself to deliver along with it, and enough mayhem to fuel several romps to spill out around it. The pacing doesn't help, flitting between zipping and dragging — and usually busting out the wrong one for each scene. Among all of the above, there's also no shortage of characters; that lengthy list of well-known names has to get up to something, and that jam-packed story has to get as many cogs whirring as possible. Valerie Voze (Robbie) sweeps back in just as pandemonium kicks in, under her brother Tom (Rami Malek, No Time to Die) and his wife Libby's (Anya Taylor-Joy, The Northman) watch. Old war buddy Milton King (Chris Rock, Spiral: From the Book of Saw) warns Burt and Harold about helping Liz from the start, but autopsy nurse Irma St Clair (Zoe Saldana, The Adam Project) — who Burt is visibly fond of — dutifully assists. Also popping up: celebrated army buddy General Gil Dillenbeck (Robert De Niro, The War with Grandpa), as well as intelligence officers Paul Canterbury (Mike Myers, The Pentaverate) and Henry Norcross (Michael Shannon, Bullet Train). Russell uses his supporting players to inject as many quirks and as much energy as he can, including via Canterbury and Norcross' cover as purveyors of glass eyes — something that Burt needs, in dark hazel green — and their keen and genuine interest in birdwatching as a hobby. Those and other eccentricities are also sprinkled around heartily as flavour, setting up and deepening the madcap mood with more than a tad too much force, particularly given that the score by Daniel Pemberton (See How They Run), roving and Dutch-tilting cinematography from Emmanuel Lubezki (Song to Song), and intricate production and art design more than do their showy and flamboyant part. Still, there's little faulting the spirited actors circling around Bale, Washington and Robbie — Malek, Saldana, Riseborough and De Niro especially — or that lead threesome. Whenever Amsterdam lags or rushes, the performances bring viewers in. Alongside Bale's engaging sense of comedy, Washington wears understated charm as well as a suit, and Robbie is just as charismatic playing free-spirited yet tenacious. Lubezki's floating lensing truly is magnetic; if ever given the option to go large or go home, Russell is rarely known for holding back or getting his collaborators to. The filmmaker is fond of idealistic protagonists making their way through a trying world with their sizeable personalities, hopes and hearts shining bright, recognisably so — and contemplating what his boisterous bounces through fictionalised/dramatised blasts from the past say about America today. Being aware of how quickly fascism can infiltrate, and via whom, isn't a new or novel message for 2022. Amsterdam is never as simplistic in stating the obvious as Don't Look Up was about climate change, though, and it isn't patronising, insulting or irritating, thankfully. It's no The Grand Budapest Hotel or even American Hustle, either, but worse can happen, a notion that the screwball flick's characters keep learning.
Wander through French Impressionism, NGV International's big winter blockbuster exhibition, and visions of the natural world by iconic artists are among the many sights that greet attendees. There should be no better way to appreciate our planet than engaging with it ourselves, but sometimes art sees what we don't, as this showcase of masterworks helps demonstrate. Also open since Friday, June 6, 2025 and similarly displaying until Sunday, October 5, 2025, Plans for the Planet: Olaf Breuning for Kids takes the idea of embracing the environment through art and makes it the sole focus — playfully, and to get young visitors engaging with the topic. Swiss artist Breuning explores sustainability, conservation, pollution and wildlife, aiming to spark new generations to ponder a better future for the pale blue rock that we call home. The art here is interactive, as seen in the animated drawings of forests, lava and more that kids can activate via swipe card. This exhibition also wants children to get creative themselves, courtesy of their own drawings. For instance, a giant tree installation brings the woodlands indoors — and is designed to inspire little art lovers to draw homes for forest animals. Or, via the photobooth, attendees can snap self-portraits, decorate them with virtual objects, and use them to express themselves. At touch screens, too, kids are encouraged to add their ideas for the future, which then become part of the installation. Images: installation views of Plans for The Planet: Olaf Breuning for Kids, on display from 6 June to 5 October at NGV International Melbourne. Photo: Mitch Fong.
As part of their Australasian Tour rock legends Deep Purple will play at Rod Laver, alongside American rockers Journey. The band, who have sold more than 100 million albums, are set to emerge from an eight year hiatus to jam out with hits such as Black Night, Highway Star and Smoke On The Water.
Sitting outside, getting comfy in a deckchair and watching a movie under the stars is a regular part of Melbourne's summers. It's also the kind of activity no one across the city has even been able to dream about during the past few months of lockdown. But, come the end of October, it's set to become a reality again. Under Victoria's just-announced roadmap out of stay-at-home conditions, outdoor cinemas will be permitted to reopen once 70 percent of eligible Victorians have been fully vaccinated against COVID-19 — which is expected around Tuesday, October 26. Two venues that are counting on that happening: the Lido and Cameo cinemas, which've just announced the reopening lineups for their respective rooftop and outdoor setups. Both sites will welcome in movie buffs again from Tuesday, October 26, with the Lido getting things started with a gala session of wild tweet-to-screen flick Zola, and the Cameo going the Marvel route with Shang-Chi and the Legend of the Ten Rings. Other flicks Melburnians can look forward to at the two openair spots include the excellent new Candyman movie, which'll screen on Halloween (obviously) at both venues; the Ryan Reynolds-starring Free Guy, where he plays a non-playable video game character who becomes self-aware; and Australian drama Nitram, the Cannes Film Festival Best Actor-winner that depicts the days leading up to the 1996 Port Arthur massacre. There's also Disney's animated newcomer Ron's Gone Wrong, plus Adam Driver, Ben Affleck and Matt Damon-led medieval drama The Last Duel — all of which have tickets on sale now. Although they don't yet have sessions on sale, big-name flicks Eternals, The Many Saints of Newark, No Time to Die and Dune are all also slated to light up the big screen at Lido on the Roof and Cameo Outdoor Cinema. And if you're wondering about the third openair cinema run by the team behind these two venues, Classic Cinema's Rooftop Cinema, it's set to reopen again after lockdown as well — but a date hasn't been set as yet, as its screen needs to undergo some maintenance first. It will be reopening its rooftop bar on Tuesday, October 26 for drinks, however, so you'll be able to stop by from 4–8pm on weeknights and 2–8pm on weekends. Capacity-wise, Victoria's roadmap allows outdoor entertainment venues to reopen with a cap of 50 people at the 70-percent fully vaxxed mark. That'll increase when the state hits the 80-percent double-jabbed threshold, which is expected around Friday, November 5. That date is when indoor cinemas will be permitted to reopen, too, with a 150-person cap per space. Lido on the Roof and Cameo Outdoor Cinema will reopen on Tuesday, October 26, pending Victoria reaching the 70-percent fully vaxxed threshold by that date. For more information, or to buy tickets, head to the Lido and Cameo cinemas websites.
Spring is here, the sun is out, and everything is 500 times more whimsical. Now times that whimsy by infinity. Studio Ghibli is bringing a showcase to our shores in October and it's touring all over the nation's cinemas. Celebrating renowned filmmakers Hayao Miyazaki and Isao Takahata, the showcase will feature four films and two documentaries that explore the intricacies and beauty of their craft. If you haven't had a chance to get acquainted with the work of these two cult favourites before, this will be the perfect opportunity to get up to date. Work your way through much-loved classics with screenings of both My Neighbour Totoro and Grave of the Fireflies. Then explore new terrain with The Tale of the Princess Kaguya and the critically-acclaimed historical anime feature The Wind Rises. Though the Japanese animation studio has 20 feature films to its name, the Australian showcase will feature just these four — a refined look at the old versus the new. But this won't just be for the newbies. Seasoned anime pros can get an inside look into the craft with screenings of both Isao Takahta and His Tale of the Princess Kaguya and The Kingdom of Dreams and Madness. Though the documentaries have had separate screenings at local film festivals this year, this will be their first standalone showing on Australian screens. Either way, whether you're a die-hard anime fanatic or have never even seen Spirited Away, there's always room in your life for a little whimsy and wonder. Get lost in the cinema for a few hours and discover an exciting new world. The Tale of Studio Ghibli Showcase will run at select cinemas in Sydney, Melbourne, Canberra and Brisbane from October 9-22. The films will be screening in Perth from November 6-19, and in Adelaide from November 27 - December 10.
For almost a week, since 11.59pm on Thursday, May 27, the entire state of Victoria has been in lockdown in an effort to stop the latest COVID-19 cluster from spreading. The stay-at-home period was initially put in place for seven days; however, as its target end date approaches — and as more cases keep being reported, and more venues added to the exposure sites list — the Victorian Government has announced that lockdown will continue, but only in Melbourne. As Acting Premier James Merlino advised today, Wednesday, June 2, the current stage four restrictions will remain in place for seven more days in the state's capital, with a new end date of 11.59pm on Thursday, June 10 announced. Melburnians are obviously familiar with the rules and restrictions from previous lockdowns, and from the past week. At present, you can only leave your home for five reasons: shopping for what you need, when you need it; caregiving and compassionate reasons; essential work or permitted eduction that can't be done from home; exercise; and getting vaccinated against COVID-19. That said, from 11.59pm on Thursday, June 3, a few minor tweaks will be made to the current rules in Melbourne — even though the five reasons to leave the house still apply. Exercise is still limited to two hours a day with your household members, your intimate partner or one other person who is not from your household or your partner, but you'll now be able to venture up to ten kilometres from your house while you're working out or shopping. You can only venture further if you're leaving for permitted work, or if you're shopping for essentials if there are no shops in your radius. Some outdoor jobs, such as landscaping, painting installing solar panels or letterboxing, will also be able to resume. And, face-to-face classes will return as well, but just for Year 11 and 12 students. https://twitter.com/JamesMerlinoMP/status/1399910225428193280 The rest of the rules remain in place in Melbourne, so masks remain mandatory everywhere outside of your home — and private gatherings are banned, as are public gatherings. You can't have any visitors enter your home, unless you're part of a single bubbles. So, if you live alone, you're allowed to form a bubble with another person. Weddings still aren't permitted, unless on compassionate grounds, while funerals are limited to ten. Hairdressing and beauty services, indoor physical recreation and sporting venues, swimming pools, community facilities including libraries, entertainment venues and non-essential retail venues remain closed — and hospitality venues can still only serve takeaways. Supermarkets, bottle shops and pharmacies remain open — and professional sports can proceed, but without crowds. And, regarding vaccinations, the state has been rolling out the vaccine to everyone over the age of 40 since Friday, May 28. Victorians aged between 40–49 years will be able to access to the Pfizer vaccine via the state's vaccination sites. https://twitter.com/VicGovDH/status/1399861410209878019 Announcing the extension of Melbourne's lockdown, Acting Premier James Merlino said that the city is facing "a variant of the virus that is quicker and more contagious than we've seen before." Staying under stay-at-home conditions for a further seven days will give the city "a full 14 days — one full cycle of the virus — to make sure we understand how and where this mutation is moving," he noted. And, regarding what'll happen next week, "at the end of another seven days, we do expect to be in a position to carefully ease restrictions in Melbourne," he advised. While Melbourne will remain in lockdown under the above conditions, the five reasons to leave the house will be lifted in regional Victoria from 11.59pm on Thursday, June 3. If you live outside of the city, however, you can only travel into Melbourne for one of the permitted reasons — and, once you're there, you have to follow Melbourne restrictions. Regional Victorian residents will be able to gather outdoors with up to ten people, food and hospitality businesses will be able to open for seated service only — with a cap of 50 people per venue, and with one person per four-square-metre density limit — and retail stores can also reopen. Religious gatherings and ceremonies can return with 50 people, weddings can have ten attendees and 50 mourners can go to funerals. Also part of the regional Victorian changes: 50 people in outdoor pools, including swimming classes; 50-person caps at libraries; and the same cap — or a 50-percent capacity limit, whichever is lower — at outdoor entertainment venues. The lockdown changes come as Victoria now has 67 active COVID-19 cases, including six new cases identified in the 24 hours to midnight last night. Genomic sequencing indicates that current outbreak is linked to a positive case out of hotel quarantine in South Australia from earlier in May. Since the first new cases in this cluster were reported back on Monday, May 24, a whopping 357 locations are currently listed as exposure sites by Victoria's Department of Health — a list that has been growing quickly. Melbourne's stage four restrictions will remain in place until 11.59pm on Thursday, June 10. For more information about the rules, head to the Victorian Department of Health website.
At the ungodly hour of 7am this morning, Vivid LIVE announced the rest of the 2014 lineup. We’re already excited about seeing The Pixies in rare intimate mode in the Opera House, the ACO and The Presets in collaboration, Giorgio Moroder and The Pet Shop Boys. And now (drum roll, please), here’s the rest of what’s in store. Ladies and gentleman, introducing the first lady of hip hop, Ms. Lauryn Hill. Known not only for her groundbreaking 1998 album, The Miseducation of Lauryn Hill but also for her subsequent ‘disappearance’ from the music scene, she’s back. With plenty to say. Two Opera House shows are scheduled for May 27 and 28. And next, art rock hero St. Vincent, hot on the heels of the release of her new, self-titled album. We’re expecting big harmonies, orchestral adventures and choreographed magic — at the Opera House for the first time ever. We’re just not quite sure how the stage dives will go in the Joan Sutherland Theatre. There’ll be one performance only on May 25. Two other international artists will also make their SOH debut: James Vincent McMorrow will be bringing his masterful songwriting, ethereal electronics, killer falsetto and full band over from Ireland, while English-Italian songstress Anna Calvi will be making the trip armed with tunes of cinematic proportions. Brian Eno has described her as "the biggest thing since Patti Smith". German pianist-producer Nils Frahm, who released his seventh LP, Spaces, last year, will be delivering his Einaudi-reminiscent melodies and dynamic jazz-influenced electronics, and Kate Miller-Heidke is set to present new album O Vertigo! Finally, Goodgod will be hosting an intercontinental revue with cult South African musician Penny Penny and his seven-piece band at the helm, Jonti & The Astral Kids will play a tribute to The Avalanches with a performance of Since I Left You and Studio Parties will make a return, led by Astral People, R.I.P. Society, Siberian Nights and Future Classic.
While your newsfeeds have been inundated with restaurant closures, travel bans, and many event cancellations, there has been some uplifting news, too. One of them is Cream Town: an online art shop showcasing works by Australian artists financially impacted by COVID-19. The initiative was sparked by the need to support local creatives in a time where a lot of exhibitions, freelance gigs and general work have dried up. So, if you're in the market for some new art, you can now invest for a good cause. Started by photographer Isaebella Doherty, Cream Town has already sold roughly $4000 worth of prints since launching last week on Thursday, March 19. The project has a very egalitarian ethos, with any out-of-work artist — emerging or well-known — able to put their works up for sale. "We're all in the same situation at the moment," Doherty told Concrete Playground. You won't find the usual art-world elitism here. What you will find is a diverse selection of eye-catching prints, from photography to collage and illustration. Each work is priced at $100, which is a whole let less than what you'd usually spend to adorn your walls. And, seeing as you're spending so much time at home currently, you may as well do a little redecoration and buy yourself one (or a few). If you can't splash that cash right now (or want to contribute more), you can make a donation, which will be evenly distributed between all artists. Works are currently being printed by Melbourne studio Hound & Bone, have a limited run of ten and can be shipped around Australia for a flat postage fee of $12.95. [caption id="attachment_766131" align="alignnone" width="1920"] 'Maree Downs' by Madi Whyte[/caption] Even though Cream Town came to fruition in these uncertain times, it hopes to continue supporting the arts community — even when the world is back to normal. Head to Cream Town to check it out and buy yourself a piece of $100 art. If you're an artist and would like to get involved, you can express interest via Instagram or the website. Top mages: Brodie Clark, 'Shlurp'; Ella Fitzgerald, 'Gaia'; Quince Frances. 'Riparian ecosystems'; Dani Marano, 'Roman Holiday'; Isaebella Doherty, 'Pretty Things #2'.
UPDATE, April 24, 2021: The Witches is available to stream via Google Play, YouTube Movies, iTunes and Amazon Video. What's the one thing that every movie remake has in common? No matter how it turns out, the original film still exists. So, if the latest version doesn't cast a spell, you can return to the old one — revisiting it, appreciating it anew and steeping yourself in nostalgia in the process. Of course, film remakes aren't supposed to inspire viewers to flock back to their predecessors. While that possibility is a silver lining for movie buffs, it isn't the outcome intended by filmmakers. But, it's exactly what The Witches circa 2020 delivers. Writer/director Robert Zemeckis has everything from Back to the Future and Who Framed Roger Rabbit to Castaway and The Polar Express to his name, and he co-wrote the screenplay here with Black-ish and Girls Trip's Kenya Barris and Pan's Labyrinth and The Shape of Water's Guillermo del Toro; however, their main achievement with The Witches is reminding everyone just how great the 1990 adaptation of Roald Dahl's book still is. No one should need a new movie to jog their memories; since hitting screens three decades ago, the Anjelica Huston-starring version of The Witches has been a creepy, dark and weird children's (and kidults') favourite. And it's definitely all of those things, as it should be — and not just because it's about witches who hate children to the point of attempted genocide. The Witches tells a tale about kids realising that all isn't what it seems in the world, and that danger, trouble and pain can lurk around any corner. It tears open the idea that life is always safe, happy and fun like it's ripping off a bandaid. This happens in a child-friendly away, of course, but it's meant to be unsettling, unnerving, upsetting and strange. On the page and in every screen adaptation, The Witches does start with a boy losing his parents in a car accident and being uprooted to a new place and a new life as a result, after all. This fresh iteration kicks off that way, too, as narrated by Chris Rock as the older version of the film's unnamed young protagonist (Jahzir Bruno, The Christmas Chronicles 2). It's 1968, and the boy in question moves to Alabama to live with his grandmother (Octavia Spencer, Onward), who struggles to coax him out of his grief-fuelled fog. But they bond over her shocking revelation: that witches exist, they're everywhere, they despise children and she has experience with them. Also, once a witch sets their sights on a kid, it never lets up. That's why, after one crosses the boy's path, grandma whisks him off to "the swankiest resort in Alabama", where she's certain they'll be safe among rich white folks. Of course, she couldn't have predicted that the group of women that have taken over the Grand Orleans Imperial Island Hotel's ballroom — the Society for the Prevention of Cruelty to Children, apparently — are all witches. Or, that the Grand High Witch (Anne Hathaway, Dark Waters) is in attendance, unveiling a plan to turn every kid in the world into a rodent via a potion called 'Formula 86 Delayed Action Mouse-Maker'. Much that has endeared The Witches to readers and viewers over the years remains in the latest film — but tinkering with the details and tone makes an unfortunate impact. Brimming as it is with bright colours and overdone CGI, the new iteration of The Witches favours gloss and shine over chills and potential nightmares. It's the cosy and smooth version of the story, and the lack of sharp edges is noticeable. Zemeckis and company try to add scares in various ways, yet struggle with every attempt. The film's villains, especially the Grand High Witch, are given over-sized Joker-esque smiles teeming with jagged teeth, for example, but they just look cartoonish. At every turn, if there's a way to make something more blatant while also less disconcerting, The Witches always takes that choice. Its reliance upon special effects — to levitate the Grand High Witch, and for its talking children-turned-mice — also speaks volumes. Everything here is overt to an in-your-face extreme, and also far less intricate and much more bland. See also: the two significant narrative shifts, as designed to bring weight to the tale. This remake is set in the US, in the south and in the 60s, and its two lead characters are Black Americans. Via these changes, Zemeckis, Barris and del Toro endeavour to tap into historical horrors, as part of Hollywood's current reckoning with America's past. Alas, this slick film doesn't have anything much to say about either decision. Racism is a part of the on-screen world, and it's noticeable that the hotel's staff are all people of colour while its guests are almost exclusively white; however, rather than making an important point, these elements just seem like a calculated effort to make the movie more topical. Indeed, The Witches pokes fun of the portly Bruno Jenkins (Codie-Lei Eastick, Holmes & Watson), the other boy staying at the hotel, far more than it attempts to serve up even a cursory exploration of its grandmother-grandson central duo's experiences due to their race. It might be unfair to think that some remakes only eventuate because a studio executive thought it was time to wring some more cash out of a beloved story, but that's how The Witches feels. It's simultaneously broader and tamer — including Hathaway's over-the-top performance, although she does appear to be enjoying herself immensely — and it radiates big pantomime energy. Spencer and Bruno give the movie a hefty dose of heart, even when the latter is lending his voice to a critter with a tail. Stanley Tucci, Hathaway's The Devil Wears Prada co-star, is suitably amusing at the hotel's put-upon manager. But there's a lack of overall magic in The Witches, either of the twisted or charming type — unless sending viewers clamouring to find wherever the original is currently streaming counts. https://www.youtube.com/watch?v=7Ekw85OqJck
When New Zealand Prime Minister Jacinda Ardern announced the two-way trans-Tasman bubble back in April — allowing Australians to travel to NZ without quarantining upon arrival — she noted that it could and would be paused if and when outbreaks occur. Accordingly, with Melbourne identifying five locally acquired COVID-19 cases so far this week, and implementing restrictions and an indoor mask mandate in response, the NZ Government has advised that it's stopping its arrangement with Victoria for the time being. Today, Tuesday, May 25, the NZ Government announced that the quarantine-free travel between NZ and NSW is being suspended, effective from 11.59pm NZ time. "Officials have assessed that the most cautious option is to pause the travel bubble with Victoria as there are still several unknowns with the outbreak," it said in a statement. Initially, the pause will be in place for 72 hours, beginning at 7.59pm NZT today — which is 5.59pm AEST. The aim: to give Victorian authorities time to investigate the five cases, which appear closely linked to the last local case of COVID-19 in Melbourne, from earlier in May, according to the genome sequencing results so far. Whether you're a Melburnian on holiday in NZ or a New Zealander who has recently returned from across the ditch, anyone now in NZ who has been at one of the exposures sites in Melbourne is required to isolate, then call NZ's Healthline on 0800 358 5453 to obtain advice about getting tested for COVID-19. And, if you're currently in Australia and you've been to one of the venues identified, you should not travel to NZ. https://twitter.com/covid19nz/status/1397046204396019719 This isn't the first time that the trans-Tasman bubble has been paused, with NZ suspending flights from Western Australia at the beginning of May in response to Perth's recent cases — and doing the same with New South Wales this month as well. In both cases, flights with NZ were given the all-clear to resume within days. For more information about the status of COVID-19 in Victoria, head over to the Department of Health website. To find out more about the virus and travel restrictions in New Zealand, visit to the NZ Government's COVID-19 hub.
When autumn starts winding down, end the season with a bit of sunshine. When winter kicks in, begin it with beaming rays, too. Virgin wants you to book in a Queensland getaway across May and June 2025, so much so that it's putting on a big flight sale. Fares start at $45, and you've got three days to nab a bargain. Also, your efforts will help the Sunshine State's tourism industry after the weather hasn't been kind to it so far this year. This round of specials is available until 11.59pm AEST on Saturday, March 29 — unless sold out earlier — and covers destinations from the Gold Coast up to Cairns. You have two months to head away, between Thursday, May 1–Monday, June 30, 2025, although dates vary per route. While the sale is firmly focused on one part of the country, you still have options in terms of departure points and destinations. Within Queensland, you can leave or arrive in Brisbane, Cairns, Townsville, Rockhampton, Hamilton Island, the Gold Coast, the Sunshine Coast, Emerald, Gladstone, Mackay, Mt Isa and Proserpine. And, around the rest of the country, flights to and from Adelaide, Alice Springs, Canberra, Darwin, Launceston, Melbourne, Newcastle, Perth, Sydney and Uluru are available. The cheapest price, $45, will get you between Sydney and either the Gold Coast or Sunshine Coast. For $55, Brisbane–Proserpine and Melbourne–Gold Coast fares are on offer. From there, $79 covers Sydney–Cairns and Sydney–Hamilton Island, while Brisbane–Hamilton Island is $85 and Melbourne–Cairns is $99 — and the list goes on. The sale has the backing of the Queensland government, to assist the Sunshine State's recovery after the weather events of the past few months — and thousands of seats have been discounted. Only select fares cover seat choice and checked baggage, however, with the airline announcing back in 2021 that it now splits its economy flights into three types. Economy Lite doesn't include checking any baggage or picking your seat, but Economy Choice does — and Economy Flex gives you extra flexibility (hence the name) if you have to change your plans later. Virgin's 72hr Queensland sale runs until 11.59pm AEST on Saturday, March 29 — or until sold out. Feeling inspired to book a getaway? You can now book your next dream holiday through Concrete Playground Trips with deals on flights, stays and experiences at destinations all around the world.
According to Goran Bregovic, what sets Balkan music apart is its propensity for insanity: "In other countries, just plain music is enough. In the Balkans, it's not only about the music – it has to be madness." In his sixty-two years, Bregovic has carried the gypsy craziness of his homeland to all four corners of the globe. After selling fifteen million albums as leader of Yugoslav rock band Bijelo dugme, he took to composing film scores. On this visit to Australia, his first since 2008, he'll be travelling with his Weddings and Funerals Orchestra, which he has described as "an unlikely mix of extremes". Featuring a string quartet, a six-piece male choir, five brass musicians, two Bulgarian vocalists and a drummer, the ensemble will play music from Bregovic's new album, Champagne for Gypsies, as well as some older material. https://youtube.com/watch?v=AKRCo3347fw
The Art Gallery of NSW is set to unveil the results of its multimillion-dollar expansion and renovation project later this year. Originally announced in 2017 and officially given a green light in 2018, the Sydney Modern Project is now finally set to be complete before the end of 2022. And, as part of the expansion's opening, the gallery has commissioned original works from nine acclaimed local and international artists. The artists enlisted to create works for the opening comprise an impressive list: Yayoi Kusama, Lorraine Connelly-Northey, Karla Dickens, Simryn Gill, Jonathan Jones, Richard Lewer, Lee Mingwei, Lisa Reihana and Francis Upritchard. Spanning huge artworks from First Nations artists through to intricate installations worked into the building's architecture, the creations will be displayed across the site both indoors and outdoors, with some viewable to the public day and night. Highlights include a floral sculpture from Yayoi Kusama that'll be placed on the new building's terrace, and be able to be seen at all hours; huge wire and iron bags from Waradgerie (Wiradjuri) artist Lorraine Connelly-Northey; and, by Simryn Gill, a life-sized rubbing of a century-old tree that was removed to create the Sydney Modern Project. [caption id="attachment_758872" align="alignnone" width="1920"] Yayoi Kusama[/caption] A family of fantastical figures inspired by local Moreton Bay fig trees will be created by New Zealand-born artist Francis Upritchard, too — to be installed in the building's Welcome Plaza, greeting those that enter the gallery. Other notable works span a multi-panel painting by Richard Lewer, celebrating the labour and personalities behind the Sydney Modern Project, plus a trans-Tasman sci-fi moving-image work from Māori artist Lisa Reihana. The list of pieces goes on, with the full program of commissioned works available at the AGNSW website. https://www.youtube.com/watch?v=vRl_jDVF-eo&t=1s "The extraordinary Sydney Modern Project art commissions connect deeply with our sense of place in Sydney and the architecture and landscape around them," AGNSW Director Dr Michael Brand said. "They'll be some of the first artworks that welcome visitors to our expanded campus, with many able to be experienced night and day." Funded by a $344 million public and private collaboration comprised of $244 million from the NSW Government and $100 million raised by private donations, the Sydney Modern Project will see the AGNSW double its current exhibition space, incorporating an entirely new 7830-square-metre building and a gallery for Aboriginal and Torres Strait Islander art. It will also add some new elements to the existing building, with new pools, greenery and public spaces being added to the cultural institution's longstanding gallery forecourt. The Sydney Modern Project is set to be completed later this year — we'll update you with an exact opening date when it is announced. Top image: Sydney Modern Project render as produced by Kazuyo Sejima and Ryue Nishizawa / SANAA
The dockless bike sharing phenomenon hasn't exactly proved a roaring success here in Australia, with rogue bikes clogging up footpaths, or winding up broken and abandoned in dangerous locations, and oBike withdrawing from Melbourne entirely. And still, yet another company is keen to give the concept a whirl locally — this time, featuring electric scooters. Aussie start-up Ride has announced it has launched a trial program of its ride share service, giving locals in Melbourne the chance to road-test its fleet of electric scooters. Riffing on the scooter systems that have been going gang-busters over in the USA, the local company is still nailing down its technology, launching the pilot program in St Kilda, before rolling out across CBD areas. At this stage, riders simply locate a scooter, scan and pay via the Ride smartphone app, before jetting off on their two-wheeled adventure. The company held a short trial in the area last month, which, according to founder Aaron LaLux, was a success, so it decided to re-launch for the busy summer holiday period. "We've decided to re-launch for the holiday season to gift St Kilda with this new way of getting around and to help get cars off the road. It's my wish that it won't be long before we see more clean energy alternatives to the carbon emitting vehicles that currently exist." Riders pay $1 to start the scooters then 25 cents per minute to use them. The only downfall of the service is the speed, with scooters going a maximum of ten kilometres an hour (to comply with Victorian road rules surrounding scooters) compared to Sydney's newly launched electric bikes, which go up to up to 23kmh. So, for example, a journey from St Kilda to the CBD would take about 45-minutes and cost around $12–13. When riding the scooters, be aware that Victorian rules also stipulate that you must wear a helmet and that the scooters can't be used on separated bike paths or on roads with a speed limit of more than 50kmh, but they can be used on footpaths. Well, for the moment. LaLux is hoping the extended Ride trial will give the State and Federal Government time to draft more comprehensive rules surrounding electric scooters. As the scooters are electric, they'll be picked up after 10pm each night by employees, charged and returned to designated spots around St Kilda. Ride's trial program is running now for an indefinite period. You can download the Ride app here.
Back in 2014, before he slipped into Black Panther's suit, Chadwick Boseman stepped into James Brown's shoes. Playing the iconic musician in Get On Up, Boseman lit up the screen — and while he'll forever be known for his time in Wakanda, the biopic ranks among his greatest performances. Although Boseman's career was tragically cut short due to his death to cancer in August this year, the actor has one more film set to reach screens — and it too sees him playing music. To be specific, he's playing the blues as an ambitious trumpeter called Levee in the new movie adaptation of August Wilson's play Ma Rainey's Black Bottom. On the stage since 1982, and now in this new Netflix movie version, Ma Rainey's Black Bottom focuses on an afternoon recording session in 1920s Chicago. Ma Rainey, the "Mother of the Blues" (played by Viola Davis), is the star of the session, but she's running late as she fights with her manager over control of her music. As the band waits, Levee and fellow musicians Cutler (Colman Domingo, If Beale Street Could Talk), Toledo (Glynn Turman, Fargo) and Slow Drag (Michael Potts, True Detective) bide their time swapping stories in the rehearsal room. As helmed by Tony-winning playwright and theatre director George C. Wolfe (for Angels in America: Millennium Approaches and Bring in 'da Noise, Bring in 'da Funk), Ma Rainey's Black Bottom hits streaming on December 18 — and, while this time of year brings awards speculation about almost every weighty drama with a high-profile cast, Boseman and Davis in particular have been the subject of plenty of predictions. As well as marking Boseman's final film, it's his second this year — and his second Netflix feature, too — following his potent supporting role in Spike Lee's Da 5 Bloods. Check out the trailer for Ma Rainey's Black Bottom below: https://www.youtube.com/watch?v=ord7gP151vk Ma Rainey's Black Bottom will be available to stream via Netflix from December 18. Top image: David Lee, Netflix.
If you've ever caught two planes, three boats and four different stomach bugs to get to an impossibly blue water, white sand, out-this-world island off the coast off Southeast Asia, you've probably felt its beauty is so paramount that you, mere mortal, weren't even supposed to be there. And as it turns out, you're not. Koh Tachai is the latest small island to feel the sting of strong tourist numbers — so much so that Thai authorities are closing it completely. You can just close an entire island? You sure can. According to the Bangkok Post, the island, which is part of the Similan National Park off Phang-nga province on the west coast, will be a total no-go zone for all visitors starting October 15. This includes the shoreline, beaches and reefs too. The decision to close the island is an attempt to ease the negative effect of tourism and too much human impact on the fragile piece of paradise. The coral reef is one of the best in the world, and attracts a lot of divers and tourists in high season. At times there would be over 1000 people on the beach when, technically, it was only meant to hold 70. "Thanks to its beauty, Koh Tachai has become a popular tourist site for both Thai and foreign tourists. This has resulted in overcrowding and the degradation of natural resources and the environment," Tunya Netithammakul, director general of Thailand's Department of National Parks, Wildlife and Plants Conservation, told the Bangkok Post. "We have to close it to allow the rehabilitation of the environment both on the island and in the sea without being disturbed by tourism activities before the damage is beyond repair." Shutting down an entire island is a drastic measure, but it's part of a growing trend to limit the numbers of people visiting high traffic tourist sites. Earlier this year, Cinque Terre announced they would be capping visitors at 1.5 million to preserve local culture. Something to think about before you plan your next exotic getaway. Via Bangkok Post. Image: Mu Ko Similan National Park of Thailand.
Coca-Cola has been turning green lately with sustainable bottles and recycled store shelving already upping their eco-cred, but their latest venture in the Philippines might be the best yet. Partnering with WWF, their new 60 foot by 60 foot billboard features 3,600 Fukien tea plants held in pots made from recycled Coca-Cola products, the plants defining a simple silhouette of a Coke bottle. As well as catching the eye the billboard should soak up carbon from the immediate atmosphere, as each plant is capable of absorbing 13 pounds of carbon dioxide in a year. Critics have cited it as mere greenwashing, and only a drop in the ocean compared to Coke's giant production and transport carbon outputs. Nevertheless, at least it's a step in the right direction, and as well as advertising their product the billboard also highlights the issue of climate change. But, will it ever make up for the decades of flashing lights on the Kings Cross Coke sign? Will Sydney ever see the lights dimmed and replaced with some greenery? [via PSFK]
Released just as the COVID-19 lockdown began, Fallow, the third album by country singer-songwriter Fanny Lumsden, has been her most successful album yet. Deprived of the opportunity to tour her record immediately after it came out, Lumsden is now playing some of NSW's smaller towns, plus the state's home of country music, Tamworth. The fiercely independent artist manages herself and has her own record label and production company. Basically, she is a musical force to be reckoned with, so get set for an evening of energy, intimate storytelling and spellbinding harmonies. You can catch her performing on the Far South Coast on Sunday, November 8, at a bunch of rural NSW venues across the month and in Marrickville on Friday, November 6. To check out dates and details — and to buy tickets — head here. For the latest info on NSW border restrictions, head here. If travelling from Queensland or Victoria, check out Queensland Health and DHHS websites, respectively.
If you've ever spent hours falling down the wildlife and nature video rabbit hole online late at night, this one's for you. National Geographic's Symphony For Our World will combine the best of the footage from the organisation's 130-year archives with a live orchestral performance, synchronising the triumphant moments of both music and nature under one spectacle. And, that soundtrack will feature a Hans Zimmer-flavoured score and feature a live choir as well. The natural history footage will be drawn from years of past images, drawing from Nat Geo's shots from all over the world. The accompanying symphony will be created by Bleeding Fingers Music, featuring the work of composers such as the legendary Hans Zimmer, as well as Austin Fray and Andrew Christie. Just like the recent Planet Earth II Live in Concert, Zimmer's score especially will make you feel things you didn't know you could about animals you'll never meet. A five-part composition that'll tour Melbourne, Sydney and Brisbane, Symphony For Our World will take the audience on a journey from the sea, along the coastlines, across the land, through the mountains and then finally into the sky, with differing orchestral movements for each world environment. It's the story of our planet, but brought to life in a different way — so why not get out of the house and off YouTube and go see some fully immersive nature. SYMPHONY FOR OUR WORLD TOUR DATES Brisbane Convention and Exhibition Centre, Brisbane – Sunday, August 26 ICC Sydney Theatre, Sydney – Friday, August 31 Hamer Hall, Arts Centre, Melbourne – Sunday, September 2 Symphony For Our World will tour Australia from August 26 to September 2. For more information and to buy tickets, visit natgeo-symphony.com.
In need of aesthetic inspiration? Fear not, dear friend, for the creative extravaganza that is Semi-Permanent is about to hit Melbourne — and you’re invited. The design festival is fresh from blowing minds in Los Angeles and Portland, and will make a stop in Melbourne from October 25 - 26 as part of its world tour. Featuring a smorgasbord of visionary thinkers and exhilarating speakers, Semi-Permanent combines presentation, exhibition and party into an artful orgy of visual delights. It’s a must-iCal event for any artist whose heart longs for authentic creative community. Or for those whose hearts love free tote bags. Attendees will be able to rub shoulders with the likes of Nicole Reed, Ant Keogh, Miso and Thomas Williams of Hunt & Co., while concurrently soaking up the fresh spring sun. Highlights from previous years include behind-the-visuals insights into Star Wars and Lord of the Rings, fiery expositions from crazed photographer Charlie White and onstage rail sliding from artist/pro-skater Ed Templeton. When inspired thinkers collide, good stuff happens. Tickets are on sale right now from the Semi-Permanent website.
Whether it's the roof at Curtin House, the grounds of the Abbotsford Convent, the Royal Botanic Gardens or the sands of St Kilda Beach, when it comes to experiencing films in the great outdoors, Melbourne is spoiled for choice. But there's only location you can watch a movie under the stars without fear of getting rained out. With sessions every Tuesday evening in the Southgate Centre atrium, patrons of Southgate Cinema get to have their cake and eat it too. And better yet — it's absolutely free. Highlights of the most recent Southgate Cinema program include the inspiring soccer documentary Next Goal Wins, about the attempts of the much-maligned American Samoa team to qualify for the 2014 World Cup; the gripping Oceanic survival tale All Is Lost, starring the great Robert Redford as a lone sailor lost at sea; plus the most recent X-Men and Captain America movies for anyone looking for a dose of Hollywood action. Given the attractive price tag, demand for seats is high. Ticket reservations can be made online and need to be collected in person an hour before the scheduled start time. For more information and to the view the full summer program, go here.
In Greek mythology, the goddess Artemis inspires empowerment through her strength, power and resilience. Inspired by these qualities, two Melbourne makers have collaborated to create To Artemis, a debut clothing collection that embodies them and promotes feminine strength and confidence. Created by Zoë Bastin and Adrienne Grech, the soon-to-launch label brings a fresh perspective to Melbourne fashion. The pair come from vastly different working backgrounds; Zoë is a practising artist who's currently completing her PhD in Fine Art, while Adrienne is a neuroscience PhD student investigating cognition in schizophrenia. This unique combination has resulted in clever, elegant design and a tonal colour palette that will slide easily into any wardrobe. The pieces are also practical — they've been designed to be easy to wear no matter where the day takes you, whether you're creating, studying, dancing or exploring. The team behind To Artemis wanted to provide comfortable, versatile styles that promote confidence with feminine agency in mind. The collection spans linen wrap dresses, skirts and pants, a shibori-dyed silk skirt, linen tops and a transparent glitter acrylic tote bag. "We want to provide well-fitting clothing to fit diverse bodies to play and create in. For us, this means comfortable, adjustable and versatile garments," says Zoë. "So anyone who wants to wear us, can. There are lots of options to suit different tastes." The two designers aim to fill a gap in the local fashion market. "I saw a lot of small labels popping up that tried to make clothing ethically, or that handmade garments here in Melbourne or tried to promote inclusivity with fits," she explains. "But none that did all these things at once." To Artemis stock sizes XS to XL — but if those measurements don't fit, you can contact the girls to work out a custom fit. All are made in Melbourne. To Artemis officially launches on March 28, and they're taking a limited pre-order until March 18 — you can view the catalogue and ordering details here. For more information, follow them on Instagram.
Mona Foma is almost here and the 2023 lineup is fantastic. If you're desperate to go but have left it to the last minute in a move that can only be described as "classic you", you can still pick up an exclusive one-of-a-kind travel package for the second weekend of the festival (February 24-26). Each package is for two people and includes two nights at the Movenpick Hotel Hobart with complimentary daily breakfasts, tickets to the Peaches Mona Session on Friday, February 24, where the feminist icon will perform her seminal electroclash opus The Teaches of Peaches in its entirety on Mona's lawns, plus Posh Pit ferry passes to sip champagne and canapés while en route to the festival. All of the above is $765 total (for two of you) so book now at Concrete Playground Trips — but you need to get your skates on because there are just three left. [caption id="attachment_874265" align="alignnone" width="1920"] Hadley Hudson. Image courtesy of the artist and Mona Foma.[/caption] [caption id="attachment_883205" align="alignnone" width="1920"] A king room in the Movenpick Hotel Hobart[/caption] Top image: Jesse Hunniford from Mona Sessions 2021. Image courtesy of Mona Foma.
Across his two-decade filmmaking career, Bong Joon-ho has explored Korea's first serial murders, grappled with a creature feature, sunk his teeth into a twisted maternal tale, stranded the last remnants of humanity on a train, and followed the exploits of a young girl and her superpig. Now, the applauded South Korean director can add a prestigious and historic accolade to his resume — not only taking out this year's Palme d'Or at the Cannes Film Festival for his latest movie, Parasite, but becoming the first Korean filmmaker to win the coveted gong in the fest's 72-year run. Bong's seventh feature after Barking Dogs Never Bite, Memories of Murder, The Host, Mother, Snowpiercer and Okja, Parasite follows a family of four that is struggling through rough times. Led by his regular star Song Kang-ho (The Host, Snowpiercer), they're all unemployed; however, that situation might just be about to change. Son Ki-woo has been offered a lucrative tutoring gig and, although he doesn't have the required university degree for it, his sister Ki-jung is quite the forger. Once he has his foot in the door, he discovers that his wealthy new employers might be the solution to his family's money woes in more ways than one. As well as widespread acclaim, the film has been earning comparisons to last year's Palme d'Or winner, Shoplifters — but darker, more mysterious and twisty and with a tense and satirical edge. In other words, it sounds like classic Bong. That said, if his diverse resume has proven anything — other than his supreme talents behind the lens — it's that he never makes the same movie twice. Parasite's win comes after his previous movie, Okja, was part of Cannes' Netflix controversy — after Okja screened in competition in 2017 just over a month before landing on the streaming platform (and alongside other Netflix titles), the famous French film festival announced that it would no longer screen the company's movies from 2018 onwards. Other Cannes 2019 award winners include Mati Diop's Atlantics, which took out the Grand Prix and also made history as the first feature by a black female filmmaker in the festival's competition; Young Ahmed, which nabbed Two Days, One Night filmmakers Jean-Pierre and Luc Dardenne the best director prize; and Celine Sciamma's Portrait of a Lady on Fire, which took out the best screenplay gong. Antonio Banderas won best actor for Pedro Almodovar's Pain and Glory, British talent Emily Beecham won best actress for Little Joe, and the movie that everyone was talking about — Quentin Tarantino's Once Upon a Time in Hollywood — went home empty-handed. If you're wondering when you can see Parasite, it'll have its Australian premiere at the Sydney Film Festival on Saturday, June 15 and Sunday, June 16. Expect it to pop up at other local festivals as well, with a general Australian release planned for a yet-to-be-confirmed date later this year. Check out the trailer below: https://www.youtube.com/watch?v=w_0KJAzyUJc Parasite screens at the Sydney Film Festival on Saturday, June 15 and Sunday, June 16, with a general Australian release slated for a yet-to-be-confirmed date later this year.
In news that both sounds and feels familiar, Vivid Sydney has announced that this year's festival won't go ahead as currently planned due to Sydney's current COVID-19 outbreak and corresponding lockdown. Unlike 2020, however, the event isn't being cancelled. Instead, Vivid 2021 will now take place from mid-September. This year's fest had already been pushed from its usual June time slot, and was due to run from Friday, August 6–Saturday, August 28. After the news today, Wednesday, July 14, that Sydney's lockdown will continue until at least Friday, July 30, Vivid's move is hardly unexpected. In a statement, Vivid organisers advised it was rescheduling "in the interest of community health and safety". The event will now kick off on Friday, September 17 and run through until Saturday, October 9. New South Wales Minister for Jobs, Investment, Tourism and Western Sydney Stuart Ayres said that "the recent outbreak has presented a new challenge for everyone, and the health and safety of our citizens and entire event community involved in Vivid Sydney is our foremost concern." He continued: "Destination NSW will continue to work with NSW Health and other agencies to deliver a COVID-safe Vivid Sydney later this year, with support from our event partners, artists, sponsors, and suppliers." The minister did also comment that "Vivid Sydney will only proceed if it's safe to do so" — although, again, the event has been postponed at present, not cancelled. View this post on Instagram A post shared by Vivid Sydney (@vividsydney) This year's Vivid was slated to feature a hefty array of light installations, cultural events, pop-ups and activations, with the full program announced back in May. Just what impact the rescheduling will have on the lineup hasn't yet been revealed, with Vivid organisers noting that details of the revised program will be released in the coming weeks after venues and event owners finalise the necessary logistics. If you have a ticket to a Vivid event, you'll be able to transfer it to the new date, or ask for a refund via the relevant ticket agent. When it was last held back in 2019, Vivid attracted more than two million attendees, so its postponement in the current circumstances doesn't come as a surprise — and nor did its cancellation didn't last year. Heartbreaking, it's the second big NSW event that's been impacted by the pandemic two years running. The same thing happened with Bluesfest, which was cancelled in 2020, then scrapped a few days before it was meant to start in April this year, and then rescheduled until October. Vivid Sydney 2021 will no longer take place from Friday, August 6–Saturday, August 28, and has instead been moved to Friday, September 17 –Saturday, October 9. For more information, visit the event's website. For more information about the status of COVID-19 in NSW, head to the NSW Health website. Top image: Destination NSW.
Remember when discovering new music meant listening to mix tapes? Like, actual cassettes? And how you couldn’t even find out the name of the song you liked most because WebFerret didn’t account for the fact that you had misheard the lyrics? A lot of romanticism surrounds the idea of obsolete technology, but you have to admit that the idea of merely pressing a button on your iPhone to figure out what you’re listening to is an attractive proposition. Rdio recently threw parties in Sydney, Brisbane and Melbourne to celebrate the unlimited social music service coming to our shores. Spotify has been a lot slower to sort itself out, despite declaring it would reveal Australian launch plans in late March. In the meantime, here are eight cool music discovery apps you can access right now. 1. RDIO Rdio has been the redeemer, saviour and friend of everyone who can’t access Spotify, Pandora or Grooveshark because of annoying “Not Available in Your Country” screens. If you already know what you’re looking for simply search by name, add it to your collection or add it to a playlist. If the artist isn’t too touchy about the idea of free music you can also sync songs and albums to your iPhone and listen to them even when, God forbid, you’re without Internet. Rdio also lets you “follow” users whose tastes you admire and pick their brains/music collections. Free, also available on Android. 2. TUNEIN RADIO There’s a reason smartphones don’t come with a built-in radio, and that reason is TuneIn. With over 50,000 stations and 120,000 shows for you to choose from, TuneIn allows you to search both local FM and overseas stations as far away as Antarctica (at the moment the South Pole is all about folk music). The app will also scan your music library and make radio station recommendations accordingly, and tracks your data usage so you can monitor your addiction to Radio Kishi Wada closely. Free, also available on Android. 3. SHAZAM ENCORE Simply press a button, hold your iPhone up to a source of music and the 9th most downloaded app of all time tells you what’s playing. iTunes recommends you use it during American Idol to get the song lists, but other options include discovering new music in Shazam Friends & Charts, finding more tracks by tagged artists and using it in conjunction with TuneIn Radio. $6.49, also available on Android. 4. SOUNDHOUND Got an extra dollar and a knack for emitting continuous droning sounds? Upgrade to SoundHound and you can identify songs by humming them. $7.49, also available on Android. 5. SONGKICK Let it scan your music library and reveal the touring dates of all your favourite artists, or plug in your geographical region and scroll through a calendar of all the live shows in your city. There’s nothing like seeing a live gig to get you amped about a new band. Free. 6. DISCOVR MUSIC If you’ve always wanted to be one of those people who discovers cool new bands but just really can’t be bothered, Discovr is for you. Just type in the name of any artist you like and the app will give you a whole bunch of similar ones in the form of a nice-looking web. Double-click to find out more about a particular artist, or keep expanding your web until Neon Indian connects with The Electric Prunes. $1.99, also available on Android. 7. POCKET HIPSTER It’s probably no longer cool since everyone found out about it, but it’s still hilarious. If you’ve ever had a friend who raked through your music collection before mocking it and making suggestions about how to make it cooler, you’ll have some idea of how it works. Bonus points for spot-on animations, snarky quips and the way it lets you pretend their suggestions aren’t cool at all before sneaking over to iTunes to download them. Free. 8. CHOMPIN Browse through genres and listen to suggestions, and “chomp” things you like. Chomping a track saves it to your phone so you can listen to it whenever, and lets you tell your friends when you’ve found something worthy — sort of like Pocket Hipster in reverse. Free, also available on Android.
2023 isn't even here yet, or any of the hundreds of films that it'll unleash upon big screens around Australia and New Zealand. That hasn't stopped 2024's most-anticipated movie from unveiling its first sneak peak before 2022 is out, though. That flick: Mickey 17, which oozes sci-fi intrigue from its name alone, and in its very brief initial trailer. But it's the fact that this is the first film from Korean director Bong Joon-ho since Parasite that's the most exciting part. At the time of writing, it has been three years since twisty thriller Parasite became the film of 2019, winning almost everything it could — such as the Palme d'Or at Cannes; the Sydney Film Festival Prize; and four Oscars, including becoming the first film in a language other than English to win Best Picture. When 2024 hits, half a decade will have passed since that cinematic triumph. But any new Bong Joon-ho movie is worth the wait, as his impressive cinematic resume attests. He is also the filmmaker behind stunning crime procedural Memories of Murder, creature feature The Host, dystopian thriller Snowpiercer and the offbeat Okja, after all. Directed, scripted and produced by Bong, Mickey 17 looks set to mark his third movie mostly in English after Snowpiercer and Okja, with Robert Pattinson (The Batman) leading a cast that also includes Steven Yeun (Nope), Naomi Ackie (Small Axe), Toni Collette (Nightmare Alley) and Mark Ruffalo (She-Hulk: Attorney at Law). Story-wise, it adapts Edward Ashton's book Mickey 7 — and no, why the title has added ten to its number isn't revealed in the debut trailer. The novel follows an 'expendable' being sent to colonise an ice world, who doesn't want to let his replacement take his place. On the page, the lead character is the seventh clone trying to fend off the eighth, but Bong has clearly upped that to the 17th version of his lead character. [caption id="attachment_706462" align="alignnone" width="1920"] High Life[/caption] Science-fiction fans will spot that the premise alone gives off big Moon, Sunshine and Voyagers vibes — and brings High Life, RPatz's last exceptional sci-fi flick, to mind. That said, Bong isn't a filmmaker to follow in anyone else's footsteps. How he makes this concept his own will be a treat to see. In the US, Mickey 17 arrives at the end of March 2024. No exact date Down Under has been locked in as yet, but you can reasonably expect the film to drop locally around the same time. Check out the first trailer for Mickey 17 below: Mickey 17 releases on March 29, 2024 in the US, and doesn't yet have a release date Down Under — we'll update you with local details when they're announced.
Back in 1990, a Christmas movie took an eight-year-old kid, left him stranded at home for the holidays, threw in some bumbling crooks and delivered quite the festive gift. For the almost three decades since Home Alone first graced cinema screens, it has become an end-of-year mainstay — up there with eating junk food and watching rubbish, no doubt making Kevin McAllister proud. In Liverpool come the end of this year, it's also going to provide the inspiration for the themed, pop-up watering hole that someone really had to make a reality at some point. At the Home Alone Christmas Bar, three things will be on the menu: celebrating the classic Macaulay Culkin-starring flick, getting into the festive spirit and alcohol. Prepare to say "keep the change, ya filthy animal" if you're in the vicinity of the city's Cains Brewery Village, with the space featuring all of the Christmas trimmings — trees, tunes, decorations, a sequence of decked-out lounge rooms and Sinatra's crooning — plus themed cocktails. Whether you'll be required to outwit the bartenders to get a drink, avoid various traps or make sure the clocks are set to the right time is yet to be revealed, along with the opening date; however the folks running the show are also behind the well-received Ghetto Golf bar, so expect more than just a heap of toys thrown across the entryway. Via Metro.
Do you remember the first time that you saw a pastel-hued facade, ornate interior detailing, or something gloriously symmetrical indoors or out, then thought "that looks like something out of a Wes Anderson film"? For almost three decades now, we've all done it. Since his feature debut Bottle Rocket, the Asteroid City and The Wonderful Story of Henry Sugar director has firmly established his stylistic trademarks, ensuring that a Wes Anderson movie is always immediately recognisable as a Wes Anderson movie no matter which of the filmmaker's regular actors is in front of the camera. Brooklyn-based husband and wife Wally and Amanda Koval shared this line of thinking to the point of creating an Instagram account around it in 2017. Accidentally Wes Anderson now has 1.9-million followers. The social media feed is a curated selection of images from real life that look like Anderson has staged, styled and shot them, but hasn't — and after taking films as inspiration for an online compilation of images, Accidentally Wes Anderson has taken the IRL route itself via an exhibition. At Accidentally Wes Anderson: The Exhibition, 200-plus images await — and they're all coming to Australia for the first time. Following past runs in Tokyo and Seoul, and present seasons in London and Los Angeles, the immersive art experience will make its Down Under debut in Melbourne from Wednesday, September 18, 2024, complete with ten rooms. Some of the exhibition's walls feature facades that Anderson must covet, others find landscape that'd make the perfect Anderson backdrop, and plenty highlight either vintage vehicles or enchanting hotels. Yes, pastel tones pop up frequently. So does symmetry, including in the exhibition's presentation. The idea is to make you feel like you're stepping into Anderson's flicks by showing how the world beyond his frames often conjures up that sensation anyway. To borrow from a different filmmaker, is this the Wes Anderson version of Inception? Attendees enter an exhibition of real-life pictures inspired by an Instagram account that's inspired by Anderson's moving pictures, particularly his aesthetic within them that takes cues from real life. Accidentally Wes Anderson has also been turned into a book, too, plus a website with a map spanning almost 2000 spots across the planet that fit the theme. At Accidentally Wes Anderson: The Exhibition, patrons arrive via the lobby, then explore a space dedicated to portals, then embrace an array of facades. Checking out sections devoted to coastal scenes, planes and trains (and automobiles, of course), sports, accommodation and nature is also on the agenda. There's a space that'll get you watching big-screen travel adventures, too — and, just for Australia, one about Aussie spots that evoke Anderson. For souvenirs, you'll exit through the Accidentally Wes Anderson shop.
They call it Tina — The Tina Turner Musical, oh Tina — The Tina Turner Musical — and it's finally coming to Australia. After premiering in London back in 2018, this stage ode to the music icon that's had Aussies dancing to 'Nutbush City Limits' for decades is making its way Down Under, locking in its first local stint in Sydney from May 2023. No, it isn't taking to the stage in a church house, gin house, school house or outhouse — or on highway number 19, either. But Tina — The Tina Turner Musical will obviously have Theatre Royal Sydney enjoying Turner's greatest hits in one massive show. The list of musical numbers includes 'Nutbush City Limits', naturally, as well as everything from 'River Deep, Mountain High' and 'Proud Mary' through to 'Private Dancer' and 'What's Love Got to Do with It?'. Tina — The Tina Turner Musical makes its trip Down Under courtesy of TEG DAINTY, Stage Entertainment and Tali Pelman, in association with Tina Turner herself. Announcing the news, the singer said that "Australia has always shared abundant love with me, going back to my early concerts in the late 70s through the uplifting partnership with the National Rugby League. It is very special for me that we will be reunited." "The joy, passion and message of resilience in my musical is so important now as ever. Thank you from the bottom my heart for welcoming me with open arms once again," Turner continued. The singer mightn't have mentioned her appearance in Mad Max: Beyond Thunderdome, but she is indeed part of the beloved Mad Max franchise, too. Exactly what date in May the musical will open hasn't been revealed as yet, but it heads our way after also playing Hamburg, on Broadway, and in Utrecht and Madrid — and it'll tour North America from September. Penned by Tony Award-nominee and Pulitzer Prize-winner Katori Hall, plus Frank Ketelaar and Kees Prins, and directed by fellow Tony-nominee Phyllida Lloyd, Tina — The Tina Turner Musical clearly has quite the story to tell. The show steps through Turner's life and fame, including growing up in Nutbush, Tennessee, the hard work that led to her career, all of those aforementioned hits, her 12 Grammy Awards, her volatile time with Ike Turner and her huge solo success. If you're a fan, Turner herself summed it up — yes, it's simply the best. There's no word yet as to whether Tina — The Tina Turner Musical will head to other Australian cities, but cross your fingers while you're doing the Nutbush, obviously. Tina — The Tina Turner Musical will open its Australian-premiere season at Theatre Royal Sydney from May 2023, with the exact launch date still to be announced. To join the ticket waitlist, head to the musical's website. Images: Manuel Harlan.
There's no reason Christmas shopping should be hell. You don't have to stampede into Myer or David Jones at the last minute. No one's making you stuff those stockings with garbage no one wants. This year you have the opportunity to do things right. The QV are opening up their summery little grass oasis once more for a special kind of Christmas market. With 40 stalls on display, the Melbourne Designed Twilight Markets will be offering up the best of our city's independent artists and designers. There'll be mouth-watering fashion from EAT.ME.DO, original art from Neon Pear, and kooky jewels from Vicki Leigh. But that's not all, every Friday night from 5pm-10pm, this relaxed little space will also be served by a pop-up bar, music, and free picnic rugs for ultimate post-work chill sessions. Don't stress if you miss it either — this gift-giver's dream come true will also be open on weekends. Though you'll have to cope without the bar, the markets will be served with a pop-up cafe from 12pm-5pm on both Saturdays and Sundays.
Like a stack of Melbourne's large cultural institutions, the National Gallery of Victoria has temporarily shut its doors to the public in an effort to help slow the spread of COVID-19. But, you can now feast on some of the NGV's art offerings from afar, thanks to its newly-launched virtual programming. A series of online galleries, virtual exhibition tours and eBooks are now free to access via the NGV's website and social media channels. And if you're having a crack at the whole social distancing thing, or stuck in self-isolation, that's a serious boredom-busting win. Over on the new NGV Channel, punters will find a growing haul of virtual content to explore. Right now, you can join a free, curator-led tour of Collecting Comme and the NGV's Indigenous art collection Marking Time. From Saturday, March 21, you'll be able to digitally explore around KAWS: Companionship In The Age Of Loneliness and then, from Saturday, March 28, Keith Haring | Jean-Michel Basquiat: Crossing Lines. [caption id="attachment_742493" align="alignnone" width="1920"] Kaws, What Party (2019) photo by Tom Ross[/caption] On the NGV app, there are also guided tours of NGV International and NGV Australia artworks, narrated by curators, artists and special guests. Thanks to a lengthy digitisation project, much of the 75,000-strong NGV Collection is also online for your viewing pleasure, so you can take a peek at the likes of the Spirit of Herbarium couture dress by Maria Grazia Chiuri for Christian Dior, or Katsushika Hokusai's 1830 piece The great wave off Kanagawa. It's easy to search by artist or artwork name, and even boasts a few pieces that aren't usually accessible. Those craving some new reading material can dig even deeper with a bunch of new eBooks and curatorial essays available free online, exploring exhibitions like Collecting Comme and Japanese Modernism. In a first, the almost 60-year-long back catalogue of Art Journal of the National Gallery of Victoria is also yours to browse at your own pace online. And don't forget, there's a whole lot more going on over on the NGV's socials and under the hashtag #NGVEveryDay, with regular insight videos and mini talks from the curators. Get your remote art fix over at the NGV website or via Facebook and Instagram. Top image: Keith Haring | Jean-Michel Basquiat: Crossing Lines, NGV. Photo by Tom Ross.
Well, Sydney suggested it — and for some reason, Transport for NSW has obliged. The city's newest ferry will be named Ferry McFerryface. Proving that the bizarre legacy of Boaty McBoatface will live on for some time, the people of Sydney have decided that names of suburbs and notable Australians aren't the way to go. The government authority threw to the public for suggestions for the new fleet of ferries last year and, of the 15,000 submitted, Ferry McFerryface was one of the most popular submissions. Ferry McFerryface is the last ferry in the new fleet of six to be named, and joins other (more cordially named) vessels named after individuals who have contributed to Australian society like ophthalmologist Fred Hollows, heart surgeon Victor Chang and obstetrician Catherine Hamlin. McFerryface doesn't quite have the same reverence as its counterparts, but the internet, I guess. This new fleet will serve inner city routes and service Watsons Bay, Cockatoo Island and the new Barangaroo wharf. The new ferries will have Wi-Fi on-board, greater disability access and space for bikes. Transport for NSW also plans to acquire four more ferries to service the Parramatta River.
Between the missed birthdays and array of postponed parties, chances are you've got a lot of catching up to do on the celebrations front. And the folks at renowned accomodation brand QT are here to help you do so in style. Five of their plush hotels and resorts are now hosting an indulgent new experience called Floor'd, which allows guests to book out an entire floor for one wild night in with their nearest and dearest. Available at QT's Sydney, Melbourne, Auckland, Gold Coast and Perth sites, Floor'd is on offer to groups of between 16 and 41 punters keen for an exclusive rockstar-style soiree. And it's pretty much only limited by your own imagination, with three packages and a multitude of luxe add-ons to choose from. Starting from $620 per couple, the experience includes exclusive use of a whole hotel floor for the evening, with a dedicated team of hosts on hand to cater to your every whim. You and your mates will sit down to a special hallway dinner of seasonal dishes matched with brand-new signature cocktails like the Floor'd negroni and the Summer Affair. Then, after your chosen post-dinner kick-ons, you'll all spend the night sleeping like kings in your luxury hotel rooms, before waking to breakfast in bed. Of course, after the year that's been, you've got a solid excuse to splurge on a few extra additions. Mix and match your ultimate soiree with the likes of VIP drinks, pop-up bars, private DJ sets, pamper packages, late-checkout and maybe even a live performance from your favourite artist. Floor'd is available now at QT Sydney, QT Melbourne, QT Auckland, QT Gold Coast and QT Perth, running until the end of 2021. Learn more and make a booking over at the website.
If an indulgent Italian feast is on your agenda for Aussie Wine Month, then look no further than the Three Italians lunch. As the name explicitly states, the event will be an Italian smorgasbord, a celebration of the big Italian three — wine, food and opera. The frivolities kick off with Prosecco and canapés on the lawn, and it only gets better from there. Held outside on at the Pizzini Wines estate in Whitfield, Adam Pizzini of Casa Cucina in Wangaratta will prepare a four-course lunch using local produce and Italian wines. All the while, operatic duo Catherine Pendelich and Céd Le Mélédo will fill the country air with sweet music. Have you ever heard of anything more enchanting? We haven't.
Whenever an Australian state experiences a new COVID-19 outbreak, a few things tend to happen — and fast. As cases grow, restrictions are implemented, masks are mandated and other parts of the country start shutting their borders. Usually, the latter happens incrementally, starting with banning folks from certain areas, then moving onto the entire city, and then perhaps even the whole state. That's the process that has been playing out over the past week regarding Sydney's current COVID-19 cluster. Masks are back, restrictions came into effect yesterday, Wednesday, June 23, and other states have started closing their borders to the New South Wales capital. In fact, after closing up shop to seven Sydney Local Government Areas over the past couple of days, Queensland and Victoria are now doing the same with the whole Greater Sydney area. So, if you're a Queenslander or a Victorian with a trip to Sydney in your future — or vice versa — the pandemic has definitely interrupted your plans again. All of Greater Sydney is now considered a hotspot by Queensland and a red zone by Victoria. Queensland's ruling came into effect at 1am today, Thursday, June 24, while Victoria's will kick in at 1am tomorrow, Friday, June 25. https://twitter.com/AnnastaciaMP/status/1407611107594825733 Accordingly, folks who've been in Greater Sydney will no longer be permitted to enter either Victoria or Queensland, other than in a few circumstances. Queensland residents coming home from Greater Sydney, the Central Coast, Blue Mountains, Wollongong and Shellharbour will need to go into hotel quarantine for 14 days — and non-residents will only be allowed to enter if they receive an exception, and will also need to go into hotel quarantine for a fortnight. Plus, everyone going to Queensland will need to complete one of the state's online travel declarations first, after that system was brought back into effect last week. Under its traffic light-style permit system, Victoria will allow the state's own residents who've been in Greater Sydney and Wollongong to obtain permits to return home — but they'll then need to quarantine for 14 days. If you're not a Victorian resident and you've been in the NSW capital, you will no longer be able to enter Victoria. In separate press conferences today, leaders in both states advised that people from Sydney have been turned away after trying to enter both Queensland and Victoria — and put on flights back to Sydney. Victoria's Acting Premier James Merlino also announced that a case linked to the current NSW outbreak has been identified in Melbourne, after a man in his 60s flew into the city from Sydney, was tested and returned a positive result. For more information about Queensland's COVID-19 border restrictions, or about the status of COVID-19 in the state, visit the Qld COVID-19 hub and the Queensland Health website. For more information about COVID-19 in Victoria and the state's border restrictions, head over to the Department of Health website.
Melburnians will have another excuse to hit the water this summer when GoBoat splashes into town. The Denmark-born company has been busy launching its eco-friendly picnic boats in cities all over Europe and, come January, it's set to make its Melbourne debut, giving punters a fun new way to cruise the Yarra. Aimed at making the whole boating caper more accessible for everyday folk, the Scandinavian-designed vessels are slow-moving, a breeze to operate and don't require a boating licence, making for some fun, fuss-free sailing sessions. In a win for the planet, they also run on silent, pollution-free, electric engines, and are crafted from a mix of reclaimed timber and recycled PET bottles. Each of the contemporary GoBoats clocks in at 18-feet long, boasting a central picnic table with room for eight people (and all the necessary snacks and booze). And despite what you might be thinking, they're even affordable enough to fit your post-holiday budget — simply BYO food and drinks, find enough eager sailors to jump aboard and a GoBoat session will cost you less than $15 per person, per hour. That's $109 hourly in total. A fleet of four Melbourne GoBoats will be setting sail out of Docklands from early January, with six more vessels to come. Oh, and did we mention they're pet-friendly? Surely you've got a very good boy who deserves a river jaunt this summer. GoBoat is slated to launch in January, 2019. We'll update you as soon as it has. Images: Lean Timms.
If you've always felt like you have a knack for doing creative stuff with your hands, but find yourself stuck in an office job, it's time to start flexing those knuckles, because there's a whole world out there for you and your restless fingers. Winter time in Melbourne comes with a raft of options for you to get involved in, with workshops and classes that you can fit in around your working hours. Work-Shop's branch in Fitzroy, in particular, has a wealth of useful, creative and novelty related sessions that'll have you hawking the most comprehensive LinkedIn skills section around. It's a good excuse to get out into the city and brave the chilly nights, plus with Samsung's new Galaxy S9 and S9+ and its low light camera, you'll be able to show off those newfound skills to all your mates. LEARN HOW TO USE YOUR SMARTPHONE CAMERA PROPERLY Gone are the days of blurry shots, bad lighting and angles that give you a double chin. Work-Shop will show you the fundamentals of using your Samsung Galaxy to take killer pics. Composition, focusing, exposure and using natural light and flash will all be included in your four hour Saturday morning workshop. Bring yourself, your smartphone, and your Instagram account ready to go. Run by fine-art photographer George Poulakis, you don't need to be an Annie Leibovitz to benefit from this course that'll have you snapping away in full sunlight, low light or no light like a pro in no time. $80 for a four-hour workshop. MAKE YOUR OWN PASTA Aside from our doonas, pasta could be the other single most important thing in getting us through the winter time. Forever our comfort carb of choice, why not get down to basics and learn how to make your wheaty friend from scratch. Craft and Co.'s pasta class masterclass will teach you the art of filled pasta, while you'll also learn the history of pasta shapes, regional differences, and sauces to suit different types. You'll get a beverage on arrival and a charcuterie and cheese board to snack on, too. Don't forget your phone — making pasta takes a lot of love and you're going to want to keep tabs on your progress (probably via your Insta story). $95 for a two-hour workshop. DIY DUMPLINGS The food you can eat in any weather (winter or summer), time (breakfast dumplings are fine) or state (you barely have to chew them if you've got a cold), dumplings are the gift that just keeps giving. Learn how to make your own in this three-hour dumpfest led by The Humble Dumpling's Angie Chong. Get a handle on how to prepare the dough, roll, fill and wrap it all up. Bite-sized parcels of love full of locally sourced and sustainable ingredients will line your stomach before the evening is done. It's a BYO event so grab a bottle of plonk and get to warming up those nimble fingers. $90–$95 for a three-hour workshop. Instead of spending your winter nights on the couch, discover all the after-dark happenings in your city here — and don't forget to document it all on the new Samsung Galaxy S9 and S9+, designed especially for low light so you can capture your best moments no matter what. Images: Cole Bennetts.
Journey to where the sugar-white sand is oh-so-sweet on the feet and there are more shades of blue than you can count. The Maldives will have you dozing off while fish glide by at Huvafen Fushi’s underwater spa, or diving off your private deck into a crystal clear lagoon to join them at Cocoa Island by Como. Each atoll is an idyllic natural wonder and Mr & Mrs Smith has some sensational sunseeker offers that will have you barefoot and blissful in no time. One&Only Reethi Rah A PADI National Geographic dive centre, 12 beaches and eight dining destinations make up One&Only Reethi Rah, a lush, sprawling Maldivian island retreat. From huevos rancheros in the morning to lobster gyoza at Tapasake in the evening, your palate will take an international trip each day. Hint: the island’s boutique, Neo, stocks Louboutin espadrille wedges designed especially for the resort, just in case you tire of flip-flops. Action-hungry travellers can zip from the Grand or Duplex Villas to the resort’s climbing wall in a golf buggy, dice with danger on a shark safari, then watch the sunset while swaying in a hammock between the palms on a private sandy stretch. Lazy landlubbers might find the hammock too hard to leave from dawn til dusk. Cocoa Island by Como An exquisite blue lagoon is the true champion at Cocoa Island by Como, although the villas are nothing to scoff at either. From outside, the overwater villas resemble tradtional dhoni boats resting atop the lagoon. Understated bright white interiors paired with timber furnishings make the turquoise waters the statement – even more so from your private sun-deck. Bend like the palms at yoga every morning then feast on the daily catch at Ufaa, where a combination of Mediterranean- and Thai-inspired dishes use only the best seasonal produce and local seafood. Como Shambhala Spa has world-class treatments and guided meditation to ease lingering tensions. Anantara Kihavah Villas Enjoy nature’s best at Anantara Kihavah Villas, where sandy beaches and island isolation are just the beginning. There’s an underwater wine cellar and an overwater spa with views into the azure lagoon in each treatment room – you’ll also find yoga mats, sun hats and beach bags at the ready in every villa. Sway in the ocean breeze on the Overwater Pool Villa’s hammock-strung terrace or sink your toes into your own stretch of sand in a Beach Pool Villa (wine-coolers included). Take a dip at night in the 49-metre pool where LED lights in the tiled floor mimic the stars above to create the perfect stage for romance. Naladhu Reef-fringed Veligandu Huraa is where you’ll find the boutique resort Naladhu and its 19 villas nestled between a sheltered lagoon and the Indian Ocean. Enjoy sea breezes from bedroom to bathroom – a glass panel is all that separates the soaking tub from your private pool and the horizon beyond. Dive, snorkel and swim until your heart’s content in this romantic water-bound paradise. Under a thatched roof overlooking the lagoon is the Living Room, where torches light up the night sky and you can feast on grilled tiger prawns, spicy lemongrass red snapper and more internationally inspired dishes that draw from fresh market ingredients. Park Hyatt Maldives Hadahaa An eco-friendly oasis on one of the largest Maldivian atolls, North Huvadhoo, Park Hyatt Maldives Hadahaa instils immediate holiday calm. Floor-to-ceiling windows in minimalist villas ensure constant island views from verdant tropical fronds to azure waters. Fancy learning something new? Tackle the mojito mixology class, where you’ll have to try your concoctions so you know you’re getting it just right. There’s an intricate mosaic of marine life just steps (or strokes) away at the in-house reef, which you can explore with the resident marine biologist. Laidback foodies will love the Island Grill with its sandy floor and locally inspired dishes such as plantain ragout or Wagyu tenderloin with spicy papaya. Baros Baros is a boutique on the North Malé Atoll that’s sure to fulfil your castaway island dreams (with added luxury, natch). Hide yourself away in one of the secluded Water Pool Villas on the end of the winding jetty. Each has a private pool, canopied day-bed and personal Villa Host at your beck and call. Beach Villas are nestled among palm trees and tropical fronds and have an extra portion of privacy. Travel across the lagoon to a strip of sand for morning yoga practise, then explore the reef and learn about the resort’s coral planting programme that helps sustain the local marine habitat. Huvafen Fushi Everywhere you look you’ll discover a different shade of blue at Huvafen Fushi. The toughest decision you’ll have to make here is whether you want sand shores within reach in a Beach Villa or direct ocean dips from the overwater bungalows, which come with a private plunge pool. Visit the world’s first underwater spa, Lime, where you’ll float on a bed of relaxation while watching stingrays, clownfish and co. glide by. Enjoy fine dining paired with perfect wines at Vinum, but not before sampling something from the extensive cocktail list at UMbar — the Crouching Tiger (lemongrass, lychee, gin sake, ginger liqueur and jasmine tea) is delectable. Niyama On the deserted Dhaalu Atoll, Niyama’s hovering overwater bungalows will make you swoon with their reclaimed wood exteriors, luxurious marble bathrooms and lavish rain showers. Brilliant azure waters, shimmering sands and lush palm fronds are standard here; Subsix, the world’s first underwater club, is anything but standard, with its aquarium-like feel creating definite wow-factor as you sip cocktails among vivid corals and flirty fish. Opt for a Beach Studio with Private Pool on the sunset side of the island for its prime people-watching potential — Number 14 is right in the thick of the action. Viceroy Maldives The sparkling Shaviyani Atoll has water-a-plenty, especially when you consider that all the villas at Viceroy Maldives have private plunge pools to boot. Beach Villas boast monochromatic elegance; the Water Villas’ cool greys, blues and timber furnishings allow no loud, colourful distractions from the sounds of the ocean. Wander up to Treehouse for spectacular views and delicious mezze platters at sunset and cross wooden platforms to find your own secluded dining spot. Be your own bartender in a private beach cabana for two and mix favourite tipples or tropical concoctions into the early hours. Constance Moofushi Picture this: a crystal clear lagoon with vivid corals, swaying palms and tunes from the in-house DJ drifting on the sea breeze. Welcome to laidback luxury at Constance Moofushi. For a break from the party scene at Manta Bar, take your Moofushi Nasta Lemonade (home-made lemon and ginger marmalade with bourbon, fresh mint and cucumber) back to your Water Villa. Numbers 30–35 are perfect for counting stars on your private terrace and have the best of both worlds — sandy beach on one side; the Indian Ocean on the other. Browse more hotels in the Maldives, discover the Mr & Mrs Smith collection and exclusive offers online, or contact Smith’s expert Travel Team.
On the page and the big screen, Scott Pilgrim vs the World told the same story. Its namesake (Michael Cera, Barbie) fell in love with Ramona Flowers (Mary Elizabeth Winstead, Ahsoka), but there was a roadblock on the way to the pair dating: her seven evil exes that needed defeating. On streaming from November, Scott Pilgrim Takes Off will also cover those details in anime; however, that's just the beginning of the tale. One, two, three, four: Sex Bob-Omb! are back, and everything Scott Pilgrim with them, thanks to this animated Netflix series. First announced earlier in 2023 and dropping its teaser trailer in August, the new take on a bass player fighting the object of his affection's past boyfriends isn't just hitting the small screen as a streaming series — as the new full sneak peek stresses, it has amassed the entire Scott Pilgrim vs the World cast back in their roles. Obviously, a lot can happen in 13 years — and for the cast of 2010's page-to-screen favourite Scott Pilgrim vs the World, much has before Scott Pilgrim Takes Off reaches screens. Michael Cera kept returning to Arrested Development's George Michael, made a stunning appearance in the Twin Peaks revival and featured in Barbie. Mary Elizabeth Winstead added everything from Fargo and 10 Cloverfield Lane to Birds of Prey (and the Fantabulous Emancipation of One Harley Quinn) and Ahsoka to her resume. Chris Evans became Captain America, Kieran Culkin killed it with insults in Succession and Anna Kendrick had the whole Pitch Perfect franchise. Brie Larson slipping into Captain Marvel's shoes, Aubrey Plaza's The White Lotus stint, Jason Schwartzman still showing up in Wes Anderson films aplenty — that's all occurred as well. Now, more Scott Pilgrim has come all of the above actors' way, too. The movie that started off as a series of graphic novels by Bryan Lee O'Malley, and also hit video games, will live on again from Friday, November 17. When a film becomes a streaming series, that doesn't always mean that the OG stars return with it — but it does in this case. As well as Cera and Winstead, Scott Pilgrim Takes Off boasts Culkin as Wallace Wells, Kendrick as Stacey Pilgrim, Larson as Envy Adams and Plaza as Julie Powers. And, yes, Evans, Schwartzman, Satya Bhabha (Sense8), Brandon Routh (The Flash) and Mae Whitman (Good Girls) are all back as Ramona's evil exes. The list doesn't stop there. Alison Pill (Hello Tomorrow!) as Kim Pine, Johnny Simmons (Girlboss) as young Neil, Mark Webber (SMILF) as Stephen Stills, Ellen Wong (Best Sellers) as Knives Chau are reprising their roles as well. While Scott Pilgrim Takes Off still sees its namesake swoon over Ramona, then tussle with her former paramours, this is more than just a do-over. "I knew that a live action sequel was unlikely, but I would usually defer by suggesting that perhaps an anime adaptation was an interesting way to go," the original film's director Edgar Wright told Netflix back when the series was first announced. "And then, lo and behold, one day Netflix got in touch to ask about this exact idea. But even better, our brilliant creator Bryan Lee O'Malley had an idea that was way more adventurous than just a straight adaptation of the original books," Wright continued — and he's back as an executive producer. Check out the full trailer for Scott Pilgrim Takes Off below: Scott Pilgrim Takes Off streams via Neflix on Friday, November 17.
The Victorian Government isn't set to deliver the 2020–21 State Budget until Tuesday, November 24, but it has been revealing some of its details and funding plans in the lead up to that date. And, as the announcement of $200 vouchers for regional getaways made clear, it's focusing on getting Victorians to explore their own backyard — and the entire state — in a big way now that this year's two period of lockdown have come to an end. Also already revealed as part of the budget: a heap of cash directed towards projects in regional areas that Melburnians will want to visit. If you like moseying along the coast, camping by the water and heading to a hot springs resort — another one, in addition to Peninsula Hot Springs — then you're in luck. For folks keen to hit up the Great Ocean Road, that area of the state is set to receive $47.5 million in funding. From that money, $23.8 million will be used to build a coastal walking trail that meanders by the sea and through the hinterland, spanning from Fairhaven to Grey River. It'll extend the existing Great Ocean Road Coastal Trail, and will include up to five new swing suspension bridges with impressive views of the Surf Coast. Around $2 million will go towards creating more campsites along the Surf Coast, too, while $18.3 million is earmarked for upgrading visitor facilities and infrastructure in the area, like toilets, viewing platforms, trails, beach access and car parking — and installing free public wi-fi. [caption id="attachment_746191" align="aligncenter" width="1920"] Visit Victoria[/caption] In the Gippsland region, $18.5 million is being set aside for a number of projects — including several places to spend a hefty amount of time. Over at the Cape Conran Coastal Park, $3.5 million will go to building ten eco-pods to stay in, all from sustainable materials. Next, $1.5 million will be spent on Metung Hot Springs, to create a new year-round geothermal mineral spring that can welcome 250 guests. And, another $1 million is destined for the proposed Nunduk Spa and Eco-Resort at Lake Wellington. The Gippsland funding will also use $3.5 million to restore the timber trestle Snowy Rail Bridge so it can be used safely by pedestrians and cyclists, plus $2 million for additional camping spots in East Gippsland. Another $2.8 million will go towards making Mallacoota Inlet easier to access, and $3.85 million to do the same for the Point Hicks Lighthouse, with $350,000 earmarked for expanding the Raymond Island koala trail. [caption id="attachment_681271" align="aligncenter" width="1920"] Nicole Reed[/caption] From an overall Victorian Tourism Recovery Package clocking in at $465 million, cash will also be allocated to a range of other areas — including the Falls to Hotham Alpine Crossing hiking trail, the Grampians Peak Trail, Mackenzie Falls, the Murray River Adventure Trail, Wilsons Promontory, the Mallee Silo Art Trail and the new National Centre for Photography in Ballarat. For wine-lovers, the funds will also be used to help expand the Prosecco Road winery district, and to establish accommodation at Dal Zotto Wines. Exact timing around all of the above hasn't been announced — and it's a hefty list, so it's safe to say it won't all happen quickly. Still, if you didn't already have a sizeable number of places to visit across the state, you will in the future. For more information about the Victorian Tourism Recovery Package, read the Victorian Government announcement. Top image: Great Ocean Road, Visit Victoria
Something delightful has been happening in cinemas in some parts of the country. After numerous periods spent empty during the pandemic, with projectors silent, theatres bare and the smell of popcorn fading, picture palaces in many Australian regions are back in business — including both big chains and smaller independent sites in Sydney, Melbourne and Brisbane. During COVID-19 lockdowns, no one was short on things to watch, of course. In fact, you probably feel like you've streamed every movie ever made, including new releases, Studio Ghibli's animated fare and Nicolas Cage-starring flicks. But, even if you've spent all your time of late glued to your small screen, we're betting you just can't wait to sit in a darkened room and soak up the splendour of the bigger version. Thankfully, plenty of new films are hitting cinemas so that you can do just that — and we've rounded up, watched and reviewed everything on offer this week. HALLOWEEN ENDS Whenever a kitchen knife gleams, a warped mask slips over a killer's face or a piano score tinkles in a horror movie — whenever a jack-o'-lantern burns bright, a babysitter is alone in someone else's home with only kids for company or October 31 hits, too — one film comes to mind. It has for four-plus decades now and always will, because Halloween's influence over an entire genre, slasher flicks within it and final girls filling such frames is that immense. That seminal first altercation between then 17-year-old Laurie Strode and psychiatric institution escapee Michael Myers, as brought to the screen so unnervingly by now-legendary director John Carpenter, also valued a concept that couldn't be more pivotal, however. Halloween was never just a movie about an unhinged murderer in stolen mechanic's overalls stalking Haddonfield, Illinois when most of the town was trick-or-treating. In Laurie's determination to survive Michael's relentless stabbing, it was a film about trauma and fighting back. As played by Jamie Lee Curtis (Everything Everywhere All At Once) for 44 years — her big-screen debut made her an OG scream queen, and she's returned six times since, including now in Halloween Ends — Laurie has never been anyone's mere victim. In the choose-your-own-adventure antics that've filled the franchise's ever-branching narrative over 13 entries, her tale has twisted and turned. The saga's has in general, including chapters sans Laurie and Michael, films that've killed one or both off, and remakes. But mustering up the strength to persist, refusing to let Michael win and attacking back has remained a constant of Laurie's story. That's all kept pushing to the fore in the current trilogy within the series, which started with 2018's Halloween, continued with 2021's Halloween Kills and now wraps up with an instalment that flashes its finality in its moniker. Laurie keeps fighting, no matter the odds, because that's coping with trauma. This time, though, is a weary Haddonfield ready to battle with her? First, a just-as-pressing question: is this David Gordon Green-directed and co-written, Jason Blum-produced movie ready to fight back itself? Green (Stronger, The Righteous Gemstones) has been the mastermind behind the franchise's revival with co-scribe Danny McBride (The Legacy of a Whitetail Deer Hunter) — and while their first dance with the boogeyman (James Jude Courtney and Nick Castle), and the woman pursued by him, gave the Halloween series its best sequel yet, their second lurked in lacklustre been-there, done-that territory. Despite a title that's bound to be proven wrong down the line because that's just the way Hollywood goes, Halloween Ends leaps forward after its average-at-best most-recent predecessor, thankfully. It does so weightily, eerily and gorily, in fact, albeit sometimes clumsily as well, in a mostly fitting swan song for Curtis that understands what it means to spend half a lifetime shrouded in tragedy. Halloween circa 2018 and Halloween Kills sliced into the same night, 40 years after Michael initially attacked Laurie, but Halloween Ends covers two other October 31s. In the first, a year later, a babysitter, a child and Haddonfield's understandably on-edge vibe are all present — as is Carpenter's 1982's masterpiece The Thing, playing on a TV — and a bloody end results. Jumping forward three more years, Laurie is penning a memoir about moving on from her ordeals, and has begun to re-embrace life while living with her granddaughter Allyson (Andi Matichak, Foxhole). Still, around them, their home town is uncertain in Michael's absence. Accustomed to having a big bad responsible for their woes, fears and misery, its residents now point fingers at twentysomething Corey Cunningham (Rohan Campbell, The Hardy Boys), who's already escaped a murder accusation but is forever branded in the community's eyes. Read our full review. ALL QUIET ON THE WESTERN FRONT War makes meat, disposable labour and easy sacrifices of us all. In battles for power, as they always are, bodies are used to take territory, threaten enemies and shed blood to legitimise a cause. On the ground, whether in muddy trenches or streaming across mine-strewn fields, war sees the masses rather than the individuals, too — but All Quiet on the Western Front has always been a heartbreaking retort to and clear-eyed reality check for that horrific truth. Penned in 1928 by German World War I veteran Erich Maria Remarque, initially adapted for the screen by Hollywood in 1930 and then turned into a US TV movie in 1979, the staunchly anti-war story now gets its first adaptation in its native tongue. Combat's agonies echo no matter the language giving them voice, but Edward Berger's new film is a stunning, gripping and moving piece of cinema. Helming and scripting — the latter with feature first-timers Lesley Paterson and Ian Stokell — All My Loving director Berger starts All Quiet on the Western Front with a remarkable sequence. The film will come to settle on 17-year-old Paul Bäumer (astonishing debutant Felix Kammerer) and his ordeal after naively enlisting in 1917, thinking with his mates that they'd be marching on Paris within weeks, but it begins with a different young soldier, Heinrich Gerber (Jakob Schmidt, Babylon Berlin), in the eponymous region. He's thrust into the action in no man's land and the inevitable happens. Then, stained with blood and pierced by bullets, his uniform is stripped from his body, sent to a military laundry, mended and passed on. The recipient: the eager Paul, who notices the past wearer's name on the label and buys the excuse that it just didn't fit him. No one dares waste a scrap of clothing — only the flesh that dons it, and the existences its owners don't want to lose. Paul's parents are against him signing up with the Imperial German Army, but his pals Albert Kropp (Aaron Hilmer, The Island), Franz Müller (Moritz Klaus, Die Chefin) and Ludwig Behm (Adrian Grünewald, also The Island) are doing it, so he's soon forging a signature and receiving his pre-used uniform. You could say that the high schooler and his friends get the shock of their lives once they make it to the front, because they do; however, as the Germans and the French keep tussling over a ridiculously small stretch, making zero impact upon the greater war in the process, Paul and company's lives — shocks and all — couldn't be more expendable. In the unit's first big push, the teenagers' numbers already diminish. Building upon the movie's potent opening, Berger ensures that nothing about war remains romanticised in their gaze. Call it hell, call it a nightmare, call it a senseless throwing away of innocent life and a needless robbing of the future: they all fit. Eighteen months later in November 1918, All Quiet on the Western Front moves to Paul and his compatriots behind the trenches. Trying to survive is still their only aim, and any sense of excitement, passion, enthusiasm and patriotism for their service has long dissipated. Sometimes, with the older and brotherly Stanislaus "Kat" Katczinsky (Albrecht Schuch, Berlin Alexanderplatz), making it through the day involves attempting to steal food from French farms. Sometimes, it means looking for new recruits who haven't shown up. When orders come as they unavoidably do, though, the front is inescapable. Alongside 1917, All Quiet on the Western Front proves a masterclass in conveying armed conflict's relentlessness, terror and futility — from a first-person perspective, and also via lengthy, unbroken, like-you're-there shots steeped in gut- and heart-wrenching wartime brutality. Read our full review. THE NIGHT OF THE 12TH On the night of the 12th, the incident that makes that date worthy of a movie's moniker happens quickly, heartbreakingly and horrifyingly so. It's October 2016, in the French Alps-region city of Grenoble, and Clara Royer (Lula Cotton-Frapier, Mixte) is walking home alone after an evening at her best friend Nanie's (Pauline Serieys, Grown Ups). It's 3am, the streets are quiet, and she's giddy with affection, sending a video message telling her pal how much she loves her. All it takes is a hooded figure emerging from the dark, whispering her name, dousing her with liquid and sparking a lighter, and Clara will never arrive home. Before this occurs in The Night of the 12th's opening scenes, director and co-writer Dominik Moll (Only the Animals) shares details just has distressing and dismaying: the French police are tasked with solving 800 murders a year, 20 percent of them never can be and, sadly, the case in this feature is among the latter. It might seem a strange decision, giving away the film's ending before it even begins; however, while The Night of the 12th is about the search for Clara's killer, it's never about the murderer. Instead, as it adapts 30 pages from Pauline Guéna's non-fiction book 18.3 — A Year With the Crime Squad, takes a Zodiac-style procedural approach and opts for a Mindhunter-esque survey of interrogations as well, it makes clear how easy and common it is for situations like this come about, especially in a world where women are slain at men's whims with frequency (then typically blamed if any of their own actions can be wrongly perceived to have put themselves in danger). Alongside David Fincher's serial killer fare, Bong Joon-ho's Memories of Murder casts a shadow, too, as detective Yohan Vivès (Bastien Bouillon, Jumbo) and his partner Marceau (Bouli Lanners, Nobody Has to Know) scour the area for suspects and answers. "The problem is that any one of them could have done it," Yohan observes after potential culprit after potential culprit fields their queries and flouts their engrained misogyny. Was it the bartender boyfriend (Baptiste Perais, The Companions), who saw Clara as nothing more than a fling on the side? The gym buddy (Jules Porier, Simone Veil, a Woman of the Century) that's guffawing seconds after the cops bring up the killing, all while bragging about a friends-wth-benefits setup? A rapper (Nathanaël Beausivoir, Runaway) knew the police would come calling because he wrote a song about setting Clara alight, while an awkward local squatter (Benjamin Blanchy, Spiral) welcomes the attention. By the time that her dalliance with an older man (Pierre Lottin, Les Harkis) with a violent past and convictions for domestic abuse comes up, one of Yohan and Marceau's colleagues is joking about Clara's taste in men. Judgemental views about women don't just fester among the interviewees; how many cases have been hindered by such prejudiced perspectives, The Night of the 12th silently gives viewers cause to wonder. Played as meticulous and passionate by Bouillon, the newly promoted Yohan isn't one of those chauvinist officers. More prone to splashing his feelings around in Lanners' hands, neither is Marceau. The film's central duo is dutiful and dedicated, and their efforts turn The Night of the 12th into a chronicle of devoted and hard-working people doing what they're supposed to — and well, and with care — even if viewers instantly know they won't achieve their desired outcome. In the script by Moll and his regular co-scribe Gilles Marchand (Eastern Boys), both men find the case impacting them in different ways, though, including the fact that their obsessive endeavours don't and won't wrap up the case. Amid chasing leads, making enquiries and sitting down with the men in Clara's life, Yohan lives a spartan existence in his spick-and-span apartment and in his relationships. Marceau is navigating a marriage breakdown, and his emotions run high personally and professionally. Read our full review. MURU Defiant, powerful and passionate at every turn, Muru depicts a relentless police raid on New Zealand's Rūātoki community. Equally alive with anger, the Aotearoan action-thriller and drama shows law enforcement storming into the district to apprehend what's incorrectly deemed a terrorist cell, but is actually activist and artist Tāme Iti — playing himself — and his fellow Tūhoe people. If October 2007 springs to mind while watching, it's meant to. Written and directed by Poi E: The Story of Our Song and Mt Zion filmmaker Tearepa Kahi, this isn't a mere dramatisation of well-known events, however. There's a reason that Muru begins by stamping its purpose on the screen, and its whole rationale for existing: "this film is not a recreation… it is a response". That the feature's name is also taken from a Māori process of redressing transgressions is both telling and fitting as well. Kahi's film is indeed a reaction, a reply, a counter — and a way of processing past wrongs. In a fashion, it's Sir Isaac Newton's third law of motion turned into cinema, because a spate of instances across New Zealand over a century-plus has sparked this on-screen answer. Muru's script draws from 15 years back; also from the police shooting of Steven Wallace in Waitara in 2000 before that; and from the arrest of Rua Kēnana in Maungapōhatu even further ago, in 1916. While the movie finds inspiration in the screenplay Toa by Jason Nathan beyond those real-life events, it's always in dialogue with things that truly happened, and not just once, and not only recently. If every action causes an opposite reaction, Muru is Kahi's way of sifting through, rallying against and fighting back after too many occasions where the long arm of the NZ law, and of colonialism, has overreached. Played by Cliff Curtis (Reminiscence) with the brand of command that he's long been known for — and with the unshakeable presence that's served him through everything from The Piano, Once Were Warriors and Whale Rider through to The Dark Horse, Fear the Walking Dead and Doctor Sleep — Police Sergeant 'Taffy' Tawhara sits at the heart of Rūātoki's us-and-them divide. A local cop, he has the nation's laws to uphold, but he's also beholden to the community he hails from. His homecoming is recent, with his father (Tipene Ohlson) ailing and undergoing dialysis. So far, it has also been quiet. On the day that Muru begins, Taffy drives the school bus, takes the Aunties for medical checkups at the local mobile clinic and does what everyone in the valley does in their own manners: watches out for and tries to support 16-year-old Rusty (Poroaki Merritt-McDonald, Savage), the nephew of fellow officer Blake (Ria Te Uira Paki, The Dead Lands), who has the role of Rūātoki's resident wayward teen down pat. When Rusty smashes up shop windows that night, Taffy takes the call, then makes Iti's Camp Rama his second stop. A gathering of locals that champions survival skills and Tūhoe culture, it's designed to foster and reinforce the area's identity, which Taffy thinks Rusty can benefit from — even if that evening marks the sergeant's first attendance himself. But Camp Rama has also been under surveillance by the NZ police's special tactics group, with haughty leader Gallagher (Jay Ryan, The Furnace) and his quick-tempered second-in-command Kimiora (Manu Bennett, The Hobbit) deciding that Iti and his friends are a threat to national security. The highly armed tactical unit descends upon the community the next day, aided behind the scenes by colleagues Maria (Simone Kessell, Obi-Wan Kenobi) and Jarrod (Byron Coll, Nude Tuesday), overseen by an MP (Colin Moy, Guns Akimbo) determined to make a statement, and ignoring Taffy's pleas that their mission is mistaken. Read our full review. MONA LISA AND THE BLOOD MOON When Ana Lily Amirpour made her spectacular feature filmmaking debut in 2014, and made one of the best movies of that year in the process, she did so with a flick with a killer title: A Girl Walks Home Alone at Night. That moniker also summed up the picture's plot perfectly, even if the Persian-language horror western vampire film couldn't be easily categorised. Take note of that seven-word name, and that genre-bending approach. When Amirpour next made wrote and directed The Bad Batch, the 2016 dystopian cannibal romance started with a woman meandering solo, albeit in the Texan desert in daylight, and also heartily embraced a throw-it-all-in philosophy. Now arrives her third stint behind the lens, the hyper-saturated, gleefully sleazy, New Orleans-set blend of superheroes, scams and strippers that is Mona Lisa and the Blood Moon — which, yes, features a female protagonist (Jeon Jong-seo, Burning) strolling unescorted again, back under the cover of darkness this time. Mona initially walks out of a home instead of towards one, however. And Amirpour isn't really repeating herself; rather, she has a penchant for stories about the exploited fighting back. Here, Mona has been stuck in an institution for "mentally insane adolescents" for at least a decade — longer than its receptionist (Rosha Washington, Interview with the Vampire) can remember — and breaks out during the titular lunar event after gruesomely tussling with an uncaring nurse (Lauren Bowles, How to Get Away with Murder). The Big Easy's nocturnal chaos then awaits, and Bourbon Street's specifically, as does instantly intrigued drug dealer Fuzz (Ed Skrein, Maleficent: Mistress of Evil) and a determined but decent cop (Craig Robinson, Killing It). With opportunistic pole-dancer Bonnie Belle (Kate Hudson, Music), Mona thinks she finds an ally. With her new pal's kind-hearted latchkey kid Charlie (Evan Whitten, Words on Bathroom Walls), she finds a genuine friend as well. Amirpour's movies sport a kinetic feel that's as natural to them as breathing is to watching audiences. Her love of movement shines through as brightly as moonlight, too — and Mona Lisa and the Blood Moon is another glowing example. Directed with style and boldness to spare, this is a garish, on-the-go, howling-at-the-sky kind of southern Gothic horror flick, purposefully and strikingly so. Slinking along with it is inescapable, whether Mona is unleashing her supernatural skills, navigating the French Quarter's hustle-and-bustle nighttime vibe, or wholesomely dreaming of a safer future. First, though, Mona has to break out of the bayou-adjacent facility she's been forced to call home, which happens in a grim, revenge-seeking, attention-grabbing fashion. The aforementioned nurse usually spits insults the straightjacketed, catatonic Korean detainee's way, including while clipping her toenails. Then the inmate snaps back into focus — maybe the moon that's stirred her? — and uses her gifts to wreak havoc. Without touching the nurse, or anyone else she imposes her will upon throughout the movie, Mona can take control of their bodies. There's no flesh-swapping (another spin on Freaky Friday, this isn't); here, via voodoo-esque physical manipulation, Mona Lisa and the Blood Moon's main figure waves her hands or nods her head, then whoever's in her gaze does as she directs. That's a skill that comes in handy once she's out on her lonesome, meandering the city barefoot with threats lurking. It's also a talent that Bonnie observes during a fast-food store car park catfight, with Mona saving her bacon. Deciding that those telekinetic capabilities can be put to cunning, canny and profitable use — look out, strip-club patrons — Bonnie is swiftly offering up her companionship, and her home, although the metal-loving Charlie warns their new houseguest to be wary. Read our full review. If you're wondering what else is currently screening in Australian cinemas — or has been lately — check out our rundown of new films released in Australia on July 7, July 14, July 21 and July 28; August 4, August 11, August 18 and August 25; September 1, September 8, September 15, September 22 and September 29; and October 6. You can also read our full reviews of a heap of recent movies, such as Thor: Love and Thunder, Compartment No. 6, Sundown, The Gray Man, The Phantom of the Open, The Black Phone, Where the Crawdads Sing, Official Competition, The Forgiven, Full Time, Murder Party, Bullet Train, Nope, The Princess, 6 Festivals, Good Luck to You, Leo Grande, Crimes of the Future, Bosch & Rockit, Fire of Love, Beast, Blaze, Hit the Road, Three Thousand Years of Longing, Orphan: First Kill, The Quiet Girl, Flux Gourmet, Bodies Bodies Bodies, Moonage Daydream, Ticket to Paradise, Clean, You Won't Be Alone, See How They Run, Smile, On the Count of Three, The Humans, Don't Worry Darling, Amsterdam and The Stranger.
No longer just the realms of year three excursions where your mum came as chaperone, Melbourne Zoo Twilights — the after-hours live music series that boasts perhaps one of the best summer nights out, as well as lots of adorable animals — has proven it's got some real cred when it comes to hosting outdoor gigs in the past few years. After all, the event has hosted headliners such as Kurt Vile, Cat Power and Ben Folds over the last few years. And this summer the event will return with a series of live sets every weekend from Friday, January 24 through Saturday, March 7. Last month, Zoo Twilights announced famed LA composer and singer Randy Newman — who has won two Academy awards and seven Grammys, and is behind songs in nine Disney and Pixar films — as one of its headline acts. And, now, it's just dropped the full 2020 lineup. Aussie pop royalty Missy Higgins, Twilight regulars The Cat Empire, seminal Jamaican reggae group Toots and The Maytals, Perth noir-pop band Methyl Ethel and dance floor starters Confidence Man will all taking the stage this season. A few big throwbacks are also on this year's program, including the pub-rock legends behind 'Great Southern Land' and 'Electric Blue' Icehouse, 70s English band 10cc — if you don't know the name, you'll definitely know their hit 'I'm Not in Love' — and US gospel queen and 99 Rock & Roll Hall of Famer Mavis Staples. UK-French avant-pop band Stereolab has also reunited after a ten-year break and will be treating to the crowd to its first live performance in a decade. Bringing your own picnic is encouraged, but there'll also be handy gourmet hampers available on-site, as well as a slew of food trucks to choose nosh from. Either way, it's one of the best dates in Melbourne. Plus, all proceeds from Zoo Twilights go back into Zoo Victoria's ongoing conservation work to help fight the extinction of the Mountain Pygmy possum. MELBOURNE ZOO TWILIGHTS 2020 PROGRAM Friday, January 24 — Confidence Man, supported by Wax'o Paradiso Saturday, January 25 — Icehouse, with special guests Friday, January 31 — Toots and The Maytals, supported by Systa BB Saturday, February 1 — An Evening with Randy Newman Friday, February 7 — Missy Higgins, supported by William Crighton Friday, February 14 — The Cat Empire, supported by Emily Wurramara Friday, February 21 — 10cc, supported by Russell Morris Saturday, February 22 — Methyl Ethel, supported by Hatchie Friday, February 28 — Julia Jacklin, supported by Weyes Blood Saturday, February 29 — Meg Mac, supported by Fergus James Friday, March 6 — Stereolab, supported by Mildlife Saturday, March 7 — Mavis Staples, supported by Emma Donovan and The Putbacks Melbourne Zoo Twilights will return to Melbourne Zoo from January 24 until March 7. Tickets go on sale at 8am on Tuesday, October 22 at zootwilights.org.au. Image: Ian Laidlaw.
Head interstate to see a big show, or cross your fingers that it comes to Melbourne? When it comes to huge theatre productions, that's the regular dilemma. Thankfully, the musicals and plays that don't premiere on our turf tend to make their way here eventually — and, just like Hamilton, West End and Broadway hit Girl From the North Country is one of them. For Bob Dylan fans, that name will be familiar. It's the title of one of the legendary folk singer's 1963 songs — a tune that features in this musical, naturally. Indeed, the entire show uses Dylan's tracks, including everything from 'Like a Rolling Stone' and 'Hurricane' to 'Slow Train' and 'I Want You', all weaved throughout a story of American life during the Great Depression. Girl From the North Country will make its Australian premiere at the 2022 Sydney Festival; however, to save you the trip north, it's coming to Melbourne as well from April. So, block out Friday, April 29 in your diary, as that's when its season will get started at the Comedy Theatre. Story-wise, the musical is set in a guesthouse in the US state of Minnesota in 1934. The narrative revolves around owner Nick, who is deeply in debt; his wife Elizabeth, whose mind is fraying; and their pregnant daughter Marianne — as well as a bible-slinging preacher and a boxer endeavouring to make a comeback. Overseas, Girl From the North Country has enjoyed sell-out seasons since it first debuted in London in 2017 — heading from The Old Vic to West End, next leaping to the US for an off-Broadway run, and then hitting up Toronto, returning to West End and premiering on Broadway before the pandemic in early 2022. Locally, the debut Aussie season will star Lisa McCune (The King and I, South Pacific), Zahra Newman (The Book of Mormon, Wentworth), Terence Crawford (Escape From Pretoria, 1984) and Helen Dallimore (Wicked, Legally Blonde). Girl From the North Country will open at the Comedy Theatre, 240 Exhibition Street, Melbourne from Friday, April 29, 2022. For further information or to buy tickets from Wednesday, December 15, head to the musical's Australian website.
Attention, Australia's aspiring novelists, budding journalists and up-and-coming writers. The Emerging Writers' Festival returns to Melbourne from June 14–23, bringing together over 200 new and emerging writers in their biggest program yet. Developed by new artistic director Izzy Roberts-Orr in collaboration with former artistic director Michaela McGuire, the festival boasts parties, performances, poetry slams, panels and networking events that all aim to promote and nurture developing storytellers. The jam-packed ten days will begin with an opening night storytelling session — titled Our Invincible Summer — by some of the brightest voices in the literary community. The evening will also include announcements of the recipients of the Monash Undergraduate Prize for Creative Writing and the Victorian Premier's Literary Award for an Unpublished Manuscript. Stick around for the afterparty, hosted by publication/blog/podcast Hot Chicks with Big Brains. Other key events include a Looking for Alibrandi-inspired formal, Tipping Points — a particularly topical play about climate change which was created in 24 hours — and Love Show, a collective performance by Quippings, a disability performance collective that showcases performers of a huge variety of bodies and minds. If you're looking for an after-dinner show, check out Lost The Plot, which sees lit nerds battle on stage in a night of wacky word games. If you can only commit to one event though, the annual, two-day National Writers' Conference is not to be missed. Held at the State Library of Victoria over the weekend of June 17-18, the event is curated to inspire writers through industry-focused talks, masterclasses and information sessions hosted by some of Australia's top literary talent. Additional masterclasses will be held throughout the festival and span everything from pitching to publishers and freelancing to young adult fiction writing, as well as podcasting, YouTubing and even spoken word. The Industry Insiders series will showcase some of Australia's top emerging editors and field discussions on self-publishing and marketing your work, while foodies can even enjoy a five-course meal in an evening with some of Australia's best food writers on Monday, June 19. The Emerging Writers' Festival 2017 will take place across Melbourne from June 14–23. For the full program of events, visit emergingwritersfestival.org.au.
For many years St Michaels Grammar School and Red Stitch Theatre have sat next to each other with little interaction other than the occasional use of a hall, or the odd class excursion. That is, until recently. Students from the performing arts-centric school will collaborate with actors from Red Stitch in the upcoming production of The Flock and the Nest. Twelve students from St Michaels are pairing up with four Red Stitch actors under the direction of Gary Abrahams to present The Flock and the Nest, a drama about youth, family, grief and loss. When Ebony's sister-in-law, Niamh, visits her and her family on their rural property, all hell breaks loose. The production is a combination of scripted drama and improvisation, written by Melbourne playwright (and the 2013 writer-in-residence at Red Stitch) Glyn Roberts. Taking the age-old tension of blood ties, land entitlement and grief, The Flock and the Nest promises to be a gripping family drama.
There are few things in life that are better than pizza. That's an indisputable fact — but, as fantastic as pizza in general is, free pizza has it beat. And that's just what Small Print Pizza Bar is handing out at its Pizza in the Park Party. Taking place in Windsor's Victoria Gardens between 3–6pm on Sunday, October 28, the event will include free sourdough pizzas — including both vegan-friendly and meat-topped options — plus free house-made soft drinks and free games. Get cosy on a picnic blanket, try your hand at Finska or bocce, and, of course, eat pizza. The event will launch the return of Small Print Pizza Bar's pizza in the park delivery service, which is really exactly what it sounds like. If you're keen on having a picnic in Victoria Gardens over summer, you can order a pizza and the store will deliver it to you. It'll also loan you games or a frisbee for some added fun. Image: Small Print Pizza Bar.
The couple at the centre of relationship dramedy Before Midnight is one we know oddly well, Jesse (Ethan Hawke) and Celine (Julie Delpy). In a typically Gen X act of slacker romanticism, they spent one night walking and talking around Vienna in 1995's Before Sunrise and were finally reunited for a further afternoon in Paris in 2004's Before Sunset. In the nine years since, it turns out they've stuck with each other, but the insouciance of those early encounters has gone now they're into their early forties. "When was the last time we just walked around bullshitting?" Jesse says in one beautifully self-aware moment, as they rediscover the pastime on holiday in Greece. With this series of films, dialogue is everything. In Before Midnight, it sparkles, dances and defies the bounds we expect of film. All three instalments are the product of a unique collaborative partnership between director Richard Linklater, Hawke and Delpy; from the start the actors have written parts of their own selves into the characters, and the possibility for honest exploration seems to have deepened with the passing of time. Before Midnight is in cinemas on Thursday, July 18, and thanks to Hopscotch Films, we have ten double in-season passes to give away to. To be in the running, sign up to the Concrete Playground newsletter (if you haven't already), then email hello@concreteplayground.com.au with your name and address. Read our full review of Before Midnight here.
Sometimes it takes a crisis to appreciate the little things in life — for example, what feels like to watch an acrobatic fly twizzle a matchstick with perplexing grace and accuracy. In 'normal times' we might have missed this moment of joy, but now, thanks to the Art Gallery of New South Wales' digital portal the three-minute archival film has lifted our spirits giving us an intriguing escape from 2020. "Optimism through art" is the aim of the new Together in Art digital space on the AGNSW website, says Art Gallery of NSW director Dr Michael Brand. It contains bite-sized art experiences that you didn't know you needed, but will capture your attention and give you something beautiful, inspiring, unsettling or unusual to hook onto — even for a short while. You can watch painter Ben Quilty and his daughter Livvy show you how to draw a face, artist Nell has an amusing and hopeful three-minute video on how to solve a problem (below), and there are clips of singers Sarah Belkner and Ngaiire performing in empty exhibition spaces. It's a digital gallery where you can actively learn, or simply tune into something more transportive than the latest Tik Tok track doing the rounds. The Art Gallery itself is closed to the public in line with the government's social distancing advice, and this means even the most regular visitors may have missed current exhibitions such as Shadow catchers or Under the stars, which opened just prior to the lockdown. You can explore the themes of these exhibitions in video interviews and tours. And, especially for Together in Art, there are Pocket Exhibitions put together by the Gallery's curators — such as Working from home: a Dog's perspective, a micro series of dog portraits and photographs compiled in a brief slideshow. Those looking for projects should make a beeline for the series of art-making classes from various artists in their studios. Though some of the videos are geared towards kids, there's a lot of accessible art tips that are just as appealing to adults. Our pick for a weekend project is learning how to turn your old magazine pile into a Dada poem with contemporary artist Tony Albert and his niece. The Gallery plans to add to its Together In Art series every day, and you can follow its program across social media pages, Youtube and on the Gallery's website. Images: 1. Musician Joji Malani performs in the Grand Courts at the Art Gallery of New South Wales. 2–3. Singer Sarah Belkner performs a vocal improvisation with herself in the exhibition 'Shadow catchers'. 4. Ngaiire performs in the Australian Galleries. All photography: Matt McGuigan, Hospital Hill.
