Forget the idea that Port Fairy is a purely summery destination. The small town on the Princes Highway may be best known for its beach, but thanks to its annual winter festivities there's still plenty to do when it gets chilly. From art installations and photography exhibitions to markets and toy-making workshops — plus the feverishly anticipated Dachshund Dash that attracts more than 2000 spectators — Port Fairy Winter Weekends are well worth the drive down the coast. Taking place every second weekend throughout June and July, Winter Weekends will showcase a mix of food, wine, art, culture… and sausage dogs. Did we mention the sausage dogs? They'll be pumping their tiny, adorable legs on Sunday, June 9 — although not before a dog's breakfast and the grand doggo parade. Other standout events include bathing more than 15 colonial cottages and 19th-century villas in light as part of an illuminated installation, a country pub crawl, a mad hatter's tea party, gin and whisky tastings, a Labyrinth screening complete with a dress-up shindig, hot wine paired with cool jazz, and ghost tales in a cemetery. Anyone willing to brave the early morning cold can also take part in the Winter Solstice Dawn Swim first thing on Sunday, June 23. Port Fairy Winter Weekends will run on June 7–9, June 21–23, July 5–7 and July 19–21.
Okay, it seems like Airbnb spend a buttload of cash to list some wacky accommodation option every other week. And while shark tanks, van Gogh's bedroom and the Teenage Mutant Ninja Turtles' secret lair are pretty bloody cool, they're nothing compared to their latest listing in Far North Queensland on the Great Barrier Reef. Let us rephrase that: their latest listing is floating on the Great Barrier Reef. The Great Barrier Reef floating home is what your tropical sea dreams are made of (or nightmares, if you don't like the idea of being stranded in the middle of the ocean). But let's go with dreams because this place is insane. Like, we can hardly believe it's real. Look: The floating dreamboat comfortably fits four people, and comes fitted with luxe white sails above your bed, as well as a lounge area where you can gaze out at probably the best view in the country. Your neighbours? Oh, they'll just be 600 types of soft and hard corals, 100 species of jellyfish, 3000 varieties of molluscs, 500 species of worms, 1625 types of fish, 133 varieties of sharks and rays, and more than 30 species of whales and dolphins. Hope you're cool with that. As you might have guessed, this is no ordinary listing — it's part of a competition run by Airbnb and Disney to coincide with the release of Finding Dory. One lucky fam (the T&Cs state you have to take family members) will not only get to spend one night on the floating home on July 13, but they'll also have Neil Perry cook them an epic lunch, be taken on a dive and learn a thing or two about the impact humans are having on the reef. Doing their bit to help the Reef, Airbnb have also committed to planting new wetland plants for every guest who books a place in the region for the rest of 2016. So if you haven't entered yourself and all your family members already, you can go here to do so. Godspeed.
Although SOPA and PIPA were withdrawn from Congress last month, it seems that online freedom may still face immense danger in the savage war against piracy. Recently we saw the unravelling of a bizzare set of events in the Megaupload saga, which included the shutting down of the website and the FBI's dramatic arrest and indictment of founder, Kim Schmitz. Schmitz and fellow Megaupload employees were arrested on piracy charges, as the website is said to have accounted for a staggering $500 million of losses in unauthorised content. Furthermore, it is said that the website also generated $175 million through advertising and other means. With unprecedented accessibility to media and information online, it seems almost all of us are guilty of some form of piracy, which has become normalised and largely seen as a victimless crime. Stemming from a traditional "us vs. them" attitude against corporations and a genuine love of free things, most of us don't think twice about downloading the latest episodes of Mad Men, or hopping over to Thailand to grab a few dodgy seasons of Sex and the City for the missus. Such an attitude is summarised beautifully in a Facebook response to the anti-piracy advertisements equating downloading media to physical theft: I wouldn't steal a car, but I'd download one if I could. With so much stuff out there it's hard to know what belongs to whom, to what extent we're breaking the law and who we are actually hurting when we download media. Indeed, nothing proves this more than the case of aggressive anti-piracy group BREIN, who were accused of using Melchior Rietveldt's song without permission in an anti-piracy advertisement. Besides being a most humorous and delicious slice of irony, this is also evidence of how contractual agreements for media must now be drafted with greater intricacy and detail to keep up with technology's rapid evolution. The effects of the Megaupload shutdown have scared similar websites into re-examining their services, and FileSonic, Turbobit and FileServe have largely disabled their sharing capabilities. In retaliation to the shutdown, hacktivist group Anonymous set their omnipresent eyes on the high-traffic websites of enemies in high places, and the online presence of CBS, Universal Music and the U.S. Department of Justice was temporarily inaccessible. The group has promised further attacks, and we can't help but be a little nervous as the endless list of targets is examined. A call-to-arms video for a blackout on Facebook on January 28 appeared, but its credibility was called into question and the date passed without disturbance. Thank God we were still able to check-in at our favourite restaurants and lurk our friends' photos in comfort. A relief to say the least. Nevertheless, the mere possibility of somebody taking down Facebook and destroying my treasured memories makes me extremely anxious and a little nauseous. If anything, such attacks have proven how individuals can impact others greatly from the comfort of their own bedrooms and mysterious underground hacker-dungeons. With the music and film industries seeking desperately to guard the gates to their traditional pools of revenue, there looks to be no end to the internet war against piracy. If anything, such battles will become more frequent and dispersed, and fought with greater speed and complexity.
In true country-WA style, the Southern Forests region is a horticultural hub known for diverse and delicious produce. And the community celebrates that fact each year with the Manjimup Cherry Harmony Festival, where you can taste the best and juiciest local cherries, and cherry-flavoured goodies (imagine enjoying fresh cherry ice cream on a warm summer day). The perfect excuse for a weekend getaway, the festival has a bunch of different free and ticketed events, from street parades, market stalls and live entertainment, to a long table lunch among the cherry trees of Newton Orchards. There's also a cherry tour — where you can learn about food innovation and ride a tractor through one of Manjimup's oldest orchards — and Koomal Dreaming, which will allow you to experience Wadandi and Bibbulman country through the eyes of the traditional owners. Manjimup Cherry Harmony Festival takes place on Saturday, December 14. Find the full program, including ticketing information, on the festival website.
Christmas is coming to one of Melbourne's most iconic laneways, and if you're not in the festive spirit yet, you will be once you've walked to the end of it. Degraves Street is dialling up the festive cheer this Christmas, turning the popular strip of shops, eateries and cafes into a market wonderland. The window displays have been given a makeover, Christmas lights are in overhead, and it's all topped off by a big, brand new tree. If you can, get there on a Saturday between 11am and 5pm, as retailers spill out onto the street with a unique selection of locally made gifts. Some of the city's best buskers will be providing live entertainment, and a gift-wrapping service is set up to take some of the Xmas pressure off. Grab a coffee and a bite to eat as you tick off all your shopping, or just head along to soak up the atmosphere.
Under normal circumstances, when a new-release movie starts playing in cinemas, audiences can't watch it on streaming, video on demand, DVD or blu-ray for a few months. But with the pandemic forcing film industry to make quite a few changes over the past year — widespread movie theatre closures will do that — that's no longer always the case. Perhaps you haven't had time to make it to your local cinema lately. Given the hefty amount of films now releasing each week, maybe you missed something. Or, you could be under lockdown — again. Whichever applies, that doesn't mean we aren't eager to see the latest flicks. Film distributors have been fast-tracking some of their recent releases from cinemas to streaming lately — movies that might still be playing in theatres in some parts of the country, too. In preparation for your next couch session, here's ten you can watch right now at home. SAINT MAUD If humanity ever managed to cure or circumvent death — or even just stop being despairingly afraid of our own mortality — the horror genre would immediately feel the difference. Lives are frequently in peril in films that are meant to spook and frighten. Fears of dying underscore everything from serial killer thrillers and body horror flicks to stories of zombies, ghosts and vampires, too. Indeed, if a scary movie isn't pondering the fact that our days are inescapably finite, it's often contemplating our easily damaged and destroyed anatomy. Or, it's recognising that our species' darkest urges can bring about brutal and fatal repercussions, or noting that the desperation to avoid our expiration dates can even spark our demise. Accordingly, Saint Maud's obsession with death isn't a rarity in an ever-growing genre that routinely serves it up, muses on it and makes audiences do the same whether they always realise it or not. In an immensely crowded realm, this striking, instantly unsettling feature debut by British writer/director Rose Glass definitely stands out, though. Bumps, jumps, shocks and scares come in all manner of shapes and sizes, as do worries and anxieties about the end that awaits us all. In Saint Maud, they're a matter of faith. The eponymous in-home nurse (Dracula and His Dark Materials' Morfydd Clark) has it. She has enough to share, actually, which she's keen to do daily. Maud is devoted to three things: Christianity, helping those in her care physically and saving them spiritually. Alas, her latest cancer-stricken patient doesn't hold the same convictions, or appreciate them. Amanda (Jennifer Ehle, Vox Lux) isn't fond of Maud's fixation on her salvation or her strict judgements about her lifestyle. She knows her time is waning, her body is failing and that she needs Maud's help, but the celebrated ex-dancer and choreographer does not want to go gently or faithfully in that good night. Instead, she'd much prefer the solace that sex and alcohol brings over her palliative care nurse's intensely devout zeal. Saint Maud is available to watch via Google Play, YouTube Movies, iTunes and Amazon Video. Read our full review. JUDAS AND THE BLACK MESSIAH The last time that Daniel Kaluuya and LaKeith Stanfield appeared in the same film, Get Out was the end result. Their shared scene in Jordan Peele's Oscar-winning horror movie isn't easily forgotten (if you've seen the feature, it will have instantly popped into your head while you're reading this), and neither is Judas and the Black Messiah, their next exceptional collaboration. With Kaluuya starring as the Black Panther Party's Illinois Chairman Fred Hampton and Stanfield playing William O'Neal, the man who infiltrated his inner circle as an informant for the FBI, the pair is still tackling race relations. Here, though, the duo does so in a ferocious historical drama set in the late 60s. The fact that O'Neal betrays Hampton isn't a spoiler; it's a matter of fact, and the lens through which writer/director Shaka King (Newlyweeds) and his co-scribes Kenneth Lucas, Keith Lucas (actors on Lady Dynamite) and Will Berson (Scrubs) view the last period of Hampton's life. The magnetic Kaluuya has already won a Best Supporting Actor Golden Globe for his performance, and is bound to be nominated for and likely win an Oscar as well — and if he wants to keep acting opposite Stanfield in movies this invigorating, ardent, resonant and essential, audiences won't complain. It's 1966 when O'Neal falls afoul of the law for trying to impersonate an FBI agent to steal a vehicle. With J Edgar Hoover (Martin Sheen, Grace and Frankie) directing his employees to "prevent the rise of a 'messiah' who could unify and electrify the militant black nationalist movement" — his real-life words — the car thief is offered a deal by actual FBI Special Agent Roy Mitchell (Jesse Plemons, I'm Thinking of Ending Things). If O'Neal cosies up to Hampton, then reports back on his comings, goings, political moves and general plans, he'll avoid jail. Initially apprehensive, he acquiesces to keep his freedom. With Hampton's raging speeches earning him a firm following, and his charisma and canny strategies broadening the crowds hanging on his words, O'Neal's task isn't minor. And the further he ingratiates himself into Hampton's confidence, becoming his head of security, the more he's torn about keeping tabs and doing the government's increasingly nefarious bidding. This isn't just a story about one young Black man coerced into bringing down a rising leader and revolutionary, however. It's also a tale about the figure who mobilised the masses as Martin Luther King Jr and Malcolm X had, until he was shot while he slept at the age of just 21. And, it's an account of the powers-that-be's abject fear of progress, equality, and the crusaders willing to put their lives on the line to fight for justice and a better world. Judas and the Black Messiah is available to watch via Google Play, YouTube Movies, iTunes and Amazon Video. Read our full review. GODZILLA VS KONG Given that neither of Godzilla vs Kong's towering titans are truly terrors, and therefore neither should really emerge victorious over the other, getting them to face off seems pointless. "They're both big, so they can't get along" is the simplistic concept. This isn't a new train of thought, or new to the American-made Monsterverse that's been nudging the beasts closer together for seven years. Thankfully, in the hands of You're Next and The Guest director Adam Wingard, Godzilla vs Kong has as much in common with its superior Japanese predecessors as it does with 2019's terrible Godzilla: King of the Monsters. The follow-up to 2017's Kong: Skull Island, too, this new battle of the behemoths doesn't remake the duo's first screen showdown in 1962's King Kong vs Godzilla. And, sadly, it hasn't ditched the current Hollywood flicks' love of unexciting human characters. But it crucially recognises that watching its titular creatures go claw-to-paw should be entertaining. It should be a spectacle, in fact. The film also realises that if you're not going to make a movie about this pair with much in the way of substance, then you should go all out on the action and fantasy fronts. In other words, Godzilla vs Kong feels like the product of a filmmaker who loves the Japanese Godzilla flicks and Kong's maiden appearance, knows he can't do them justice thematically, but is determined to get what he can right. Wingard is still saddled with a flimsy script with a tin ear for dialogue by screenwriters Eric Pearson (Thor: Ragnarok) and Max Borenstein (Kong: Skull Island), but his massive monster melees are a delight. Also welcome: Godzilla vs Kong's eagerness to lean into its genre. When it surrenders to its pixels, and to a tale that involves a journey to the centre of the earth, subterranean asteroids, altercations with giant flying lizards and an underground tunnel from Florida to Hong Kong, it's equal parts loopy and fun. That trip to the planet's interior is guided by Kong. Now kept in a dome that simulates the jungle, the jumbo primate is under the watch of researcher Ilene Andrews (Rebecca Hall, Tales from the Loop), and bonds with Jia (newcomer Kaylee Hottle), the orphan also in the doctor's care. But, after Godzilla surfaces for the first time in three years to attack tech corporation Apex's Miami base, CEO Walter Simmons (Demián Bichir, Chaos Walking) enlists geologist Nathan Lind (Alexander Skarsgård, The Stand) on a mission. Testing the latter's hollow earth theory, they plan to track down an energy source that could be linked to both Zilly and Kong's existence — if Kong will lead them there. In a plot inclusion that'd do Scooby Doo proud, teenager Madison Russell (Millie Bobby Brown, returning from King of the Monsters) and her classmate Josh Valentine (Julian Dennison, Hunt for the Wilderpeople) are certain that Apex is up to no good and — with podcaster Bernie Hayes (Brian Tyree Henry, Superintelligence) — start meddling. Godzilla vs Kong is available to watch via Google Play, YouTube Movies, iTunes and Amazon Video. Read our full review. NOMADLAND Frances McDormand is a gift of an actor. Point a camera her way, and a performance so rich that it feels not just believable but tangible floats across the screen. That's true whether she's playing overt or understated characters, or balancing those two extremes. In Fargo, the first film that earned her an Oscar, McDormand is distinctive but grounded, spouting midwestern phrases like "you betcha" but inhabiting her part with texture and sincerity. In Three Billboards Outside Ebbing, Missouri, her next Academy Award-winning role, she's an impassioned mother crusading for justice and vengeance, and she ripples with deep-seated sorrow mixed with anger so fiery that it may as well be burning away her insides. Now, in Nomadland, McDormand feels stripped bare and still a commanding force to be reckoned with. She's tasked with a plucky but struggling part — defiant and determined, too; knocked around by life's ups and downs, noticeably; and, crucially, cognisant that valuing the small pleasures is the hardest but most rewarding feat. It earned her another Oscar nomination. It saw her nab a third shiny statuette just three years after her last, too. Along with the attention the movie received at the Golden Globes, both are highly deserved outcomes because hers is an exceptional performance, and this was easily 2020's best film. Here, leading a cast that also includes real people experiencing the existence that's fictionalised within the narrative, she plays the widowed, van-dwelling Fern — a woman who takes to the road, and to the nomad life, after the small middle-America spot where she spent her married years turns into a ghost town when the local mine is shuttered due to the global financial crisis. A slab of on-screen text explains her predicament, with the film then jumping into the aftermath. Following her travels over the course of more than a year, this humanist drama serves up an observational portrait of those that society happily overlooks. It's both deeply intimate and almost disarmingly empathetic in the process, as every movie made by Chloe Zhao is. This is only the writer/director's third, slotting in after 2015's Songs My Brothers Taught Me and 2017's The Rider but before 2021's Marvel flick Eternals, but it's a feature of contemplative and authentic insights into the concepts of home, identity and community. Meticulously crafted, shot and performed, it truly sees everyone in its frames, be they fictional or real. Nomandland understands their plights, and ensures its audience understands them as well. It's exquisitely layered, because its protagonist, those around her and their lives earn the same term — and Zhao never forgets that, or lets her viewers either. Nomadland is available to watch via Disney+. Read our full review. WILLY'S WONDERLAND If you've ever wondered how Nicolas Cage might've fared during cinema's silent era, Willy's Wonderland has the answer. A horror film about killer animatronic restaurant mascots, it's firmly a 2021 feature. It wasn't made a century ago, before synchronised sound forever changed the movie business, so it's definitely a talkie as well. Cage doesn't do any chattering, however. He groans and growls, and often, but doesn't utter a single word. The actor's many devotees already know that he's a talent with presence; whether he's cavorting in the streets under the delusion that he's a bloodsucker in Vampire's Kiss, grinning with his locks flowing in the wind in Con Air, dousing himself with vodka and grunting in Mandy or staring at a vibrant light in Color Out of Space, he repeatedly makes an imprint without dialogue. So, the inimitable star needn't speak to command attention — which is exactly the notion that Willy's Wonderland filmmaker Kevin Lewis (The Third Nail) put to the test. First, the great and obvious news: Cage doesn't seem to put in much effort, but he's a joy to watch. Playing a man simply known as The Janitor, he glowers like he couldn't care less that furry robots are trying to kill him. He swaggers around while cleaning the titular long-abandoned Chuck E Cheese-esque establishment, dances while hitting the pinball machine on his breaks, swigs soft drink as if it's the only beverage in the world and proves mighty handy with a mop handle when it comes to dispensing with his supernaturally demonic foes. Somehow, though, he's never as OTT as he could be. Cage plays a character who doesn't deem it necessary to convey his emotions, and that results in more restraint on his part than the film demonstrates with its undeniably silly premise. Accordingly, cue the bad news: as entertaining as Cage's wordless performance is — even without completely going for broke as only he can — Willy's Wonderland is often a ridiculous yet routine slog. Willy's Wonderland is available to watch via Google Play, YouTube Movies, iTunes and Amazon Video. Read our full review. THE LAST VERMEER Dutch artists Johannes Vermeer and Han van Meegeren picked up their brushes more than two centuries apart. Mention the latter, though, and you need to mention the former. Just why that's the case makes for a fascinating tale, as The Last Vermeer tells — one filled with twists, subterfuge, investigations, a trial and post-World War II efforts to punish anyone who conspired with the Nazis. Directed by producer turned first-time helmer Dan Friedkin (All the Money in the World, The Mule), and adapted from Jonathan Lopez's 2008 book The Man Who Made Vermeers, The Last Vermeer relays the Hollywood version of the story, of course. Big speeches and massaged details consequently abound. Attention-grabbing performances jump across this cinematic canvas, too, with Guy Pearce (Bloodshot) resembling Geoffrey Rush as van Meegeren and Claes Bang (Dracula) adding his third recent art-centric feature to his resume after The Square and The Burnt Orange Heresy. There's enough here to keep viewers interested, as there should be given the real-life basis, cast and handsome staging, but this is the type of film that's nicer to look at than to dive into. Its subject: art forgery, a topic that leaves an imprint beyond the movie's narrative. The Last Vermeer doesn't steal from elsewhere, but it also sinks into a well-populated list of other dramas about art and the war (see also: The Monuments Men and Woman in Gold ) far too easily and generically than a feature about this specific tale should. Bang plays Dutch Jewish officer Captain Joseph Piller, who is tasked with hunting down artworks illegally sold to the Nazis during the war and bringing everyone responsible to justice. That leads him to Christ and the Adulteress, a piece credited to Vermeer but found after his death — and to van Meegeren, the man who is suspected of selling it to key Nazi figure Hermann Göring in the world's biggest art sale at the time. Turning on the rakish charisma even when he's being interrogated by Piller and his offsider (Roland Møller, The Commuter), van Meegeren denies the accusation. Piller isn't convinced, but then police detective Alex De Klerks (August Diehl, A Hidden Life) tries to take over the case. Soon, van Meegeren has been secreted away, is painting while in hiding and, when eventually charged and brought to court, offers an astonishing theory. Also arising in The Last Vermeer: an exploration of the costs of and sacrifices involved in surviving wartime, although Friedkin and screenwriters John Orloff (Anonymous), Mark Fergus and Hawk Ostby (The Expanse) happily stick to the surface as they do elsewhere. As a mystery, the film suitably zigs and zags. As a courtroom drama, it boasts stirring moments. But, as well as wasting Vicky Krieps (Phantom Thread) in a thankless part, The Last Vermeer is never more than passable. The Last Vermeer is available to watch via Google Play, YouTube Movies and Amazon Video. SONGBIRD If there are any words that absolutely no one wants to see when they're watching a COVID-19-inspired movie, it's these: produced by Michael Bay. The filmmaker who gave cinema the Bad Boys franchise and five Transformers flicks isn't behind the lens of Songbird, but writer/director Adam Mason and his frequent co-scribe Simon Boyes (Hangman) have clearly mainlined Bay's work, then decided to use its worst traits as a how-to manual. Set in 2024, when a virulent mutation of the coronavirus known as COVID-23 is on the loose, their tactless thriller is gimmicky and misguided at best. It's derivative, dull and has a plot that's so stale it really should also feature a tornado full of sharks, too. Wondering what might happen if the pandemic was even more horrendous and tragic than it is — and if America's handling of it, as based on 2020's response at least, was skewed even further towards corporate interests and the rich — the film decides to opt for quarantine concentration camps and a gestapo-like sanitation department. When it's not tastelessly taking cues from the holocaust to supposedly turn a shattering event the world is still experiencing into entertainment, it also attempts to tell a Romeo and Juliet-style love story about a couple separated by lockdown. And, if you've ever wondered what might happen if a Bay wannabe remade David Lynch's Blue Velvet, Bradley Whitford's (The Handmaid's Tale) role as an oxygen-huffing record executive preying on a young singer (Alexandra Daddario, Baywatch) answers that question as well. Bicycle courier Nico (KJ Apa, Riverdale) is resistant to COVID-23, and has an immunity bracelet to prove it; however, his girlfriend Sara (Sofia Carson, Feel the Beat) and her grandmother (Elpidia Carrillo, Euphoria) aren't so lucky. The coveted wristwear can be bought on the black market, though, which is why Nico is trying to make as much cash as he can working for delivery kingpin Lester (Craig Robinson, Dolemite Is My Name). The obvious happens, of course, sending unhinged sanitation head Emmett Harland (Peter Stormare, John Wick: Chapter 2) to Sara's building — and putting a deadline on Nico's quest, which wealthy couple William (Whitfield) and Piper Griffin (Demi Moore, Rough Night) might be able to assist with. The latter are also meant to be a picture of stay-at-home disharmony, all while trying to protect their immunocompromised daughter Emma (Lia McHugh, The Lodge) from anything outside their sprawling mansion. A PTSD-afflicted ex-veteran (Paul Walter Hauser, Richard Jewell) who flies drones to experience life beyond his walls also forms part of the story, although not a single character is given enough flesh to make viewers care about their plight. Even only clocking in at 84 minutes, this thoroughly unsubtle and exploitative film overstays its welcome — and the fact that it's shot and edited like Bay's glossiest and most bombastic action fare doesn't help. Songbird is available to watch via Google Play, YouTube Movies and Amazon Video. MORTAL KOMBAT No one enjoys watching someone else mash buttons. While it's a passable way to spend a few minutes, losing interest quickly simply comes with the territory. That's how viewing Mortal Kombat feels as well, except that watching your friends play any of the martial arts video game franchise's 22 different arcade and console titles since 1992 (or any game at all) would be far more entertaining. Shot in South Australia and marking the feature debut of filmmaker Simon McQuoid, the latest attempt to bring the popular series to the big screen — following a first try in 1995 and a sequel in 1997 — feels like watching cosplay, too. The movie's cast literally dresses up in the outfits needed to recreate the game's characters, of course, but the film shouldn't so overtly resemble fans donning costumes at a pop culture convention. And yet, Mortal Kombat evokes this situation from the moment its 17th century Japan-set prologue, which is also its best scene, comes to an end. After establishing a mythic and bloody backstory for the movie's narrative as a whole, the character that'll become an undead ninja ghost called Scorpion (Hiroyuki Sanada, Westworld) and his prophecised descendants, this B-grade flick is happy to, in fact. It's not just the violence that's cartoonish here; it's every glare exchanged and word uttered, with much of the script trading in cliches, dramatic pauses and catchphrases. Mortal Kombat's gaming fanbase may be eager to see their beloved characters given flesh and blood, face off against each other and spout lines that usually emanate from a much smaller screen, but that doesn't make a movie engaging. Nor can a flimsy screenplay by first-timer Greg Russo and Wonder Woman 1984's Dave Callaham, which follows the battle between Earthrealm and Outworld — one that'll be lost by the former if an MMA fighter named Cole Young (Lewis Tan, Wu Assassins), who bears a dragon birthmark, doesn't team up with the other figures with the same marking to stop humanity from losing for the tenth time. That's where the no-nonsense Sonya Blade (Jessica McNamee, Black Water: Abyss) comes in, and also the grating, wisecracking Kano (Josh Lawson, Long Story Short). The villainous Sub-Zero (Joe Taslim, Warrior) might be threatening to freeze all of earth's champions so that Outworld's Shang Tsung (Chin Han, Skyscraper) can rig the tournament before it even happens, but Mortal Kombat still has time — and far too much of it — to spend pondering supernatural destinies and letting an over-acting, always grating Lawson mug for attempted laughs. The end result is intentionally ridiculous, and presumably unintentionally dull, all while setting up an unearned sequel. And although brutal enough amidst the silliness for an R rating, even the film's fight scenes merely go through the motions, especially given the heights that films like The Raid and John Wick have scaled in with their eye-popping action choreography over the past decade. Mortal Kombat is available to watch via Google Play, YouTube Movies, iTunes and Amazon Video. CHAOS WALKING Adapted from the book series of the same name, Chaos Walking has weathered a difficult path to cinemas. The tedious and generic space western releases ten years after the rights to turn Patrick Ness' novels into films were first acquired, four years since the movie was originally shot and two years after major reshoots following unfavourable test screenings. It went through a plethora of rewrites, too, with I'm Thinking of Ending Things' Charlie Kaufman on scripting duties at one point, and Ness (A Monster Calls) and Spider-Man: Homecoming's Christopher Ford getting the final credit. Navigating such a mess rarely bodes well for a movie, so the fact that Chaos Walking proves dull and derivative shouldn't come as a surprise. Even with its cast filled with impressive talent, and with Edge of Tomorrow filmmaker Doug Liman begin the lens, it's hard to see how it might've fared better, with its premise an instant struggle. Set in 2257, the film follows colonists from earth on a planet called New World, who are plagued by a strange phenomenon. A multi-coloured haze hovers around men's heads — and only men — showing their every thought. The sensation has been dubbed 'the noise', and experiencing it while watching sure is rackety. Indeed, 'noise' is the absolute right word for the entire movie. In his pioneer village, teenager Todd (Tom Holland, The Devil All the Time) can rarely control his noise. While the Mayor (Mads Mikkelsen, Another Round) is able to filter the words and images that project from his mind — and also rock a furry red coat and wide-brimmed hat far better than anyone should — few others have the same ability. Seeing what everyone is thinking is a tricky way to live at the best of times, and it applies to the entire population, because women have been wiped out in a war attributed to the planet's original inhabitants. But Todd's troubles multiply when he discovers a spaceship, as well as Viola (Daisy Ridley, Star Wars: Episode IX — The Rise of Skywalker), its sole surviving occupant. The mayor and his followers don't take kindly to the first female in their midst for years; however, supported by his adoptive fathers Ben (Demian Bichir, The Midnight Sky) and Cillian (Sons of Anarchy creator Kurt Sutter), Todd isn't willing to surrender the only girl he's ever seen to an angry mob. Cue a tale of toxic masculinity that dates back to 2008, when first instalment The Knife of Never Letting Go hit bookshelves, and feels timely in the current social, political and cultural climate. That said, this isn't a complex, layered or thoughtful film. Instead, it's content to stress its themes in such a broad and easy manner that getting Holland to hold up a sign saying "the patriarchy is bad" would've been more subtle. Indeed, Chaos Walking really just uses these notions as a backdrop for a predictable and formulaic dystopian story, and as a handy reason to motivate its conflicts, in a movie that plays like a hodgepodge of far better sci-fi and western fare. Chaos Walking is available to watch via Google Play, YouTube Movies, iTunes and Amazon Video. Read our full review. TOM & JERRY Before Itchy and Scratchy started terrorising each other well beyond the bounds of normal cat and mouse antagonism, another feline and rodent pair got there first. Of course, The Simpsons' adversarial four-legged critters were designed to parody the characters created by William Hanna and Joseph Barbera more than 80 years ago, but they've long since supplanted Tom and Jerry as popular culture's go-to fighting animal duo. Perhaps the new Tom & Jerry movie is an attempt to push its titular creatures back to prominence. Perhaps it's just the latest effort to cash in on nostalgia while hoping that a new generation of children will be interested enough to warrant more big-screen outings, and therefore more chances to make some cash. Watching this all-ages-friendly hybrid of cartoon and live-action, it doesn't seem as if anyone involved knows quite why the film exists — not director Tom Story (Ride Along and Ride Along 2), who cares more about stressing the feature's hip hop soundtrack than paying much attention to its eponymous figures; not screenwriter Kevin Costello (Brigsby Bear), who pens a dull and derivative script about celebrity wedding chaos; and definitely not a cast that spans Chloë Grace Moretz (Shadow in the Cloud), Michael Peña (Fantasy Island), Rob Delaney (Catastrophe), Ken Jeong (Boss Level), Colin Jost (Saturday Night Live) and Pallavi Sharda (Retrograde), all of whom will forever have this misfire on their resumes. The animated animal action starts with Tom's latest vendetta against his long-time rival Jerry, after the latter destroys the former's keyboard and his music stardom dreams along with it. In his quest for revenge, the cat follows the house-hunting mouse to his newest abode at Manhattan's upmarket Royal Gate hotel, where the pair soon wreak havoc. Story and Costello prefer to focus on the resourceful and human Kayla (Moretz) at almost every turn, though. After talking her way into a job onsite, she's soon given two important tasks. The first: help ensure that the nuptials of two nondescript celebs (Jost and Sharda) go smoothly, which of course doesn't happen. The second: track down Jerry, which involves hiring Tom to assist. Somehow, Tom & Jerry is both lazy and overcomplicated. It does the bare minimum with its flesh-and-blood and pixel characters alike, all while completely forgetting that viewers have always loved Tom and Jerry for its fast, smart and entertaining slapstick antics (and definitely not because one day the duo might become bit-players in yet another flick about bland wedding dramas). When the film starts with pigeons rapping A Tribe Called Quest's 'Can I Kick It?' in its entirety, it begs an obvious question: who is this for? No one that's brought this movie to fruition seems to know the answer there, either — and they certainly haven't expended any energy on trying to make the feature funny, because laughs are absent from start to finish. Tom & Jerry is available to watch via Google Play, YouTube Movies, iTunes and Amazon Video.
The ethics of food will be in frame as part of a brand new exhibition at the Shepparton Art Museum. Running from February until late May, Cornucopia brings together the work of more than a dozen established and emerging artists from around Australia and the world. Spanning a variety of different mediums, including painting, sculpture, photography, print, video and installation, it will force visitors to ponder the myriad questions relating to the production, distribution and consumption of food. The exhibition will examine these issues on both a local and global scale. Drawing their inspirations from the culinary traditions of rural Victoria, local artist collective the Hotham Street Ladies will create a large-scale replica of an old lady's living room made predominately from buttercream and royal icing. Other pieces will include Gabrielle de Vietri's Dumpster Dived Diner — a photographic work depicting a banquet made entirely of food fished out of rubbish bins — and Sam Taylor-Johnson's time lapse video A Little Death, which depicts the rapid decay of a dead rabbit. Image: Kawita Vatanajyankur, The Squeezers [still].
The Feminist Writers Festival was created in 2016 and will return this May, with a bumper lineup that will take over venues in both Melbourne and Geelong. A space to promote and support female-identifying writers within the Australian writing sphere, FWF will again this year unfurl a program that provides critical engagement and furthers teaching and learning for all those who consider themselves feminist writers or readers — or just feminists in general. The program (running from May 25–27 in Melbourne and May 26 in Geelong) includes, on opening night, a gala surrounding the legacy of feminist texts. There's also a forum on writing about violence against women in the public eye, workshops to aid in finding a feminist voice, and discussions with prominent female activists. Artists such as Jax Jacki Brown, Tasneem Chopra, Clementine Ford and Tara Moss will take to the stage along with many others. Check out the website for the incredible array of feminist writers, editors and activists that attendees will be lucky enough to hear from. Head along to learn, engage, ask questions or just listen — you can buy tickets to individual sessions, a full day, or the whole weekend.
There are no shortcuts to cooking the perfect Texas barbecue, so when approached to launch San Antone by Bludso's BBQ at Crown Melbourne late last year, Kevin Bludso had one condition: it had to be done right. The original Bludso's BBQ is located on Long Beach Boulevard in south central Los Angeles. It might seem like a strange place to go for authentic Texas barbecue, but Bludso's Compton dive — where ribs are served to-go in styrofoam take-out containers — is the only barbecue restaurant to be named by LA Times Pulitzer Prize-winning food journalist Jonathan Gold in his essential restaurants list each year. It's also perhaps the only restaurant to have its brisket likened to a Monet painting by the critic. So how did LA-born and bred Kevin Bludso come to be one of the best Texas barbecuers in the US? As he explains it, it's all about his childhood. "Back in the day, people in LA had migrated from everywhere," Bludso says. "You had Texans plus Mexicans in south central LA; you had Texas barbecue, you had Memphis barbecue, you had Kansas City barbecue." Then, as a nine-year-old boy, Bludso found himself shipped off for the summer to spend time with his grandmother, Willie May Fields, in Corsicana, Texas. "She had this semi-legal, semi-illegal smokehouse — a juke joint, halfway house — where she used to sell barbecue," he says. "And she had a small little room right off the highway, and she used to sell there on weekends." Corsicana was where he earned his chops. And while he "hated it" — working in the smokehouse in almost 50 degree heat, prepping the meat, cleaning greens — the ritual (or the rewards) of the work must have resonated with him. Bludso still uses his late grandmother's smoker today. If barbecue is in the blood in Texas, then the brisket is its heart and soul. It's prepared simply — a dry rub of salt and pepper, then cooked over wood. "Slow and low like a '64 Impala," says Bludso. It's also regional. Memphis barbecue is particularly famous for its use of sauces, and a lot of places in Tennessee don't use wood. It all depends on what's accessible at the time and in the region. Trying, then, to recreate authentic Texas barbecue in a foreign country is no easy feat. But we asked Kevin Bludso for a few tips on doing Texas barbecue in Melbourne. Here's what he divulged. STEP ONE: SELECTING THE WOOD There's a special reverence reserved for pitmasters. Working with wood is difficult, and it's their craft to find that perfect piece that will burn slowly and flavour the meat accordingly. "We use pecan, red oak and apple in the States," says Bludso. "We use apple here, but all the woods were totally different." That's where Noah Galuten comes in. Galuten, a former food writer and Bludso apprentice, is now a pitmaster in his own right. Trying to find the right wood was a long process, Galuten says. "First we were trying out bull-oak — which was the closest oak [to what we use in LA] we could find — but it was burning too bitter. Eventually, we ended up trying ironbark, which turned out pretty well." The issue with most Australian woods is that they burn too quickly and too hot. This might be good if you're hoping to throw a shrimp on the barbie — but in a smoker it catches and gives what Galuten calls a "bitter smoke". At San Antone, the ironbark is rounded out with Australian pecan and apple wood. The result is intoxicating. STEP TWO: CHOOSING THE BRISKET Finding a good brisket has been another challenge Bludso has faced in his Melbourne venture. The brisket — a cut of meat from the breast or lower chest — is essentially made up of two muscles: the flat (the leaner, flatter portion) and the point (the thicker section on the side of the cut). It's important that the cut has the right amount of fat on it too, and Bludso has had to work with a specialist butcher to meet his exact specifications and get the cuts just right. "We don't want no healthy briskets," says Bludso. "We want all our cows with high blood pressure and cholesterol." With fat comes flavour and, according to Bludso, you want at least an inch of fat if possible — especially on the point. On the underside, a little marbling is also important. STEP THREE: KNOWING WHEN IT'S DONE The brisket goes fat-side up into the smoker for anywhere between 12 to 15 hours. But knowing when it's done isn't a science — it's art. "You just know it by feel," says Bludso. "As time goes on you just know by picking it up, how it feels in the hand, poking it. You just know when it's done." Of course, Bludso 'just knows' because he's well practiced in the art of smoking. But as long as the smoker can maintain a consistent temperature — around 115 to 120 degrees celsius — there's no real reason to fuss over it. The fat cap protects the brisket from burning and maintains the moisture in the meat. Once off the smoker, the brisket gets wrapped in butcher's paper to rest before serving. But is it authentic? "Of course, you can't get it exactly as it is [in LA] because it's different, you know?" Bludso says. "I mean, we got holes in the wall where we can get some of our stuff from [in LA] that we just can't get out here. But — like I said — I really feel we got as close to American as our products and locations [allowed us]." If you've got access to a smoker, give this Texas barbecue thing a go. And if you don't, well, you know you can get the real thing at San Antone by Bludso's BBQ. The pit is even modelled on the smoker Bludso grew up cooking with, as used by his granny Willie May Fields.
Can you feel a tingling in your toes as your feet start to defrost? That's the feeling of winter slipping away (or maybe you've been sitting cross-legged for too long) and with its demise comes the return of Australia's beloved Moonlight Cinema. Ahhh balmy nights on the grass, we have missed you. Heralding the coming of the warmer months, Moonlight Cinema is a summertime tradition that is thankfully making a comeback despite everything 2020 has thrown our way. The film program is yet to be announced, but we'll keep you updated as soon as it is. Nosh-wise, Moonlight Cinema will again let you BYO movie snacks and drinks (no alcohol in Brisbane, though), but the unorganised can also enjoy a plethora of snacks from food trucks — perfect, messy treats made for reclining on bean beds. This season includes screens in Sydney, Melbourne, Adelaide, Brisbane and Perth, running from November through to April. Only vague dates have been announced for now, but expect to hear a lot more in the coming weeks. MOONLIGHT CINEMA 2019 DATES Sydney: November (Centennial Park) Brisbane: November (Roma Street Parkland) Adelaide: December (Botanic Park) Perth: December (Kings Park and Botanic Garden) Melbourne: January (Royal Botanic Gardens) The Moonlight Cinema kicks off in November. For more information and bookings here.
The sun is shining, your out of office is set and you've already spent a good amount of time curled up streaming tv shows. Now's the chance to catch up on your reading — so, find a shady spot on a beach, next to a pool or by a waterfall and start making your way through our favourite seven books (and one awesome short story) of 2017. It's a mixed bag this year, we've been turning the pages of gripping homegrown murder mysteries, stories about presidential ghosts, cookbooks and a profanity-laden self-help book. Take your pick. THE VEGETARIAN BY HAN KANG The Vegetarian took me approximately one week to get through — it's a very welcome short read at less than 200 pages — but it left something dark and heavy in my stomach for much longer. The book by Han Kang, which has been translated from Korean, reaches haunting fever dream territory almost immediately and plays out scenes of family violence, force feeding and self-harm over three parts. Its affecting twisted surrealism will remind you of Murakami; I recommend this to his fans, not his haters. — Lauren Vadnjal THE DRY BY JANE HARPER Harper's debut novel is an eerie murder mystery set in a drought-ridden rural Australian town. It's a gripping read. I sat down to start it one Sunday afternoon and didn't put it down until I'd turned the last page, four hours later. What's even more impressive is that Harper wrote the 40,000-word draft for this novel during a 12-week online writing course. She has also — already — signed a movie deal, so expect The Dry (starring Simon Baker, perhaps) to appear in cinemas some time soon. — Samantha Teague THE SUBTLE ART OF NOT GIVING A F*CK BY MARK MANSON You've seen people reading it at airports, on buses and on benches. And, yes, it does fit into the category of self-help, but it's approachable, brutally honest and, thankfully, free of the overly positive language typical of other self-help books. It's not about not giving any f*cks. It's about giving the right number of f*cks about the right things. After all, there are only so many one has time to give. — Kitti Smallbone TWIN PEAKS: THE FINAL DOSSIER BY MARK FROST If you were left with more questions than answers after watching the latest — and final — series of Twin Peaks, you're not alone. Luckily, there's one more chapter left: The Final Dossier. Written by the show's co-creator, Mark Frost, the book explains some of what happened between the second and third season (a 25-year break) and ties up some loose ends. But, remember, it's David Lynch and it's Twin Peaks — you're not going to get all the answers. A must-read for anyone who watched the show this year, whether they loved it or hated it. — Sarah Ward LINCOLN IN THE BARDO BY GEORGE SAUNDERS A story steeped in history, this novel centres on the death of Abraham Lincoln's 11-year-old son William in 1862. But, don't expect a run-of-the-mill historical fiction — it's George Saunders, remember? The story is told by 166 different narrators, some of them dead, some of them alive. Saunders's first novel, it won this year's Man Booker Prize so it's definitely one that should be on your list. Start it. Be confused. Keep reading. And you'll be rewarded. Finish it and jump straight to Saunders's famed collection of short stories, Tenth of December, if you haven't already. THE POWER BY NAOMI ALDERMAN In 2017, The Handmaid's Tale once again rose to prominence with the release of the television adaptation. While Margaret Atwood's 1985 novel centres on a world in which women are stripped of all power, Alderman's The Power imagines a world where they have it all. Women gain an ability to send out powerful electric shocks from their fingertips around puberty and become the feared and dominant gender. The story travels across the globe, showing how the change unfolds in different countries. It's also written as a 'historical text', by a male author Neil Adam Armon who imagines how women rose to power thousands of years before. MEET ME IN THE BATHROOM BY LIZZY GOODMAN Goodman's in-depth look at New York's rock 'n' roll scene is juicy, fast and candid. It centres on the years between 2001 and 2011, and focuses on The Strokes — Goodman's interview with the band for Vulture is a good taste of what to expect from the text. Goodman interviewed over 200 people, and spent years immersed in the scene, to write the novel. The result is a 600-word book that doesn't give you too many chances to pause and take a breath. It's a rollercoaster worth taking. [caption id="attachment_651763" align="aligncenter" width="1920"] Elinor Carucci[/caption] HONOURABLE MENTION: CAT PERSON BY KRISTEN ROUPENIAN It's a typical story. A bad relationship written from a female perspective. But it sent ripples through the internet. Thousands of people took to Twitter to discuss how much they related to it and one account took to documenting men's reactions. The piece — a short story, not a novel — is more than just an exploration of a bad relationship, though, it's about power dynamics, gender and the struggles of dating as a young woman. Many people have described reading it as akin to watching a horror movie unfold. Like most things that reach fame on the internet, it's had bad reactions, too. But you can be sure that when you read it, you'll definitely feel something.
Since Australia started easing out of COVID-19 lockdown, the country's internal border restrictions have earned plenty of attention. With tactics to stop the spread of the coronavirus implemented at a state-by-state level — and case numbers in each state varying — different parts of the country have navigated the situation in different ways when it comes to letting non-residents visit. In Western Australia, that meant a hard border and strict quarantine requirements for most of the year. For folks who didn't normally reside in WA, you could only visit the state if you were classified as an exempt traveller, applied for a G2G Pass and, if approved, then self-isolated for 14 days — or went into a mandatory state quarantine facility for the same period. That changed for most of the country in mid-November, however, and now it'll change for New South Wales and Victorian residents from 12.01am on Tuesday, December 8 as well. As announced today, Tuesday, December 1 by WA Premier Mark McGowan, the state will relax its border restrictions with the two eastern states as part of the system that's been dubbed a 'controlled interstate border'. WA currently allows travellers from very low-risk states and territories to enter under eased conditions — people from places that haven't had any community transmission of COVID-19 for 28 days, who can now head to WA without isolating — which'll be updated to include NSW and Victoria from next week. https://twitter.com/MarkMcGowanMP/status/1333570927590719488 That means that, along with folks from Queensland, Tasmania, the Northern Territory and the Australian Capital Territory, residents from NSW and Victoria will be able to venture west without quarantining. You do still have to complete a G2G Pass declaration, and you'll undergo a temperature test and health screening upon arrival — and you're advised to be prepared to take a COVID-19 test if necessary as well. That's a hefty shift from the current situation, where NSW and Victoria are considered low-risk states — which, for travellers, presently means still self-quarantining for 14 days, then taking a COVID-19 test on the 11th day. WA has always said it would likely only consider downgrading NSW and Victoria to very low-risk once they'd chalked up 28 days without community transmission, which the latter has hit and the former is due to reach on Friday, December 4. Announcing the change, Premier McGowan said "we can take this next step, safely and cautiously, thanks to the recent success of our friends over east getting the spread of the virus under control". He continued: "Victoria's success is something all Australians should be proud of. I want to thank everyone for their understanding and co-operation — it's because of their commitment we are now able to take this next step." Folks from South Australia are currently classified as hailing from a medium-risk jurisdiction, however. That means they currently need to apply for an exemption to enter WA, and then quarantine — but that'll be reviewed on Friday, December 11. To find out more about the status of COVID-19 in Western Australia, and the state's corresponding restrictions, visit its online COVID-19 hub.
A few months ago, Federation Square's Skyline Terrace was a winter wonderland filled with pop-up igloos and an ice-skating rink. But come January 3, the openair space above Flinders Street Station's eastern railway tracks will be whacking on the sunscreen and shades, and transforming into a warm-weather paradise for the debut of Summertime Social. Sticking around until early April 2020, the huge al fresco summer playground will take over the rooftop space with whole swag of sun-soaked fun. For those after a break from their own backyard, Summertime Social's grassy communal lawn is the place to be. It'll host a stack of free lawn games, including giant Jenga, though it's also your go-to for picnics and sunny chill sessions, as you make the most of the pop-up's food and drink offering. On Sundays, punters can duke it out for prizes and glory at the lawn's weekly giant games battle, while Fridays and Saturdays promise a lineup of sunset DJs spinning from 5–10pm. More games, from bocce to shuffleboard, will be going down in the games lane. These ones you'll need to book when you're there and are $10 for a 20-minute session. For a more private summer do, nab your crew one of the comfy huts or converted caravans. The huts can be booked for up to 20 people, while the boho-style caravans have space for 10, customised with your choice of picnic eats, boozy ice cream, beer-filled eskies and board games. Pop-up bars throughout Summertime Social will be serving up tap cocktails, booze-infused slushies (including mango daiquiris and margaritas), beer, wine, spirits and even stocked mini-eskies. Meanwhile, a weekday happy hour means $6 Furphy, cocktails, rosé and prosecco from 4–6pm. As for the food, you'll be able to settle in with woodfired pizzas; Dirty Birdie's fried chicken, salad bowls and burgers; and boozy frozen treats from a pop-up ice cream cart. If you fancy making a day of it, a range of picnic baskets are also up for grabs, including the two-person Classic Basket, loaded with cheeses, party pies, chicken tenders and potato salad. On Saturdays, you can enjoy Summertime Social's bottomless brunch, offering 90 minutes of free-flowing beer, prosecco, mimosas and tap cocktails and your choice of brunch dish for $49. To eat, you can choose from a PBJ ice cream sanga, a BLT, a veggie burger or calzone. Find Summertime Social at Federation Square's Skyline Terrace. It's open from 11am–10pm Monday–Sunday.
If you live in the inner city, next time rubbish collection day rolls around, you could be wheeling out three bins to the kerb — and one of them could be filled with food waste. The City of Melbourne announced today that it's considering trialling compost bins in a bid to reduce the amount of local waste sent to landfill. While the trial still needs to be voted on at a council meeting next Tuesday, April 16, if it goes ahead it will see new bins rolled out to 700 Kensington homes before the end of the year. The bins could be filled with garden and food waste and would be collected once a week. At the moment, food scraps make up 50 percent of the council's household waste, with an estimated 12,000 tonnes of the stuff heading to landfill between 2016–17. So, if the trial is successful and rolled out to all council residencies, it could see the amount of waste sent to landfill halved. https://twitter.com/cityofmelbourne/status/1116505044772196352 Th council hasn't announced how it'll use the food waste just yet, but similar trials in the city have seen the scraps processed and transformed into compost for use in Victorian agricultural and horticultural projects. The food waste bins are part of the council's plan to be zero waste by 2030, which is outlined in its broader Waste and Resource Recovery Strategy. Other measures it's looking to implement this year include shared waste hubs for businesses in the city and the removal of some commercial bins, freeing up laneways and allowing for the launch of community events and businesses in them instead. The City of Melbourne's announcement follows similar trials in City of Darebin and Perth in 2017 and a more recent trial by the Moreland City Council. The City of Sydney will also be trialling food waste collection later this year. Glen Eira and Hume councils already allow for food scraps to be places in their green waste bins. Food waste is not just an issue for Australians, either, with OzHarvest reporting that around 1.3billion tonnes of food is lost or wasted around the world each year. The food waste trial will be voted on at a City of Melbourne council meeting next Tuesday. If successful, the food waste bins will be rolled out to 700 residents in Kensington later this year.
If, like most people at the moment, you can't get enough of matcha, Piccolina Gelateria has a treat for you. The Melbourne artisanal gelato store is launching a one-off Matcha Gelato Sandwich made with Hikuu ceremonial grade matcha that will satisfy the meanest of matcha cravings. The matcha sandwich combines matcha blondie with strawberry jam and matcha gelato, dipped in matcha white chocolate glaze and finished with a generous coating of matcha white chocolate crumble. And that's not all. The much-loved Hikuu Matcha Sundae will also be making a comeback. If you haven't been lucky enough to try it yourself, this jam-packed treat includes a scoop of matcha gelato with strawberry jam, matcha blondie, matcha snow and whipped cream topped with caramel sauce, matcha rocks and a maraschino cherry. The delicious matcha-infused desserts are made from scratch using only the finest ingredients. Hikuu Matcha is the cream of the crop, sourced directly from Japan and crafted by tea masters. The Matcha Sandwich and Matcha Sundae are available across all eight Melbourne stores, as well as via delivery and on the Piccolina Gelateria website. These limited-edition treats will be available from Monday, July 14, until sold out.
For those who like their comedy tinged with a little melancholy, Michael Workman is the stand-up for you. Over the past couple of years, the West Australian comic's strange and occasionally bleak (but always entertaining) sets have been amongst the best things on offer at the Melbourne International Comedy Festival. His latest routine is titled Nothing You Do Means Anything, and is billed as "manic", "frightening" and "the most iconoclastic show" of his career. In other words, don't expect his outlook to have gotten any sunnier. You'll laugh, you'll cry, and you'll question your place in a cold, unfeeling world. Sounds like a fun night out, right?
When winter begins to thaw, with leaves growing back on trees and flowers coming into full bloom, we want to celebrate the warmer weather and the world's annual rebirth. And, come September — which is just around the corner — Australia's biggest festival of spring will once again roll around. Floriade has been drawing crowds for decades — and its 32nd year will be marked with the theme 'World in Bloom'. A celebration of all things floral, the festival will fill Canberra's Commonwealth Park with more than one million blooms. But this month-long flower festival is more than just smelling the tulips. From Saturday, September 14 until Sunday, October 13, Canberra will be filled with music, food, vino, locally crafted brews and spirits, entertainment, markets and cultural happenings galore. Those with green thumbs can also take part in workshops, while live music and markets will be open for art lovers and bargain hunters alike. To top it all off, festival entry is free. For one day only (Sunday, October 13), you'll also be able to take your four legged friend along for Dogs' Day Out. Expect to pat lots of pooches and some pup-themed food, too. Floriade runs from 9.30am until 5.30pm each day. Plus, after the sun goes down between October 3–6 (hello, long weekend in Canberra), you can wander through the gardens at Floriade's after-dark counterpart, NightFest. While you're in town, you may as well take the time to check out Canberra's best microbreweries, cafes and cultural hotspots, too. Start looking at accomodation ASAP. We're also giving you the chance to visit Floriade's NightFest for free. To be in the running, enter your details below. [competition]742011[/competition]
Why send all your unwanted wrapping paper to landfill, when you could use it to start a vegie garden? That’s what the forward thinkers at UK innovation company BEAF want to know. Last Christmas, in the UK alone, enough wrapping paper was discarded to reach around the world nine times. The statistic inspired the BEAF team to come up with a solution: a 100 percent plantable alternative called Eden’s Paper. They’re hoping to raise enough money on Kickstarter to be able to print and distribute the first run by Christmas this year. Five different types of paper are on the menu at the moment: carrots, tomato, broccoli, chilli and onion. BEAF is hoping that, in the long run, this will expand significantly, to include more edibles, as well as flowers and herbs. Eden’s paper is made from 100 percent recyclable materials and is totally environmentally friendly. Each sheet includes 700 seeds, embedded in biodegradable tissue paper — seven layers of it, in fact, interlocked by an embossing process that avoids the use of nasty glues. Plus, the ink used for printing is vegetable-based. In developing the product, BEAF worked in close collaboration with a seed supplier and a printing company. Over the past 12 months of testing, assessing and refining, they’ve planted enough wrapping papers to feed 5000 people. If you want to get behind Eden’s Paper in time to see your seeds sprout in January, then you’d better be quick. The Kickstarter campaign finishes up on Monday, 16 December. A five pound pledge will buy you one sheet, 14 pounds will buy three and 20 pounds will buy five. Shipping is available anywhere in the world.
Counting down to see legendary electronic music duo Groove Armada perform in the Auckland Domain during Spring City next month? You're not alone. The festival's new inner-city setting and exciting headliners have already seen most tickets snapped up — and now we know who'll be joining the superstylin' duo on stage. A lineup of epic local and international dance acts will bring the vibes on Saturday, November 26, so you can groove for all eight hours across the Domain's expansive lush lawns. Adding to the international setlist are electro-synthpop group Hot Chip and Californian rapper and house producer Channel Tres. You might know the latter from such house hits like 'Controller' (a 2018 Triple J favourite) or 'Fuego' with Tyler the Creator. To check out how his tunes go down on a sunny afternoon, check out his rooftop set below. Aotearoa will also be nicely represented — industry icon and ex-Radio 1 DJ Zane Lowe is popping in off the back of interviewing some of the biggest names in the business like The Arctic Monkeys and Fred Again to perform a DJ set. He'll be joined by fellow locals like George FM host and DJ SIN, Indie artist Ladyhawke and Auckland rock/pop band Coast Arcade. So yeah, it's a pretty stacked lineup and one you're going to want to make the most of — so do it in the best way possible. If you want to enjoy the full celeb-worthy experience including press-lane access into the festival, entry into the VIP tent, premium toilets and access to the VIP bar you'll probably want to check out this epic CP Trips Package — it's the only way you can still get your mitts on a VIP ticket which have already sold out individually. The celeb-worthy package also includes accommodation at uber-chic inner city accommodation Hotel Britomart (including a delish daily brekkie to line the tum), lunch on Waiheke and more. If you're a local looking to party with the other normies, there are still a few final release tickets available too — head to the website to find out more. Spring City kicks off at 1.30pm at Auckland's Domain on Saturday, November 26 — for full event info head to the website. To check out our CP Trip Spring City package, head here.
If you don't mind waiting 97 minutes for a really cute little animation at closing credits, then check out Filth. If waiting annoys you, then give this one a miss. If you must see it, do yourself a favour and read the book first. That might help. Adapted from the acclaimed novel by iconic author Irvine Welsh, Filth falls short of even the most casual of expectations. Directed by Jon S. Baird from his own screenplay, Filth stars James McAvoy with a supporting cast including Jamie Bell, Jim Broadbent, Imogen Poots and Eddie Marsan. McAvoy is Bruce Robertson. He's a tormented, bigoted cop who snorts, smashes and sleazes his way through the festive period. What he really wants for Christmas is a promotion and he'll do whatever he needs to get it — screwing wives, exposing secrets and trampling self-esteems is all in a day's work. The problem is, well, just about everything. Take Bruce. There's no descent into despair, no spiral out of control, no ride for us to belt up for and settle in. When we meet him he's an asshole, and he stays an asshole, with a few tears and moments on stairs with understanding colleagues thrown in. I laughed twice, once about a boat and once because the c-word was very well-placed. The characters are half-baked and predictable — when the next line is in your head before its spoken then something has gone very wrong. Any aspect of Bruce's personality or past we're even vaguely interested in gets resolved in a lazy tell-all monologue revealing just what we had figured out 80 minutes and two buckets of popcorn ago. And this is no Trainspotting situation; the violence is lame and without context, the sex is nothing to hang your hat on, the madness is stereotyped and disjointed and there's next to no opportunity for us to even begin to understand any of the two-dimensional characters or why they do all the annoying things they do. Except for the little piggy, right at the end, who is not annoying, and is completely adorable. Filth gets one small point for the smashing soundtrack and the animation and McAvoy's beard, which is very neat and coped well with all the jaw clenching. https://youtube.com/watch?v=tymWDB7gtK4
When you're a film festival that's all about the best cinema from Spain and Latin America, and you've been showcasing flicks from the two regions for a quarter century, how do you mark the occasion? If you're Australia's annual Spanish Film Festival, you put together a hefty 25th-birthday festival filled with 32 movies. That's the just-announced plan for 2023's event, which will take over screens around the country across June and July complete with Spanish box-office hits, stars from beloved series, a focus on female directors and plenty more. As usual, this year's Spanish Film Festival is taking its show on the road, launching first in Canberra, Adelaide and Brisbane from Wednesday, June 14, and then a day later in Melbourne, Perth and Byron Bay. Sydney's season will commence on Tuesday, June 20, avoiding a clash with Sydney Film Festival, aka the Harbour City's other huge excuse to spend winter in a darkened theatre. Kicking off this fellow SFF is the Australian premiere of culinary comedy Two Many Chefs, which follows a father-and-son pair reuniting in the high-cuisine scene in Bilbao. Also a high-profile must-see is the festival's centrepiece selection Alcarràs, the winner of the Berlin Film Festival's Golden Bear in 2022. It popped up at a few local fests last year, and is now finally being made available to a wider Aussie audience. Other highlights include five-time Goya Award-winner Prison 77, a smash in its homeland starring Miguel Herrán from Netflix's Money Heist; The Kings of the World, which focuses on five Medellín teenagers; and Four's a Crowd, the latest from The Bar, Witching and Bitching and As Luck Would Have It filmmaker Álex de la Iglesia. Plus, there's thriller A Singular Crime, about a wealthy businessman's disappearance in Argentina in the 80s — and Staring at Strangers, where The Unbearable Weight of Massive Talent's Paco León spies on a family from inside a closet (and yes, sounds like it takes its cues from Parasite). Film lovers can also look forward to rom-com My Father's Mexican Wedding, about two Spanish siblings travelling abroad for the titular nuptials; Mighty Victoria, which sees residents of a small town try to build their own steam train in 1930s Mexico; black-and-white horror film History of the Occult; and feminist Argentinian western The Broken Land. The 2022 fest boasts an Australian link as well via Greg Mortimer, about the passengers and crew on the Australian cruise ship that left for Antarctica just prior to the COVID-19 pandemic being declared. And, the Spanish Film Festival's survey of prominent Spanish and Latin American women directors includes seven movies, while its five-title 2023 retrospective is dedicated to iconic Spanish filmmaker Carlos Saura, who passed away earlier in 2023. SPANISH FILM FESTIVAL 2023 DATES: Wednesday, June 14–Wednesday, July 5: Palace Electric Cinema, Canberra Wednesday, June 14–Wednesday, July 5: Palace Nova Eastend Cinemas, Adelaide Wednesday, June 14–Wednesday, July 5: Palace James Street and Palace Barracks, Brisbane Thursday, June 15–Wednesday, July 5: The Astor Theatre, Palace Cinema Como, Palace Brighton Bay, Palace Westgarth, The Kino, Palace Balwyn and Pentridge Cinema, Melbourne Thursday, June 15–Wednesday, July 5: Palace Raine Square, Luna Leederville and Luna on SX, Perth Thursday, June 15–Wednesday, July 5: Palace Byron Bay, Byron Bay Tuesday, June 20–Wednesday, July 12: Palace Norton Street, Palace Verona, Palace Central and Chauvel Cinema, Sydney The 2023 Spanish Film Festival tours Australia in June and July. For more information or to buy tickets, visit the festival's website.
Two Spiegeltents, two labyrinths and close to two hundred events are part of the program for Sydney Festival 2015, announced today. A happy 85 of the events are free this year, so it's looking like a long, wallet-friendly summer. "What’s really special about Sydney Festival is the diverse programming, with the best local and international artists from high arts — opera, theatre, and contemporary dance — to circus and family shows," says festival director Lieven Bertels. "Sydney Festival gives audiences the perfect excuse to celebrate the city in summer." Music Music at Sydney Festival has doubled this year, with Domain concerts, Spiegeltent gigs and late-night parties dominating the program. Latin and South American tunes take centre stage, from The Life Aquatic-popularised Brazilian legend Seu Jorge to Afro-Brazilian hip hop powerhouse Karol Conka and Argentinian WTF genre-spanners Frikstailers. Beats stake their claim as festival favourites this year, from Warp Records legend Nightmares on Wax to Young Turks’ Oneman, while strummers like #1 Dads and Kim Gordon’s Body/Head take things up a notch from the myriad of female folk artists on the bill — Alela Diane, Olivia Chaney, Jessica Pratt, Tiny Ruins. Anna Von Hausswolff takes to the Sydney Town Hall grand organ supported by NZ’s Aldous Harding, Moroccan trance dancers Fez Hamadcha explore Sufi sounds, co-founder of The Saints Ed Kuepper delves into a retrospective, while Ben Frost and Tim Hecker team up for a co-headline show at the Opera House. Then Tex Perkins plays Johnny Cash tunes at the historic Parramatta Gaol (check out the Parramatta program, announced yesterday over here), while Gotye realises the music of William Onyeabor with members of LCD Soundsystem and Hot Chip, among others. Sydney Festival’s love for the eclectic ‘who the hell?’ wildcards shines once more, from frenetic Barcelona multi-layering duo ZA! to the unexpected J-pop-meets-noise-pop team-up of Salyu and Cornelius. International hype cards How to Dress Well, Omar Souleyman, Wye Oak and return SydFester Dan Deacon are sure to get punters' paws rubbing. Giving local artists a sophisticated SydFest high-five, one third of the program features Australian musicians. Raise a plastic cup to the likes of Client Liaison, Kirin J Callinan and Firekites among the big Tex Perkins/Gotye guns. Public art Home to much of the festival's music, two Spiegeltents will be anchoring the expanding Festival Village, one of the real successes of last year and a true hub for hanging out in. Also within it will be a huge-scale art work from Ireland's answer to Banksy, street artist Maser. The maze-like, colour-splashed, two-storey-high installation, called Higher Ground, is said to be "a dream come true for those who always wished they could step inside a painting", and will be the focus of everyone's Instagramming this festival (which for the first time in two years, is Rubber Duck-less). Maser will be the artist-in-residence at the Village, though as he operates in anonymity, we don't expect to see too much of him. Other highlights among art installations include the must-ride Waterfall Swing at Darling Harbour, a giant swing that sends you flying towards a curtain of water that, thanks to the work of sensors, parts just before you hit it. Over at Carriageworks is another super-enticing labyrinthine experience, Inside There Falls (by UK-based Mira Calix), an immersive, tissue-paper environment you walk through, guided by haunting audio and the occasional glimpse of dancers. Also at Carriageworks, you can watch the meditative, 45-minute SpongeBob SquareTimes, an accidentally shot video of a man in a SpongeBob suit trying to make friends in Times Square. Performance Another big pillar of the festival is international theatre, dance and performance works. This year the big draws are Belgium's Kiss & Cry, a cinematic romance performed by two hands (yes, hands); India's The Kitchen, a spectacle of cooking and drumming from the creator of The Manginyar Seduction; France and the UK's The Night Dances, a celebration of the words of Sylvia Plath and music of Benjamin Britten, performed by Charlotte Rampling; and France's On the Harmful Effects of Tabacco, a Chekov one-act comedy performed by Theatre Des Bouffes du Nord (former home of Peter Brook) with costumes by Christian Lacroix. These join the already announced Tabac Rouge, a festival centre piece from another French innovator, circus performer James Thierree. On the smaller and more experimental side, there's one-woman memory mission I Guess If the Stage Exploded and, told entirely through the contents of one man's shoebox, Wot? No Fish!!. There's plenty of Australian contributions too, of the likes of Kate Mulvany's Masquerade, Force Majeure's Nothing to Lose, ambitious multimedia ethical exploration The Experiment and the return of the folks from Alvin Sputnik for Falling Through Clouds. On the circus side of things, the new Aurora Spiegeltent will be home to both last year's Limbo and new minimal circus artists A Simple Space, while the USA's Wau Wau Sisters lead the cabaret lineup. Those still holding a torch for the iconic Festival First Night will have to keep holding it; there's no sign of its return any time soon. Absent that inclusive and accessible event, hit up Sounds in the Domain, the Festival Village and the POP Parramatta Opening Party for free outdoor shenanigans. The 2015 Sydney Festival is on from January 8-26. Multipack tickets go on sale on October 24 (tomorrow!) at 9am, and will get you nice discounts. Single tickets go on sale on October 27 at 9am. To buy tickets and check out the full program, see the festival website. By Rima Sabina Aouf and Shannon Connellan.
UPDATE, June 10, 2021: Before the lockdown ends, the Victorian Government has changed the mask rules that'll come into effect from 11.59pm on Thursday, June 10. Under this change, which stems from updated public health advice, masks will still be mandatory outdoors. Face masks have been compulsory again in Melbourne, both indoors and out, for a few weeks now, with the mandate coming back into effect in late May in response to the city's latest COVID-19 outbreak. That requirement has remained in place during the city's two-week lockdown, in fact — but with stay-at-home conditions set to ease, mask rules are changing as well. You'll still be covering up indoors, with masks remaining mandatory inside. From 11.59pm on Thursday, June 10, however, the rules are changing outdoors. So, you won't have to wear them outside if you can maintain a 1.5-metre distance from other people while you're getting some fresh air. If you can't, you'll need to keep masking up. Obviously, you'll still always need to have a mask with you — even if you're heading out for a stroll and no one else seems to be about. You can expect to see more folks around, too, given that the city's five reasons to leave the house are being scrapped when lockdown ends. https://twitter.com/JamesMerlinoMP/status/1402444545082593281 While you're venturing out of the house for whatever reason you like — and possibly going mask-free if there's no one around you outside — you will still need to stick to a 25-kilometre radius. Yes, the bubble is expanding. Other changes that are coming into effect include gathering outdoors with up to ten people, and being able to eat in at hospitality businesses again. You still can't have anyone over to your house, though. If you're wondering where to grab a fitted mask, we've put together a rundown of local companies making and selling them. For more information about the status of COVID-19 and the current restrictions, head over to the Department of Health and Human Services website.
"I’m preoccupied of late with the possibilities of shrinking," Phillip Adams says of his latest work. Thumb is a cross-disciplinary performance piece that stretches the limits of dance, theatre and visual art. Though this artistic director has achieved significant success at home and abroad over the past 25 years, his company are calling this Adams’ first solo work. Drawing on classic shrink-themed cinema like Fantastic Voyage, as well as strong elements of participatory theatre (with part of the performance offering optional hypnosis) Thumb interrogates its audience's psychology of scale by toying with space and perspective. These genre-bending ambitions, together with the opportunity to see Adams in action, makes Thumb a promising piece not just for fans of contemporary dance but lovers of art of all shapes – and sizes.
Ever woken up from a deep sleep, only to forget what you were dreaming about? Well the problem may be that your dreams just aren't memorable enough. A new iPhone app can solve this problem, as it apparently allows sleepers to control their own dreams. The app, named Yumemiru (translates to "see the dream" in English), uses a microphone to somehow detect when you are in your deepest sleep and most prone to mental influence. It then plays a soundtrack according to which dream scenario you have selected. Yumemiru currently offers eight different scenarios for users to choose from. These include a walk through the forest, a lazy day at the beach, getting rich, flying, and falling in love. Importantly, the romantic scenario has options for both men and women. Although this is a fascinating concept, I think that some of these scenarios are pretty pedestrian. If I'm going to stimulate my own dreams, I want my subconscious to come out with both guns blazing. There should be an option that allows you to become Godzilla or rob a bank. Regardless, give this app a try and see if your sleeps become any more exciting. After all, they may be so enjoyable that you'll never want to wake up. [via PSFK]
One of North Fitzroy's most legit barbecue houses, Bluebonnet Barbecue, is taking their show on the road after launching their very own food truck. The truck, a 1970s C1300 named 'Mabel' by previous owners, was salvaged by Bluebonnet owner Chris Terlikar after years of neglect in an open paddock. Mabel has gone through many reincarnations, most recently acting as a delivery vehicle for Princess Laundries. Now, hand-painted with barbecue mantras, the old girl is back in action and ready to serve up some damn tasty barbecue plates and sides. Mabel will tow one of Terlikar's hand-built smokers, turning out a menu that will focus, not surprisingly, on barbecued meat plates — think black Angus brisket, oak smoked chicken and Berkshire pulled pork. And since you can't have barbecue without the requisite sides, they're serving up some Bluebonnet classic like their apple and kohlrabi slaw with a poppy seed vinaigrette and their russet potato salad with blackened jalapeno crème fraiche. If you can't get enough of the house-made barbecue sauces, they'll also be available to purchase by the bottle (or two) at the truck. For Mabel's big unveiling on Saturday April 1, at Melbourne's permanent food truck park Welcome to Thornbury, the team gave away fifty free barbecue plates. If you're now kicking yourself because you missed it, the truck will all around town this month, including back at Welcome to Thornbury this Sunday, April 9, at the Four Pillars cellar door April 7-9 and the Boogie Festival April 14-17. Unfortunately, the freebies were a one-time only event, but this barbecue is certainly worth paying for.
The Victorian Government's designs for an elevated rail on the Cranbourne/Pakenham train line have brought plenty of controversy; however, once the $1.6 billion Skyrail project is completed, it looks like they'll also bring a hefty increase of open spaces to Melbourne's south east. Minister for Public Transport Jacinta Allan yesterday revealed plans to use the area freed up by the line's elevation to create "11 MCGs worth of new open space." Included in the proposal is a 17-kilometre walking and cycling track running from Caulfield to Eastlink, as well as multi-purpose sports courts, rock climbing walls, skating facilities, parks and play areas. Clayton and Noble Park will also each score a fenced dog park, while an extra 4000 trees are set to be planted in the area as well. The proposed plans come as the government prepares to remove nine level crossings between Caulfield and Dandenong. "By removing the most dangerous and congested level crossings we are making our communities safer," the minister said. "And, by providing more open space we're making them a better place to live." The government says the plans are the result of extensive consultation from a Community Open Space Expert Panel, which was chaired by Director and Chief Executive at the Royal Botanic Gardens, Tim Entwisle.
Museum lovers, we know you miss visiting your favourite galleries and taking in all the beautiful art the world has to offer, so we have some good news for you: you can now join The Museum of Modern Art's top curators every Thursday (or Friday, Down Under) to explore the famed museum's exhibitions. Different gallery tours will be uploaded to the museum's website every week, ranging from film exhibitions to deep dives into the work of some of America's most iconic artists, including Great Depression photographer Dorothea Lange and sculptor Donald Judd. If you prefer to get a bit more hands-on with your art, the gallery is also offering a heap of free online courses, covering everything from postwar abstract painting to fashion and photography. Top image: MoMA by Gorup de Besanez for WikiCommons
Stormwater drains do not immediately spring to mind as the most likely of subjects for a photography exhibition. Dank, dark and deliberately hidden from view, the humble drain is generally seen as a necessity of modern life but one that should be left in the deep underground recesses beneath our feet. Sydney artist Oliver Hopes begs to differ. After a boyhood adventure gone awry left Hopes stranded in the blackness of one of Sydney's innumerable stormwater drains, surrounded on all sides by an army of swarming cockroaches, his "most hated of animals", Hopes developed a permanent fascination with this unseen world of underground mazes. "I had a bunch of mates that would go and explore stormwater drains, and I don't know how they got the idea," Hopes told us. "We built a flaming torch out of a stick and torn T-shirt and kerosene ... and that was the first time I went down the drain." It certainly wasn't his last. These days, the artist finds himself lost in Sydney's drain system as often he can. Unlike this first encounter, which was inspired more by a sense of boyhood adventure than artistic expression, Hopes now always makes sure he has his digital camera with him and his latest exhibition is on display as part of the Head On photo festival at the Robin Gibson Gallery. Yet Hopes' art is no accident; it's the work of a man who knows how to find incredible beauty in the most unexpected of locations. The images are a cinematic delight, bathed in an evocative contrast of light and dark. If it weren't for the subtle details of the drains — the water stains and faded graffiti — the photographs could easily be mistaken for location shots from a Godfather film. Despite the grandiosity of the images, Hopes' process is amazingly DIY. Having experimented with elaborate camera set-ups, studio lights and plenty of work in the editing studio, Hopes found that often the most effective approach was also the most simple. Just a digital camera and then "it's basically me and what I see down there." "Most of them have a pretty natural cinematic quality, that special something that needs very little manipulation," Hopes said. "They are pretty powerful spaces naturally, which is what inspires me more to keep going. They are just so amazing and different and powerful." Thankfully for us, these atmospheric chiaroscuros hide some of the less appetising aspects of drains — though Hopes describes seeing everything from bats to rats to eels to cats. "You name it, it's down there," he says. Check out some of our favourite drains from Hopes' amazing collection of photographs below. Images courtesy of Robin Gibson Gallery and © Oliver Hopes.
UPDATE, February, 5, 2021: Malcolm & Marie is available to stream via Netflix. Where everything from Blue Valentine and the Before trilogy to Marriage Story have previously gone, Malcolm & Marie follows: into the fiery heat and knotty struggles of a complicated relationship. Like the heartbreaking Blue Valentine, it charts ecstatic highs and agonising lows. As Before Sunrise, Before Sunset and Before Midnight did, it relies upon dialogue swapped frequently, passionately and with chemistry. And stepping in Marriage Story's territory, it follows a director and an actor as their career choices highlight issues they've plastered over with sex, smiles and their usual routine for far too long. Still, while assembled from familiar pieces — the aforementioned movies aren't alone in stripping bare complex amorous entanglements, as the likes of Who's Afraid of Virginia Woolf? and Scenes From a Marriage demonstrated first — Malcolm & Marie slinks into its niche. It's devastatingly stylish thanks to its black-and-white colour palette, elegant costuming and luxurious single-location setting. It glides by almost entirely on the strength of its ferocious performances. But it's also indulgent and obvious, as well as clumsy in its handling of many of its conversation topics. Like most relationships, it soars at times and sinks at others. Shot in quarantine in mid-2020, the romance drama meets its eponymous couple on a momentous night, with filmmaker Malcolm (John David Washington, Tenet) all abuzz after the premiere of his latest feature. The critics gushed to him in-person so, arriving back at the flashy house that's been rented for him, he's drunk on praise and eager to celebrate with Marie (Zendaya, Spider-Man: Far From Home). As she cooks him mac 'n' cheese, he pours drinks and relives the evening's highlights. But Marie isn't as enthusiastic, or as willing to cast everything about the premiere in a rosy glow. The catalyst for her simmering discontent, other than just the state of their relationship: as Malcolm & Marie writer/director Sam Levinson admits he did himself at the premiere of his 2017 movie Assassination Nation, Malcolm forgot to thank Marie. Levinson's wife only brought it up once, he has said; however, the moment the subject comes up on-screen, Marie isn't willing to accept Malcolm's claim that he simply forgot. Cue oh-so-much arguing, mixed in with cosier banter, broader chats about art and politics, Marie's frequent escapes outside to smoke and Malcolm's impatient waiting for the first reviews of his film to drop. Marie bathes, slipping out of her shimmering dress. Malcolm dances, and also thinks that playing the right song at the right time will patch over all of his girlfriend's worries. Again and again, their discussion circles back to their history. Malcolm's movie is about a 20-year-old addict, and Marie once was that woman. She feels as if her real and painful experiences have hoovered up by him, without any appreciation or recognition — without casting her in the role, too — a contention that his lack of public acknowledgement has only solidified. In response, he easily spits back all the ways he didn't raid her life, and all the other women from his past he also used for inspiration. It can get repetitive, as wars of words are known to in the intensity of the moment, and yet Malcolm & Marie is at its best when its characters fight specifically about their relationship. That's when the film stings with authenticity; Levinson's own situation mightn't have turned out the same way, but no one is a stranger to quarrelling with their nearest and dearest, and his script shows it. When Malcolm & Marie works other affairs into the back-and-forth, though, it overplays its hand. It threatens to forget that it's about people rather than about ideas. Levinson takes aim at the current state of cinema and the discourse it inspires — including increasing calls for authenticity in bringing stories to the screen, the response that it's the craft rather than the experience that truly makes filmic art, and the way movies by talent from marginalised backgrounds are viewed through that lens — but his navel-gazing feel muddled and hollow at best. Case in point: the feature also has Malcolm delight in being fawned over by critics, rage against writers he doesn't think understand his work and complain about anyone who reads his films in a way he doesn't approve. Thankfully, even in Malcolm & Marie's least necessary scenes, it boasts Zendaya and Washington. No one else is seen in the film, in fact. Zendaya won an Emmy in 2020 for TV series Euphoria — which Levinson created, writes and has directed the bulk of, and is also based on his own experiences — and she's in blistering form here as well. When Marie is still glammed up from the night's festivities, Zendaya wears a mask of composure and determination atop her flawless makeup. When the character changes, then pads around in her underwear, the exacting performer lets her facade drop in favour of a more relaxed but still just as raw brand of pain and fury. She's impossible to look away from, but Washington is no slouch. He's given the least sympathetic but also more overtly showy part, and wears it like a second skin. Indeed, he sells Malcolm's arrogance, privilege, never-wavering confidence and volatile anger that comes out in his rants as convincingly as he sold the ruse that was crucial to his role in BlacKkKlansman. Zendaya and Washington's performances are so strong and compelling — hers especially — that when the two-hander's material lets them down, it's noticeable. The screenplay's lack of resonance and texture, key traits evident in all the best relationship dramas, is evident, too. As a result, the film easily leaves viewers wondering what might've eventuated if it hadn't been cooked up in a pandemic, designed to work within COVID-19 restrictions and scripted in six days. Cracks in even the most blissful romances take time to expand. Malcolm and Marie's central love affair has clearly never been all sunshine and roses, but the movie they're in lacks the weightiness that might've come if it had been the product of a longer gestation process. Levinson's sultry and gorgeous visuals also call attention to the movie's hastiness. From leisurely tracking shots peering in at its key duo from outside their lush abode to the many exquisite-looking ways it frames Zendaya and Washington together, Malcolm & Marie is designed to look timeless, and yet the substance that's supposed to anchor that style continually feels rushed. https://www.youtube.com/watch?v=CGZmwsK58M8 Image: Netflix.
While it doesn't always feel like it, Melbourne is closing in on the home-stretch of this latest lockdown. A handful of restrictions were eased from 11.59pm on Sunday, October 18 and Premier Daniel Andrews has also confirmed the state's on track to November 1. But just in case you were thinking there'd be some wiggle room during step two, the Victorian Government is cracking down hard on rule-breakers and bumping up the penalties for any illegal gatherings. Break the rules now and you could cop a hefty fine of almost $5000. The Premier has warned that the penalties for flouting current restrictions on public and private gatherings will now be increased to match the fines given for travelling into regional Victoria without a valid reason: $4957, to be exact. The no-nos include having a picnic with more than ten people, or people from more than two households, and having anyone over to your house that isn't an intimate partner or in your 'single social bubble'. You can brush up on all the gathering rules over here. Victoria Police has also confirmed it'll maintain a strict approach in enforcing the rules. In a press conference, Chief Commissioner Shane Patton urged the public to help police by phoning in any suspected rule-breakers to the Police Assistance Line. And, ahead of the balmy picnic weather forecast for this weekend, he warned police would be stepping up its presence, keeping an eye on busy parks and even knocking on doors. "We will be out and we will be enforcing," he said in the Facebook video. "We'll be doing everything we can to make sure that people are adhering to these guidelines." If you are caught doing the wrong thing, it seems there'll be little chance of walking away with just a slap on the wrist, with the Chief Commissioner saying, "The use of discretion will be only in the most extreme circumstance and very rarely applied". While the penalty increase was announced on Sunday, September 27, Victoria Police today confirmed it's doled out over 67 fines to individuals for breaching the Chief Health Officer directions in the past 24 hours. They included penalty notices issued to six men gathered at a home in Greater Dandenong, with police tipped off after multiple cars registered to different addresses were seen in the driveway. For more information about the status of COVID-19 and the current restrictions, head over to the Department of Health and Human Services website — and for further details about Victoria's steps for reopening, head to the roadmap itself. Updated October 20, 2020.
Ivan Sen has always gone it alone. In the world where we live, filmmakers have set decorators, editors, production managers, post-production technicians, concept artists, storyboard artists and legions of other scurrying assistants. Not Ivan Sen. He's an Australian filmmaker who does it all himself, and his outsider approach has so far taken him from his native rural New South Wales to places like Sundance, Cannes and Berlin film festivals. This directive — hands-on, honest, thoughtful, singular filmmaking — now stretches into the guts of his latest film, an outback murder case, Mystery Road. It's a quiet, steady yet thrilling film, held together by Aaron Pedersen's staggering performance as a lone, Aboriginal detective. To talk about Ivan's films, you have to talk about equality. In Sen's film worlds (Toomelah, Beneath Clouds), as in this world, some people are more equal than others. When Julie Mason, an Indigenous girl, is found with her throat cut off Mystery Road near Massacre Creek, no one gives a shit — not the cops, not anyone. This is the crime genre plot-point that opens up to a chasm of inequality. Underneath the high skies and low plains of Mystery Road, something else surfaces — a frighteningly beautiful, dead-on look at a troubled country. THE START OF MYSTERY ROAD "It's been a bit of a journey, this film," says Ivan. "I first mentioned it to Aaron in 2006 in Kings Cross, around midnight. We were passing like ships in the night, and I said, 'brother, I got an idea for you'. And he said, 'alright'. Then five years later, I ring him up and say, 'here's this idea, here's the script, it's time to do it'. It's a story that's come from my own experiences, my own heart, from my family and their experiences. So everything you see in some way comes from reality. The whole thing about Jay Swan being this cop caught between two worlds is something that's very close to my heart, coming from a small town, growing up, not quite belonging to the Aboriginal part of town, and not quite belonging to the white part of town. That's what I've always been fascinated by: the turncoat, the black tracker, the black trooper, the Native American scout. The person who's got a foot in both worlds, walking along the edge." Mystery Road comes at the crest of a wave of Indigenous storytellers making movies for all audiences — films like Bran Nue Dae and The Sapphires. "There are all kinds of young warriors trying to change the face of the industry, trying to tell our stories," says Aaron. "I've done a lot of mainstream material before on television. People used to always tell me, 'you play too many coppers!' Not now, because all those cops got me this job! Ivan wrote the role for me. It's something I'll never forget and a job I'll never get again." "I think [the murder storyline] is something that affects a lot of Indigenous families," says Ivan. "A distant cousin of mine was found underneath the roadway in very similar circumstances, a long time ago now. The killer has never been brought to justice. If you actually pursue reality in a film, that can make things more interesting and suspenseful than all this artificial and contrived conditioning." Adds Aaron, "This film is important to this country, the lessons of healing and understanding. It's about our lives. There are a lot of cold cases in this country, a lot of people left behind after murders." THE ONE-MAN BAND What's behind the all-encompassing role of director, writer, camera operator, editor and composer? "It's just easier to do it yourself," Ivan says. "I just started doing it a long time ago, back in the 1990s. And now technology's caught up and I can edit on the laptop, soundtrack on the plane, write in a cafe. For me, why should film production be the way Hollywood says it is? What right do they have to define all these things?" "Let's hope he doesn't learn how to act, because then there'll be no work for actors!" Aaron's having a go, but you suspect he might be right. "Ivan had all these hats that he'd been wearing [on set], but I'll keep saying 'till the day I die, if he was stressed out, you wouldn't have known. Incredible leader. I was so glad to be part of the project on this big scale — not just as a hired gun, but as someone who helped implement the operation. It was kind of like ceremony in a way. It was really beautiful, really personal. You don't usually have that relationship with a director. We became brothers." SEN GOES SCI-FI I've heard Ivan's next film is a science-fiction epic set in China, his new home. "Yeah, sci-fi," says Ivan. "Set in the future. Big action, romance. Commercial." At first it seems worlds away from the art-film vibe of Mystery Road. How do you cater for the largest possible audience without turning your film to shit? "Someone like Christopher Nolan is in massive demand," Ivan continues. "He puts his heart and soul into what he does, and really wants to give the audience something unique. There's not many other guys with the talent and heart trying to give the masses something special. Because it's all controlled by suits. Chris Nolan's not a suit, but he wears one. He gets the deals without losing any freedoms or destroy his personal approach." It's true — you see a big budget movie with heart and talent and intelligence (Robert Zemeckis's classic space movie, Contact, springs to mind), and you think, hey, that's what Hollywood could be for, that's what all those big budgets and beautiful faces could be doing all the time. They could have big ideas, too. "There's a big hole there, in the commercial arena, for quality," says Ivan. "There's so many shit films for big audiences. You go to the cinema and it's like, 'which crap movie do I have to pick?'" "I actually don't go to the movies very much 'cause of that," admits Aaron. "Too many people are spoon-fed their opinions in this world. That's another audience [than the one for Mystery Road]." Ultimately, for Ivan, leaping into sci-fi just makes sense to him as a filmmaker. "I don't want to make the same film over and over. It's boring. I'm a lover of cinema. Watching cinema gave me emotions that I'd never felt before in my whole eight-year-old life. I'd never felt that connection before." Mystery Road carries this sensibility — beyond being a genre piece, is cuts to the emotional heart of a country that's been torn by dysfunction for too long. At a screening of the film in Sydney's inner west, Aaron spoke plainly, and passionately. "History did not start 225 years ago in this country ... This role is more than a job, it's a chance for me to show my ancestral trauma. This film is larger than this script: it's a cinematic campfire. Sit around it. Take something from it. Be smarter for it. Be a better nation for it."
UPDATE, March 15, 2021: Deerskin is available to stream via Stan, Google Play, YouTube Movies and iTunes. You've heard the first words uttered in Deerskin before, but it's unlikely that you've heard them in this specific order: "I swear never to wear a jacket as long as I live". In the film's opening moments, three people exclaim the phrase as they dump armfuls of clothing into a car boot. Watching on, Georges (The Artist Oscar-winner Jean Dujardin) makes sure that they say the sentence in exactly the right way. The film offers no further explanation at this point, as if these dramatic declarations are the most normal thing in the world. Next, though, it shows Georges putting his own brown corduroy jacket in a public toilet, flushing, and leaving the bowl clogged and overflowing. His subsequent destination finally helps clarify what's going on, at least in part — with Deerskin's protagonist buying himself a new secondhand jacket made from the eponymous material. How far would you go for the perfect piece of clothing? And can one ideal fashion item completely change your life? They're two completely relatable questions that Deerskin ponders, after aspiring filmmaker Georges takes a strong liking to said Italian-made vintage fringed deerskin jacket. And, we mean strong. Obsessed, fanatical and passionate, even. In the way that anyone can, but that vain, middle-aged, just-divorced men are stereotypically known to, Georges is certain that this one luxurious object is perfect for him. In fact, he thinks he just can't live without it. It doesn't matter that said coat costs him nearly €8000, a price tag that most would stumble over. Similarly irrelevant: that the jacket looks just a tad too small while he's wearing it. Instead, how it makes Georges feel is far more important than any logical drawbacks — to him, at least. Also pivotal is how it catches the attention of small-town waitress and wannabe film editor Denise (Portrait of a Lady on Fire's Adèle Haenel). The latest feature by the inimitable Quentin Dupieux (also known, in his electronic music guise, as Mr Oizo), Deerskin luxuriates in Georges' devotion to the newest addition to his wardrobe. Again, that's putting it mildly. The film revels in this fixation to a purposefully absurdist, always amusing and even sometimes comically unnerving extent, especially when it comes to the character's ultimate goal: that his will be the only jacket remaining in the world, and he'll be the only person wearing it. When Georges is told that it's the jacket of his dreams before he makes the hefty purchase, it's one of many similar statements to come. When two women at a bar comment on it, he says that "it's no ordinary jacket", for example. Later, when one of them remarks on his overall appearance, he asks "don't you see my killer style?". And in bed that night, playing with the video camera that came with the coat as a package deal, he vocally and effusively lavishes praise upon the inanimate item. The above paragraph stresses the point, but so does Deerskin. If you're going to make a movie about a man's crazed fetish for a jacket, his willingness to do anything for it and his belief that it's the only jacket that should exist from this point forward — and his outlandish, even violent actions to make sure that's the case as well — there's no room for being subtle. This is a concept that requires the same level of commitment as Georges' to his beloved possession, and Dupieux doesn't hold back. That's his nature anyway, with Deerskin the latest of the writer/director's movies to fixate on an inanimate object. If you saw the French filmmaker's 2010 cult hit Rubber, about a homicidal car tyre, then you'll know just what kind of weirdness he both relishes in general and unfurls here. Dupieux makes films that instantly seem ridiculous, yet both express and interrogate their central idea with smarts as well as a sense of humour, and Deerskin couldn't better fit the bill. Still, while this French Alps-set horror-comedy is a typical Dupieux movie through and through, a few things particularly stand out. Indeed, from a resume that also includes 2012's Wrong, 2013's Wrong Cops and 2014's Réalité, this might just be the filmmaker's most accessible film to-date. The deadpan performances, including from a fantastic Dujardin, are a delight. The commentary about consumerism, male egos and the potential brutality of both at their most over-the-top proves as funny as it is astute — and even though it's also rather obvious, it's constantly entertaining. Also, the fact that the movie well and truly knows that it's stretching a thin basic idea to its most overblown extreme means that everything is a joke, and the film is all the better for it. Then there's the visual symbolism, the lingering shots, the beige-hued colour palette and the editing, too, all of which follow their own rhythm as much as anything Dupieux has ever made. But, perhaps the most impressive element of this warped, weird, always beguiling movie is that — despite the all-round offbeat premise — Dupieux never forgets that he's actually fashioning a love story here. Yes, it's a twisted, troubled romance between a man and his jacket (and, later, his deerskin hat, shoes and pants as well), but it's a romance nonetheless. In a feature that'd make a great double with Peter Strickland's In Fabric, every element of this sublimely silly, sometimes savage, 100-percent suede-coveting film is crafted with that in mind. https://www.youtube.com/watch?v=i_u4YDiGH3k
Colin Firth and Nicole Kidman are Eric Lomax and Patti Lomax, lovers at the centre of a world torn apart by Eric's repressed memories as a prisoner of war in The Railway Man. Marcus Costello spoke with the film's Australian director Jonathan Teplitzky, who also made a big impression with 2011's Burning Man. The life of Eric Lomax, a quintessentially British man from another generation, set between Scotland and South-East Asia. How does an Australian director's perspective lend itself to this story? Going into this production, I thought the code of silence thing was a distinctly English POW character trait. I soon realised that it doesn't matter where you're from, if you were part of WWII, you come home with stories you will never share. Is that still the case for soldiers today? Yeah, sadly, I think it is. The irony is that we send young, impressionable people to war under morally dubious reasons, morally bankrupt, even, and we hold them to account for every moral decision they make when they're out there. If you think about how young these guys actually are, it's almost a 'Lord of the Flies' situation. No wonder they come home confused and reluctant to talk about it. I was talking with journalists at the Dubai Film Festival the other week and they were saying how important this film is for that part of the world as it struggles to deal with the warfare surrounding it. To that end, did you think about how your film would be received by present-day soldiers? Absolutely. In so many the face of warfare has changed beyond recognition since WWII, and yet, completely ineffective techniques like water-boarding are still used today. We live in a tell-all age of social media. Presented with an intensely private character, Eric Lomax, how do you expect/hope young people to respond? That's a really interesting question. The core audience we had front-of-mind when we were making the film was men above 35. In the test screenings we've noticed that younger people are genuinely interested in it. For all the negative press that the social media generation gets, I actually think it's a very inquisitive, socially aware group. The film looks beautiful. But war isn't beautiful. Can you talk me through your aesthetic choices? Sure. As a 20-year-old, going to War — to Thailand no less! — was a big adventure for Eric, so mixed up in fear and anxiety was a genuine sense of excitement. Of course we know the story of WWII — it was no exotic holiday — but to portray it like that wouldn't have been an accurate view of the world through his eyes. The heat, the incredible lushness of South-East Asia's forests was unlike anything this young Scot had ever experienced or really known about. To convey that wonder we heightened the contrasts between the countries: we sought out blues and greens when we where in Scotland, and hot colours when we where in Thailand, for example. I ask because there were a couple of moments during the film where I was in there with Eric then he'd see something like an explosion framed by silhouetted palm trees, and all of a sudden I was made aware that I'm looking at a representation. Did you ever feel a need to hold back because Thailand is just so photogenic? But I relish those moments! I try to do it as much as I can in the films I make! For me, the visual irony is key. It brings into question the absurdity of what's happening. Naturalism isn't always the only or the best way to give an authentic impression, as strange as that may sound. Given that taste for flourish, where there times when you felt constrained by having to tell a true-to-history story We were very lucky to have such a good relationship with Eric and Patti who were both so open but even still, I never felt obliged to tell something a certain way. I honestly never felt constrained. I can say that because I don't think getting every factual detail perfect is the aim of this kind of story. I think it's about capturing an essence and finding a way of expressing that. The Railway Man is in cinemas now. Read our review here.
Imitation may be considered the sincerest form of flattery, but when one movie spends its duration seemingly trying to ape another, it also proves one of the most grating methods of filmmaking. Staring at its grey colour scheme, listening to its moody score, jumping along with its shifting timeline and unpacking its narration-heavy, twist-filled story, there's little doubt that The Girl on the Train is trying to follow in the footsteps of another recent adaptation of a page-turning novel. Alas, this movie is no Gone Girl — although thanks to its own stylistic choices, the comparison isn't going to go away any time soon. Working from Paula Hawkins' best-selling book, The Girl on the Train intertwines the plights of three women in a whodunnit thriller, while attempting to dissect — and find commonality within — the many roles women are forced to play in life. Sadly, with a flimsy script by Erin Cressida Wilson doing the source material few favours, director Tate Taylor fails to live up to expectations with this hotly anticipated adaptation. Instead, the film alternates between serious and trashy, without finding the right balance between the two. So it is that alcoholic divorcee and New York-based Englishwoman Rachel (Emily Blunt) rides the train every day, staring out the window at people she assumes are happier than she is. In the case of her ex-husband Tom (Justin Theroux), his new wife Anna (Rebecca Ferguson) and their baby, she knows that's the case. When it comes to their neighbours Megan (Haley Bennett) and Scott (Luke Evans), she's just guessing. But when Megan goes missing on the very same day that Rachel spots her on her porch with another man, questions start being asked. Before long, some of the hardest ones are directed at Rachel herself, who was seen drunk in the area but can't piece her memory together. Characters peering into the seemingly perfect lives of others is a concept that has fuelled many a movie in years gone by. And yet, you can add a distinctive lack of Hitchcockian intrigue to the list of ways that The Girl on the Train disappointments. Narrative developments are clearly foreshadowed, clichés fly thick and fast, and attempts to bust gender stereotypes remain superficial at best. In this light, even appreciating the film's place in voyeurism-obsessed cinema history offers little solace. Thank goodness for the quality cast. Whether acting erratic like Blunt, suspicious like Ferguson or furtive and discontent like Bennett, none of the picture's lead actors are quite at their best, but at least they're reliable, which makes them the best thing the film has going for it. That said, when paying close attention to how Blunt plays boozy becomes more interesting than the story itself, you know something has gone seriously wrong. There's an interesting-enough thriller at the heart of The Girl on the Train. Unfortunately, we never get to see it.
If you haven't done it before, flying solo can be a little daunting — especially to something like the opera. But, hey, you shouldn't have to miss out on indulging your operatic passions just because your mates aren't huge Puccini fans. That's presumably why Opera Australia has come up with a nifty solution for its solo guests. The new initiative, named Opera for One, offers a a special package for those going it alone at select Sydney and Melbourne shows. No more standing awkwardly in the foyer before the performance or during interval, wishing you had someone to dissect the show with. Under the new scheme, solo punters will get access to a discounted B Reserve ticket (at a tidy 10 percent off), then kick off their evening at a complimentary pre-show drinks and nibbles session. An expert from Opera Australia's creative team will give a casual talk about the show and you'll have the chance to mingle with other solo opera fans, before heading in to take your seats together. To help take some of the edge off, guests will also score a handy guide before the show, packed with conversation starters, information about your chosen opera and insights into what you can expect on the night. If you're keen to give it a whirl, Opera for One is currently taking bookings for a handful of Sydney and Melbourne shows. NSW fans can see the likes of the compelling Salome or Puccini's Turandot, while Melburnians can access Il Viaggio a Reims, Mozart's Così fan tutte, and beloved classic Rigoletto.
The Big Green Idea is an initiative of the British Council, and it's all about treasuring Australia's creative people and and people who want to make the world a better place. The project is aiming to attract and encourage local entrepreneurs to develop new sustainable projects which will help people adapt to the effects of climate change in cities. It's all a part of a region-wide initiative begun by the British Council to encourage environmental sustainability across East Asia and the Pacific. And they have some very attractive grants up for grabs. This year up to six grants will be awarded to environmentally conscious kids which have the potential to make a dramatic impact on the country's environmental future. You can apply for either a $10, 000 or $20, 000 cash grant. The successful applicants will also get project mentoring by business and sustainability leaders, as well as the British Council, to help the projects have the greatest and widest positive impact they can. Applications are open now. They can address issues such as resource efficiency, travel, water, sustainable design, communications campaigns and the effects of climate change on disadvantaged communities. So if you've been inspired by the upcoming Earth Hour, get your idea submitted for a chance to make a real change.
Plans, pathways, roadmaps, rollouts: no matter which state you live in, Australians have heard these terms more than a few times over the past year and a half. As the country has grappled with COVID-19, our state and federal leaders have unveiled all types of outlines that run through what we can do, what we can't do whenever restrictions are in place, how we're getting vaccinated, where we can travel and how life might someday return to normal. Following the latest National Cabinet meeting between state and territory leaders and Prime Minister Scott Morrison, which was held today, Friday, July 2, the latter has just announced a new plan — 'a National Plan to transition Australia's National COVID Response', to be precise. It steps through four phases that Australia will now work through to get life back to normal in this pandemic-affected world. Timeframes haven't been noted, so really it's just a list of things that should happen at some point; however, it's a plan nonetheless. Now 16 months since the country first introduced lockdowns and border restrictions due to the pandemic, Australia is currently in the first phase. Here, the aim is to suppress the virus to minimise community transmission, and much of it either sounds familiar or plans to tweak existing arrangements. Lockdowns will be used as a last resort, caps on incoming passenger arrivals will be cut in half to help stop the possible spread of the Delta variant, and the Commonwealth will run more repatriation flights to Howard Springs. Hotel quarantine is set to be reviewed, too, and alternative options — such as home quarantine for returning vaccinated travellers — will be trialled. In this first stage, everyone will be offered their chance to get vaccinated — which, given how slow the rollout has been progressing so far, might explain why no hard dates have been attached to this overall roadmap. Also in the initial phase, the Medicare Vaccination Certificate will be rolled out, Australia will work out how to authenticate digital vaccination status at our international borders and the vaccine booster program will be prepared. Whenever that's all achieved, the nation will move into phase two. That's when restrictions will be eased on folks who've had the jab — including around lockdowns and border controls. It's aimed that, by then, lockdowns will only happen "in extreme circumstances" if needed to prevent increasing hospitalisation rates and deaths. Also in phase two, inbound passenger cabs for unvaccinated returnees will go up, and more vaccinated returning travellers will be allowed to come home. If you're a vaccinated Aussie and you're coming back into the country, there'll be reduced quarantine arrangements. And, this is when the vaccine booster program should be rolled out, too. Up next: a third phase that has absolutely no lockdowns, and frees vaccinated Aussies from all domestic restrictions — and allows them to travel internationally as well. At this point in the plan, there'd be no caps on returning vaccinated travellers at all, and more travel bubbles, like the one floated with Singapore, would open. Also, vaccine boosters would keep being delivered. Finally, phase four sees COVID-19 just treated like other infectious diseases. It'd still be around, but it'd get the same kind of response as the flu. So, there'd be no lockdowns or domestic restrictions ever, vaccinated folks could come and go as they like, and non-vaccinated travellers would just have to get tested before they depart and when they arrive. Again, there are no timeframes attached to any of these phases as yet. That's dependent upon setting vaccination targets for each phase of the plan, based on modelling. And, if Australia's pandemic response so far is any guide, this could all change, take forever or simply not happen — but, if nothing else, it's the stated plan at the time of writing. For further details about the National Plan to transition Australia's National COVID Response, head to the Prime Minister's website.
Back in July, Prime Minister Scott Morrison announced that Australia will tie its efforts to manage COVID-19 to vaccination rates moving forward. As the country reaches certain jab milestones — 70 percent of Aussies over the age of 16 receiving two doses, and then 80 percent — the way that Australia handles the pandemic will evolve. Restrictions will start to ease, lockdowns will be less likely, international travel will open back up and people who've been fully vaxxed will live life under loosened rules. As both New South Wales and Victoria have dealt with COVID-19 outbreaks over the past few months, vaccination rates have continued to be thrust into the spotlight. Both NSW Premier Gladys Berejiklian and her Victorian counterpart Daniel Andrews have highlighted specific jab thresholds, and announced that lockdown rules will begin to change when they're met — at 70-percent fully vaxxed in NSW and 70 percent with at least one dose in Victoria. So, that means that we're all now paying extra attention to those vaccination figures. They're mentioned at each state's daily COVID-19 press conferences, of course, but you can also check out how your state is going and how the nation overall is faring thanks to a heap of online resources. Wondering why you might be interested in the Aussie rate, and not just vax numbers in your own state or territory? As part of that plan announced by the PM — the National Plan to transition Australia's National COVID Response — vaccination rates have to reach the 70-percent and 80-percent fully jabbed marks across the entire country before an individual state or territory can start easing the rules. That state or territory also has to reach those thresholds itself before it can do anything, of course, but that isn't the only important figure. This daily infographic provides the total number of vaccine doses administered in Australia 🇦🇺 as of 6 September 2021 📅 💻Stay up to date with COVID-19 vaccine information here: https://t.co/lsM33j9wMW pic.twitter.com/XTydxJH0sK — Australian Government Department of Health (@healthgovau) September 7, 2021 For Australia-wide data, the Federal Government Department of Health issues several daily reports on the vaccine rollout, complete with handy infographics if you like looking at diagrams more than numerals. You can see the total doses administered, how many people are fully vaccinated, and the breakdown state by state — and, nationwide, also a breakdown of doses by age group and gender. Vax rates among Indigenous Australians, people with disability and the disability workforce, and in residential aged care are also singled out. Or, there's also the COVID Live website, which collates information on new cases, tests, hospitalisations and vaccinations, and lets you dive further into each. With jabs, it gives a breakdown by state and then by day, and also counts down how many days remain until the country and each state and territory hits 60-percent, 70-percent, 80-percent and 90-percent first doses and fully vaxxed, as based on the seven-day average. [caption id="attachment_824786" align="aligncenter" width="1920"] COVID Live as at Wednesday, September 8.[/caption] Each state and territory also has its own online resources, with different details on offer depending on the state. In NSW, for instance, you can access a COVID-19 vaccination dashboard that highlights the number of doses that've been given, or you can check out a nifty map that breaks down jabs by postcode and Local Government Area. Victoria's COVID-19 vaccine data portal lists doses given over the past 24 hours, and also links to a weekly report that tracks the state's progress. Here, you'll find overall and weekly rates, a breakdown via vaccine type and dose — so listing first and second doses of AstraZeneca and of Pfizer — and also breakdowns by age and gender. For Queensland, the overall stats can be found on Queensland Health's COVID-19 page, with further detail on offer if you click through to its statistics summary. Vaccinations are then listed by vaccine site area, including both overall and hospital/vax hub-specific figures. You can see how many doses were administered the day prior and in total so far. Queensland #COVID19 update 7/09/21 Today we have recorded 0 new cases of COVID-19. Detailed information about COVID-19 cases in Queensland, can be found here: https://t.co/kapyXpSIAP pic.twitter.com/G4J57unlPc — Queensland Health (@qldhealthnews) September 7, 2021 In Western Australia, there's a vaccination dashboard filled with infographics about doses, rates and age breakdowns. In South Australia, you'll find an overall daily vaccination figure on the state's overall COVID-19 dashboard. Tasmania has a statistics section on the government's COVID-19 website, and includes both a cumulative tally and the daily increase — and both the Australian Capital Territory and the Northern Territory have their own COVID-19 dashboards with relevant figures. To find out more about the status of COVID-19 in Australia and how to protect yourself, head to the Australian Government Department of Health's website.
In what would have been his 100th year, the late Nelson Mandela will be honoured in a travelling exhibition set to make its world debut in Victoria next September. Hosted by Melbourne Museum, MANDELA My Life is expected to be the most comprehensive collection of the human rights icon's memorabilia ever to be shown outside South Africa. Alongside a huge assortment of artefacts, including warrants of committal for Mandela's 27-year stint in prison, the exhibit will explore the Nobel Peace Prize laureate's life through a series of film and audio archives. Some of the other confirmed artefacts that will be featured in the exhibit include a boxing glove signed and gifted by Muhammad Ali, Mandela's shoes, walking cane and some of his vibrant Madiba shirts. Alongside these, there will also be images, sound and film footage of one of Mandela's earliest interviews — which took place during the 'Treason Trail' of the late 1950s. MANDELA My Life is supported by the Nelson Mandela Foundation, which is the custodian of most of the revolutionary's personal photographs, documents and memorabilia. After premiering in Melbourne, the exhibition will embark on a five-year world tour of up to 20 international cities, expected to be seen by as many as 2.7 million visitors globally. Boxing Glove image: Jon Augier, courtesy of Museums Victoria
In 2011, Ian Strange recreated a full-scale replica of his family home as part of an installation in Turbine Hall at Cockatoo Island, accompanied by a film featuring the powerful destruction of three Holden Commodores. In his new body of work, Suburban, Strange films and photographs (amongst other things) violently burning a house in the suburbs to the ground. Whether or not this is a particularly creative way to work out some childhood angst, we should be grateful that Strange has art as an outlet. Initially gaining recognition in Australia’s early street-art scene from the late 1990s under the moniker Kid-Zoom, Strange is one of the few who have successfully transitioned from the canvas of the streets to internationally recognised contemporary exhibitions. In a body of visually stunning and emotionally compelling photography and film work, the Australian-born, New York-based artist explores the notion of the family home as an icon of Western post-war idealism in the United States and Australia. Travelling across Ohio, Michigan, Alabama, New Jersey, New York and New Hampshire with a film crew and volunteers for two and a half years, he has produced a recreation of eight site-specific interventions incorporating suburban homes. Surrounding you with three screens in a pitch-black room, the video installation work is particularly arresting and immersive and feels as monumental as a moving cinematic experience. Shots of eerily lit house facades branded by a red X or a large circle as though by alien intervention combined with an equally ominous soundtrack challenges the association of warmth and comfort in a home, and paints a distinct wash of unease over the energy of these otherwise cookie-cutter moulds. As the music builds, so too does the imagery, climaxing in wide-scale shots of homes being burnt to the ground, sitting in a unclear emotional place somewhere between devastating and mesmerising. This was in fact the tone of the entire exhibition, imparting upon the viewer the confusing fusion of an iconic symbol of comfort with a mysterious, dark energy.
Australian farmers are currently doing it rough. Really rough. Some areas of the country have been struggling with a years-long drought, and, this morning, the NSW Government announced that 100 percent of the state is currently in drought. While the government has pledged more than $1 billion in drought relief, there's still a lot to be done. And you can help. Early this week a 'Parma for a Farmer' campaign launched, encouraging pubs across the country to donate dollars from every parmigianas sold to charities helping drought-affected communities. Spearheaded by Amanda Kinross, the campaign — and the Parma for a Farmer Facebook group — quickly garnered the support of pubs and hotel groups, including the Australian Hotels Association. Whether or not you agree it should be parma (or, really, parmi), it's a great and tasty campaign to get behind. A slew of pubs have already committed to the cause, including hospitality group Australian Venue Co. For all of August, many of the group's pubs are donating $1 from every parma bought to the Buy A Bale initiative. The initiative, part of the charity Rural Aid, provides essentials — such as, yes, hay, as well as water, diesel and hampers — to farmers doing it rough. Australian Venue Co. has pubs located across the country, including Surry Hills' The Forresters and Petersham's The Oxford Tavern in NSW; Prahran's College Law and Richmond's Prince Alfred Hotel in Vic; and Brisbane's Fridays. You can see the group's full list of participating venues here. For the full list of venues participating in NSW, Vic and Qld, head to the Parma for a Farmer Facebook page. Image: Giulia Morlando
UPDATE, October 30, 2020: Melbourne's outdoor cinemas are now reopening — including the Coburg Drive-In, and the Lido, Classic and Cameo outdoor cinemas. Antebellum opens with a sprawling, roving and weaving single-take shot that's designed to garner attention from the get-go. Constantly roaming — and saturated with both sunlight and colour, in case you aren't instantly glued to its vivid sights — it surveys a stereotypical-looking plantation in America's south. This is where resident belle Elizabeth (Jena Malone) lives. A troop of Confederate soldiers under the leadership of Captain Jasper (Jack Huston) also call it home, too. And when the latter aren't in combat, they join Elizabeth in imposing their might on the property's other residents: its enslaved Black workers. Watching this conspicuously eye-catching introduction, it helps to know what Antebellum's title actually means. The term refers to a time before a war, and is typically used in relation to the American Civil War — but, in the movie's first sequence, it certainly seems as if that historical conflict is raging away. Indeed, that'd explain the soldiers' presence, as well as the cruelty and brutality meted out to the plantation's slaves for daring to speak while picking cotton, refusing to acquiesce to every single order or trying to escape. First-time writer-directors Gerard Bush and Christopher Renz haven't chosen Antebellum's moniker by accident, though, and that clash between the word's definition and the sights seen on-screen is crucial to their movie. Yes, Antebellum hinges on a twist, endeavouring to use the horror genre to explore US race relations in the manner that Jordan Peele has recently perfected. Alas, this copy-cat flick consistently proves far less surprising, powerful and clever than it thinks it is. Here's the setup: attempted runaway Eden (Janelle Monáe) is one of the property's enslaved workers, and subject not just to beatings, brandings and forced labour, but also raped regularly by the general (Eric Lange) who has claimed her as his own. She's planning another escape; however, thoroughly unexpectedly given the surroundings, a mobile phone suddenly rings. Now Monáe's character is called Veronica Henley, and she's a well-known activist and author. Also, everything about her life — including the conference in New Orleans she attends, meeting up with her outspoken best friend Dawn (Gabourey Sidibe) while she's there — is firmly set in the 21st century. Obviously, how Monáe's dual roles intertwine is best discovered by watching, as is the reappearance of Too Old to Die Young's Malone as a modern-day caller for Veronica. But even if you'd hardly call yourself a horror or thriller fan, or even just a movie buff, the big shift here isn't hard to guess. Bush and Renz rely so heavily on their one twist that the film resembles M Night Shyamalan's more forgettable works more than Get Out, Us or TV series Lovecraft Country, and suffers noticeably as a result. Their aim is undeniably bold, smart and timely, unpacking systemic racism by not only looking at how Black Americans have been treated both in the present and in the country's history, but by finding a way to firmly, unmistakably connect the two. And yet, Antebellum feels more like an exercise in making a provocative genre film than a feature that actually says something substantial about engrained prejudice in the US — a topic that sadly continues to remain relevant, but is treated here as stock-standard horror fodder. Take the movie's always-lurid, often-violent imagery as an example. Visually, Antebellum isn't easily forgotten, but its parade of grim frames is a double-edge sword. On the one hand, it reinforces how horrific the idea of slavery is, and shows the audience exactly why in graphic detail. Of course, viewers already know this, even without such heavy-handed reminder. Accordingly, Bush and Renz seem to revel in startling sights almost for the sake of it. If its main victim didn't seem so much like a symbol — more than a fleshed-out character, that's for sure — Antebellum might've succeeded in getting viewers to stare unflinchingly at her pain, experiencing it with her like Australian standout The Nightingale did so expertly, but it really just appears to put her through the wringer to evoke shocks rather than emotion. Most of Antebellum's cast are only asked to fit a specific type, too, as Malone, Huston and Lange all demonstrate. In fact, although Kiersey Clemons (Hearts Beat Loud) pops up as a new arrival at the plantation and Tongayi Chirisa (iZombie) also features among the property's fellow captives, the film tasks them with little more than being present and distraught. The exception is Monáe, with the Moonlight and Hidden Figures star turning in a masterly performance. That's a credit to the musician-turned-actor and her all-round excellence more than the material, though. And if everything around her didn't feel so formulaic and calculating, this'd be a far better film — rather than just an ambitious one that mistakes jumping on a bandwagon for actually making a meaningful statement. https://www.youtube.com/watch?v=3nf--afqelY
The largest-ever showcase of living Australian artists has landed in the budding cultural hub that is Ballarat, with the inaugural Biennale of Australian Art (BOAA) in town until Tuesday, November 6. The epic exhibition includes 150 artists from all corners of Australia, making this a once-in-a-lifetime art extravaganza that's not to be missed. Lucky for you artsy folk, we've got your trip sorted. In partnership with Visit Ballarat, we're giving away the ultimate art lover's escape, which includes a double pass to BOAA plus a night's stay and dinner in Ballarat. Taking place in more than 14 different venues across Ballarat, with up to 65 solo exhibitions, BOAA's colour and culture will take over the town. The event will reflect on what it means to be Australian and tell stories of our country's past, present and future. It's also a celebration of Australia's heritage, with BOAA boasting a strong focus on Indigenous talent. In addition to the great art, the BOAA Band Wagon will be making the rounds and pumping great tunes. There'll also be a living sculpture fashion parade, an evening program called BOAA Dark — the Victorian version of a mini Dark Mofo — and a lake sculpture walk that will see Lake Wendouree transform into an outdoor gallery featuring 26 sculptures. Once you're tuckered out from all that art, enjoy a top-notch dinner and a glass of wine, or two, then spend the night in one of Ballarat's finest hotels — and don't worry, we'll pick up the bill. [competition]693738[/competition] Top image: Gerwyn Davies
So long Saigon Sally — after more than four years in business, the popular Vietnamese eatery in Windsor is set to close its doors next month. But diners won't be mourning long, with the venue set to reopen as a Thai joint just a few weeks later. "We have a very loyal clientele and we want to keep them stimulated and inspired," said Saigon Sally co-owner Simon Blacher in a statement announcing the news. "This is why we have decided to re-invent the restaurant offering." Named after the bustling Thai capital, BKK will be headed by head chef Sean Judd, previously of Longrain and Chin Chin, as well as Bangkok's Nahm. Under his direction, menu highlights will include gai yang (turmeric and lemongrass chicken cooked over smoke) and som tam tod (a crispy papaya nest salad). The refurbished space will also feature a cocktail bar and function space, both of which are expected to open before Christmas. As for Sally, her spirit will live on at sister Vietnamese venue Hanoi Hannah, on whose menu Blacher says we can expect some of Sally's signature dishes to pop up before too long. He's also teased the possibility of resurrecting the beloved lady in the CBD, or maybe even interstate. You can also visit the team's Japanese restaurant Tokyo Tina just around the corner. The restaurant relaunch is something that quite a few Melbourne venues are testing at the moment. Just this week Green Park announced it would become Park Street, while, just around the corner in Prahran, Toko has closed to make way for new karaoke bar tokosan. Saigon Sally will continue to operate as normal at 2 Duke Street, Windsor until September 3. BKK is expected to begin service later that month. For more information or to make a booking before they close, visit saigonsally.com.au.
Get out your inner kitsch, embrace your inner quirk and head to the Fine Design Market for your fix of arts and crafts. Celebrating independent Australian designers, the Fine Design Market boasts a range of boutique crafts, art, music and tasty, tasty food. What's more, it's indoors — meaning that dastardly weather is no longer an excuse not to head to a market. Head to MC Square in Doncaster from 10am – 3pm this Sunday, August 10, Sunday, September 12 and perhaps for a Chrissy pressie on Sunday, December 7. Or if you're interested in running a stall of your very own, check out the website and apply now. Keep an eye on their Facebook page too, as they update it regularly with sneak peeks of stall items. Happy market-ing.
When Toto unleashed their single 'Africa' upon the world back in 1982, the drums echoed. Given the song's enduring success, it seems that everyone heard them. Now one particular patch of the Namib desert will hear the percussive reverberation for eternity, with a new art and sound installation playing the track on a never-ending loop. Toto Forever isn't just something screamed by die-hard fans of the American band. It's not merely the thinking behind one-night events that play the beloved tune over and over, such as an annual party in Brisbane. It's now the title of Max Siedentopf's new project, which the artist has set up as a "tribute to probably the most popular song of the last four decades". As seen on Siedentopf's site for the artwork, Toto Forever consists of seven plinths, arranged in a circle with one sat in the middle. Speakers sit atop the six boxes on the outside, with an MP3 player on the seventh. There's only one song loaded onto the device, so that's all that it can play. And if you're wondering about power, it's all attached to solar batteries. While Siedentopf has revealed the installation's general location — in the desert that stretches for 2000 kilometres along the Namib coastline — he's keeping the exact spot to himself. Whether he succeeds in gifting future generation some old forgotten words and ancient melodies will likely depend on the weather and environment, given that, as sure as Kilimanjaro rises like Olympus above the Serengeti, electronic equipment isn't designed to be left in a sandy expanse until the end of time — whether or not they're blessed by the rains. Image: Toto Forever by Max Siedentopf.
Men, Women and Children is no glossy Hollywood rom-com. There are no vacuous high school dramas, nor are there any cheesy family clichés. It's a film that looks at the paradox of connecting in the digital age: the persistent preoccupation with being active online, contrasted with difficulty remaining present in person. Directed by Jason Reitman (Up in the Air, Juno and Labor Day), the film features a pretty impressive cast including Ansel Elgort, Jennifer Garner, Adam Sandler and Rosmarie DeWitt. Throughout the interweaving story lines of the eleven main characters, the film dissects the impact that technology has on our relationships — dealing with pertinent issues such as video game culture, anorexia and infidelity. Men, Women and Children is in cinemas November 27. Thanks to Paramount Pictures, we have ten double passes to give away. To be in the running, subscribe to the Concrete Playground newsletter (if you haven't already), then email us with your name and address. Sydney: win.sydney@concreteplayground.com.au Melbourne: win.melbourne@concreteplayground.com.au Brisbane: win.brisbane@concreteplayground.com.au
Summer is here, so keeping cool means heading to the beach, hiding under the air-con or knowing a moneyed mate with their own pool. However, you can now create your own backyard bliss — with the food to match — thanks to El Jannah's latest limited-time promo. Available for one weekend only, from Saturday, January 10—Sunday, January 11, the Lebanese-Australian charcoal chicken legends invite customers to score their own chilled-out pool. And all you have to do is order an OG Charcoal Chicken Meal, featuring two whole chickens, large chips, large garlic sauce and Lebanese bread. There are no tricky hoops to jump through, either. Redeemed on a first-come, first-served basis, customers simply need to snap a photo of their receipt and email it to El Jannah's team. If you're fast enough, you'll be lounging in the pool with your pals in no time at all. "Summer in Australia has always felt a little Lebanese at heart, family everywhere, food in the middle, and everyone talking over each other," says El Jannah Chief Marketing Officer, Adam Issa. "So this year, we wanted to make it even easier for Aussies to take those El Jannah moments wherever the day leads."
