December might be the merriest and jolliest time of the year, but the end of March and the bulk of April is Melbourne's funniest period. That's when the Melbourne International Comedy Festival arrives, tasking comedians from around the globe — including plenty of local talents — with getting the city laughing. When attendees aren't giggling at a world-famous name, they're discovering the amusing folks who'll become tomorrow's rib-tickling stars. From Wednesday, March 26–Sunday, April 20, 2025's MICF is here to get Melbourne chuckling, complete with a hefty lineup. By the numbers, this year's festival features 1000-plus performers — more than 130 of them from overseas — putting on 690 shows, and also 182 stages running in 133 venues. And then there's the type of gigs on offer, from solo stand-up to galas, cabaret to circus, and everything from sketches and improv to plays and all-ages fare as well. One of the big highlights full lineup — which started being announced in 2024 — is the Australian debut of Fantasmas star and creator Julio Torres, who is playing exclusively in Melbourne. Also on the bill: Mark Watson, Sara Pascoe, Danny Bhoy, Rhys Darby, Ruby Wax, Paul Foot, Nazeem Hussain and Zoë Coombs Marr, plus Michael Hing, Melanie Bracewell, Broden Kelly, Claire Hooper, Joel Creasy, Andrew Hansen, Lizzy Hoo, Wil Anderson, Jenny Tian, John Safran, Jimeoin, Reuben Kaye, Ray O'Leary and Sh!t-faced Shakespeare doing A Midsummer Night's Dream. The list goes on, including Adam Kay, Flo & Joan with One Man Musical, Desiree Burch, Rahul Subramanian, Sumukhi Suresh, Tom Allen and Buffy Revamped, which relives seven seasons of the series in 70 minutes as told by Spike. From there, the talents still keep coming, with Amy Gledhill on the bill fresh from winning the Edinburgh Comedy Awards 2024 Best Show prize, Jin Hao Li also on the roster after being nominated for Best Newcomer at the same accolades and 2023 Edinburgh Festival Fringe Award-winner Ahir Shah making the trip as well. Chloe Petts, Chris Parker, Guy Montgomery, Guy Williams, Urzila Carlson, Pierre Novellie, Rosie Jones, Anirban Dasgupta, Urooj Ashfaq, Charlene Kaye, Sarah Keyworth, Arj Barker, Carl Donnelly, Elf Lyons, Iliza Shlesinger, Kai Humphries, Kemah Bob, Schalk Bezuidenhout, Sofie Hagen: they're also among the international contingent. Back with Aussie humour, Alex Ward, Amy Hetherington, Becky Lucas, Bron Lewis, He Huang, Luke Heggie, Tommy Little, Luke McGregor, Mary Coustas, Sammy J, Yon from Tripod, Cameron James, Dave Hughes and Geraldine Hickey keep the list going — and, of course, have a whole heap of other homegrown company. And if you're looking for shows and events with a theme or twist, a David Bowie tribute, comedy whisky tasting, rooftop laughs, an improvised movie mashup, a murder-mystery, a comedy musical about op shops and a Jane Austen-inspired cabaret are on offer. Or, you can head to RocKwiz live, a Shrek burlesque, comedy pub crawls, a true-crime comedy walking tour and a 90s-loving game show. As proves the case every year, this is an event for comedy-loving Melburnians to get excited about, then plan their entire schedules around. Adding to the fun, the fest's gala is back, taking place at the Palais Theatre to open the year's guffaws, while the Opening Night Comedy Allstars Supershow, The Annual Great Debate, Aboriginal Comedy Allstars, Asian Allstars Gala and Upfront's focus on female and non-binary artists are all making welcome returns. To discover your next favourite comedians, the lineup also features RAW Comedy, Deadly Funny and the Class Clowns National Grand Finals. Images: TJ Garvie / Nick Robertson / Ian Laidlaw / Nicole Reed.
He may be best known as the frontman of Thirsty Merc (and writer of the Bondi Rescue theme song), but Rai Thistlethwayte is something of a musical polymath. He's been writing and performing tunes since the age of 15 and attended the prestigious Sydney Conservatorium of Music. As well as his songwriting and singing talents, he plays the piano and guitar. In his career he's performed as a solo artist, as part of numerous jazz combos, as a member of the session group on The Voice and as a keyboardist for American rock god Joe Satriani's touring band. That's not to mention his stints as a teacher and mentor at APRA's annual songwriting conference. It's fair to say Rai knows what he's doing — and anyone lucky enough to catch him this month is in for a tour de force of top-quality musicianship. On top of his Sydney gig, he's playing up the coast at The Kent Hotel in Newcastle on Friday, November, 13 and at The Seabreeze Hotel in Nelson Bay on Saturday, November 14. Or, head (very far) west and catch him at the Griffth Leagues Club on Friday, November 27. For the latest info on NSW border restrictions, head here. If travelling from Queensland or Victoria, check out Queensland Health and DHHS websites, respectively.
Released just as the COVID-19 lockdown began, Fallow, the third album by country singer-songwriter Fanny Lumsden, has been her most successful album yet. Deprived of the opportunity to tour her record immediately after it came out, Lumsden is now playing some of NSW's smaller towns, plus the state's home of country music, Tamworth. The fiercely independent artist manages herself and has her own record label and production company. Basically, she is a musical force to be reckoned with, so get set for an evening of energy, intimate storytelling and spellbinding harmonies. You can catch her performing on the Far South Coast on Sunday, November 8, at a bunch of rural NSW venues across the month and in Marrickville on Friday, November 6. To check out dates and details — and to buy tickets — head here. For the latest info on NSW border restrictions, head here. If travelling from Queensland or Victoria, check out Queensland Health and DHHS websites, respectively.
The city is about to get greener, thanks to the City of Melbourne's new $500,000 investment in five sprawling greening projects worth an estimated $3.8 million, announced Saturday, December 10. The spaces are expected to deliver 1,000 square metres of lush new green cover across the city. In partnership with the Department of Transport and Yarra Trams, four Melbourne tram stops will score rooftop green spaces including planters filled with local flora and Indigenous wildflowers from the Volcanic Plains Grasslands. Port Melbourne-based developer, Plant Based Building Solutions, has been tasked with the complicated growing and installation process. The team plan to use drought-tolerant plant palettes to combat Melbourne's dry summers, with installations expected to be completed in mid-2023. [caption id="attachment_882118" align="alignnone" width="1920"] Image: Realview Studio, Yarra Trams[/caption] You'll be able to spot these mini ecosystems at Stop 3 at Collins and William Streets and Stop 5 at William and Bourke Streets. Two native community gardens are also on the cards, with the historic North Melbourne fire station and a Jolimont apartment block on Agnes Street both earmarked for developments. Finally, a wall of greenery is expected for Collins Street's Hero apartments. [caption id="attachment_836582" align="alignnone" width="1920"] Image: Skyfarm[/caption] The final project will be announced in early 2023. The five projects are funded by the City of Melbourne's Urban Forest Fund Grant Program, which also supported Skyfarm — the rooftop urban farm nestled on a CBD rooftop. This is the third round of funding announced to support green projects across the city. Top image: Realview Studio, Yarra Trams
Trying not to think about Leonardo DiCaprio and Kate Winslet is about to become impossible in Australia. So will getting Celine Dion's 'My Heart Will Go On' out of your head, where it's dwelled for most people since the Oscar-winning track was released in 1997. The reason: a Titanic exhibition has dropped anchor Down Under and docked at Melbourne Museum until Sunday, April 21. Titanic: The Artefact Exhibition has brought 200-plus items from the shipwreck to the Victorian capital in its Aussie trip after selling out its Paris season and also proving a hit in the US. The pieces on display were legitimately recovered from the vessel's wreck site, too, after the RMS Titanic's ill-fated voyage in April 1912 — aka the events that James Cameron (Avatar: The Way of Water) turned into the DiCaprio (Killers of the Flower Moon)- and Winslet (Ammonite)-starring Titanic more than a quarter-century ago. For everyone bound to exclaim, "I'm the king of the world!" while walking through Titanic: The Artefact Exhibition's Australian-exclusive stop, this is the king of all Titanic exhibitions. In fact, it's the most extensive in the world. As well as seeing the genuine objects from the ship, attendees will wander through full-scale recreations of the vessel's interiors, such as the veranda cafe, first-class parlour suite and grand staircase. In addition to the recovered items and recreations of the Titanic's spaces, the exhibition will tell tales about those onboard the ship that launched its maiden voyage on April 10, 1912, only to sink five days later on April 15, after hitting an iceberg. You'll be able to immerse yourself in the fateful events of that night with interactive exhibits like a touchable iceberg chilled to the temperature of the water the night of the sinking. This exploration of a tragic chapter in history will focus on passengers and crew alike while stepping through the vessel's class divisions and pondering the boat's legacy. Beyond the historical learnings, you can enjoy a Titanic-themed high tea designed by a Michelin-star chef to fully immerse yourself in the era in an elegantly designed lounge. Titanic: The Artefact Exhibition must close on Sunday, April 21. Evening sessions are also available. For more information or to book tickets, visit the website. Images: EMG / Alexandre Schoelcher / Eugene Hyland / Museums Victoria.
A Turner Prize nominee, filmmaker and painter, British artist Tacita Dean is one of the biggest names in the contemporary art world. In a Sydney exclusive, you can experience the largest exhibition of Dean's work ever seen in the southern hemisphere at the Museum of Contemporary Art Australia until Sunday, March 3, 2024. [caption id="attachment_931792" align="alignnone" width="1920"] Tacita Dean, The Wreck of Hope, 2022, credit Zan Wimberley, Museum of Contemporary Art Australia, 2023, image courtesy the artist[/caption] Tacita Dean is part of the Sydney International Art Series this summer, which brings works by internationally renowned artists to museums in Sydney every year (and also includes a major Kandinsky retrospective and a comprehensive showcase of works by Louise Bourgeois). Curated by MCA Director Suzanne Cotter and Senior Curator of Exhibitions Jane Devery, the exhibition features new and recent works, including many previously never seen Down Under. Tacita Dean showcases the artist's diverse practice and artistic range, encompassing film, drawing, photography, printmaking and collage across themes such as chance, memory, history and time. Touching down from Paris for the first time in Australia is Dean's film installation Geography Biography, described by the artist as an 'accidental self-portrait.' This significant new work sits alongside monumental chalk drawings The Wreck of Hope and Chalk Fall, which delve into climate change and the fragility of our planet. Another notable highlight is a group of works that resulted from the artist's designs for The Dante Project — a collaboration with choreographer Wayne McGregor and composer Thomas Adès for The Royal Ballet in London. Central to this presentation is Paradise: a mesmerising 35mm Cinemascope film shown in the ballet's final act. [caption id="attachment_930082" align="alignnone" width="1920"] Tacita Dean, Paradise (film still), 2021, with music, Paradiso by Thomas Adès, 35mm colour anamorphic film, image courtesy the artist, Frith Street Gallery, London and Marian Goodman Gallery, New York, Paris and Los Angeles, © the artist[/caption] Suzanne Cotter shares, "Tacita Dean is undoubtedly one of our greatest living artists and truly an artist that speaks to our contemporary moment. Aesthetically seductive and scintillating in its intelligence, her work is a profound and poetic response to the world as visual sensation and as a metaphor for time – a historical, geological and phenomenal – and the interconnectedness of people, places and things." Tickets are $25 for adults, $18 for concession and free for those 17 and under. Or, if you want to explore the expansive exhibition for free, hit up the MCA on Wednesday, January 31. The gallery is waiving the entry fee for everyone for this one day. Just head over to Circular Quay between 10am–5pm — no booking required. The exhibit was made possible with the support of the NSW Government through its tourism and major events agency, Destination NSW. Buy tickets and find out more at the MCA's website. Top images: Tacita Dean, The Wreck of Hope, 2022, credit Zan Wimberley, Museum of Contemporary Art Australia, 2023, image courtesy the artist; Tacita Dean, Geography Biography, 2023, Bourse de Commerce - Pinault Collection, 2023, image courtesy Pinault Collection, © Tadao Ando Architect & Associates, Niney et Marca Architectes, agence Pierre-Antoine Gatier, photograph credit: Aurélien Mole; Tacita Dean, Sakura (Jindai II), 2023, installation view, Museum of Contemporary Art Australia, 2023, image courtesy the artist and Frith Street Gallery, London © the artist, photograph credit: Zan Wimberley; Installation view, Tacita Dean, Museum of Contemporary Art Australia, 2023, image courtesy the artist, Frith Street Gallery, London and Marian Goodman Gallery, New York, Paris and Los Angeles © the artist; Tacita Dean, Paradise (film still), 2021, with music, Paradiso by Thomas Adès, image courtesy the artist, Frith Street Gallery, London and Marian Goodman Gallery, New York, Paris and Los Angeles, © the artist; Tacita Dean, Geography Biography, 2023, installation view, image courtesy Pinault Collection, © Tadao Ando Architect & Associates, Niney et Marca Architectes, agence Pierre-Antoine Gatier, photograph credit: Aurélien Mole
From the minds behind Carlton's florist-meets-cafe Flovie, comes stunning new bloom-filled sibling venue La Fantaisie. Owners Jia Wang and Valerie Wang have created a café, patisserie, florist and event venue, all rolled into one aesthetic delight in the heart of Abbotsford. La Fantaisie — 'fantasy' in French — boasts enviable interiors by the renowned Bergman & Co (Poodle, Chancery Lane) and two levels filled with Provencal touches. Expect dreamy marble accents, soft archways and lots of artful bouquets on display, ready for sale. Want some coveted local knowledge? The warehouse site is actually owned by AFL legend Dustin Martin, though whether he's a regular here for pastries and flowers is unknown. La Fantaisie's gustatory pleasures include a specialty patisserie offering with Zest coffee to match. Dainty cakes run to the likes of a blueberry-filled choux number, and the Strawberry Love Bite featuring chiffon sponge and vanilla mascarpone whip. More aesthetic goodness fills the brunch menu, in dishes like the curry scrambled eggs with chilli tiger prawns ($26), a triple cheeseburger on black brioche ($24), and a chocolate sable dessert with filo and cherry gel ($23). Smashed avo comes paired with burnt corn and edamame ($22), and an eggs benny stars yuzu hollandaise ($25). There's a slew of photogenic signature drinks, too; from a rose tea latte ($8) to a strawberry mimosa ($15). And a chic high tea offering features during regular programming. Like what you see? The stunning space doubles as an event venue, available for private occasions grand and small. [caption id="attachment_841778" align="alignnone" width="1920"] Lillie Thompson[/caption] Images: Lillie Thompson
UPDATE, August 30, 2020: Mary Shelley is available to stream via SBS On Demand, Google Play, YouTube Movies and iTunes. It has been exactly 200 years since Frankenstein's monster first shuffled through the pages of Mary Shelley's now-classic story, completely reshaping the gothic horror landscape in the process. At the time, no one anticipated the impact that the novel or the woman behind it would have. No one realised that Mary was responsible for the greatest horror novel ever written, either, a title it still holds today. In fact, only 500 copies of Frankenstein: or, The Modern Prometheus were initially printed back in 1818. It was also published anonymously, with Mary's poet husband Percy Bysshe Shelley penning the introduction and originally thought by many to be the text's author. Today, the beast conceived by the teenage Mary has carved a path not only through the literary world, but across cinema screens for more than a century — but, as the movie's title suggests, Mary Shelley doesn't replay Frankenstein's familiar narrative. Instead, Haifaa Al-Mansour's follow-up to 2012's Wadjda subscribes to a different filmmaking trend. Like everything from James Whale's iconic 1930s adaptations, to Tim Burton's gorgeous Frankenweenie, Mary Shelley obviously owes its existence to Frankenstein. But this origin story is more concerned with the early life of its author than with an obsessed young scientist and his resurrected creature. It's not the first time that Mary has earned the biopic treatment, with 1980s flicks Gothic, Haunted Summer and Rowing with the Wind all exploring the woman behind the classic tale. Still, where that trio honed in on the Lake Geneva getaway that sparked Frankenstein into being (the novel originated from a holiday wager among friends to see who could write the scariest ghost story), this movie focuses on Mary's tumultuous adolescence, her relationship with Percy, and the influence of both upon her famous work. Before images even reach the screen, the sound of writing echoes from Mary Shelley. Before Mary (Elle Fanning) has even dreamed of Frankenstein, the film deploys her lyrical prose to set a distinctive mood and tone. Stylistically, that's Al-Mansour's vivid and evocative approach, infusing every moment of the movie with the same passion and poetry that drives its heroine. A willowy yet strong-willed teen, from the outset Mary is either spinning her own tales or reading others in her father's (Stephen Dillane) bookshop. In-between, she fights with her stepmother (Joanne Froggatt) and finds solace with her stepsister Claire (Bel Powley) — until Percy (Douglas Booth) comes along. Although Mary is just 16, and despite the fact that Percy already has a wife and child, the couple is determined to be together. In her debut feature-length script, Australian screenwriter Emma Jensen endeavours to examine a side of Mary's tale that hasn't previously received as much on-screen attention, championing her protagonist's achievements as well as the considerable obstacles that she faced. Neither can be downplayed and nor are they. That said, sometimes the scandalous love story that accompanies them is given a little too much prominence. Indeed, parts of the film feel like a stock-standard period romance that just happens to involve one of the most influential writers who ever lived. When Mary Shelley connects the dots between Mary's experiences and the book she'll forever be associated with, it's a much more satisfying, moving and involving picture. Likewise, when it delves into Mary's tussles with sexist, dismissive men who can't even conceive of a woman writing such dark, smart and terrifying things, the film comes much closer to doing justice to its subject, her struggles and her continuing importance. Thanks to Fanning's lively and spirited portrayal, there's no doubting the fire that burned inside Mary, even when the film does favour her amorous affairs. Whether surrounded by towers of tomes, scribbling by her mother's grave, or swooning over Percy, Fanning's take on the real-life figure always stands out — from the movie's sumptuous backdrops, which constantly catch the eye, as well as from the romantic plot. It's a performance worthy of the woman it depicts, and it leaves audiences wanting more. The same is true of Mary Shelley, although in a different way. You'll want to keep watching Fanning as she brings the fiercely independent and thoroughly fascinating Mary to life. But you'll also want the movie to flesh out the aspects of Mary's trailblazing existence that it sometimes rushes over. https://www.youtube.com/watch?v=9zFFs6BHsS0
As well as offering up alternative places to stay and opening up the holiday accommodation market, Airbnb has proven a gift to anyone interested in architecture and interior design. While you're sleeping in someone else's house, you're getting a glimpse of different styles and trends. Sure, you can also flick through house and garden-focused magazines, but looking at pics isn't the same as actually seeing design in action. At PlansMatter, bunking down in a space that demonstrates ace architecture isn't just an added bonus — it's the entire point of the Airbnb-like house-sharing service. Started in 2016 by architects Connie Lindor and Scott Muellner, it only offers up "places that have architectural intention and a story to tell," according to their statement on the service's website. Each listing provides a thorough description, runs through the usual features and also includes a rundown of why it's included on the site. In fact, as well as simply browsing through a sizeable list of eye-catching architectural beauties — which not only include spaces in the US, where PlansMatter is based, but in Canada, Austria, the UK, Portugal, Sri Lanka, Denmark, Japan, Germany and Australia as well — users can also search for somewhere to stay based on the amazing designers behind the houses. If you've ever dreamed of kipping in a home designed by famous American architect Frank Lloyd Wright, or in artist James Turrell's Japanese House of Light, here's your chance. Of course, getting to live out your architecture nerd dreams doesn't come cheap, but if you're going to fork out a hefty stack of cash for a few nights away, there are much, much worse ways to spend it. For those keen on checking out the service close to home, a night in Magney House on the New South Wales south coast — and in a structure that was once featured on an Aussie stamp — will set you back $250 per night. Fairhaven Beach's landmark Pole House, which really is a house on a pole, starts at $434 per evening. Via Fast Co Design. Image: PlansMatter/Tsutomu Yamada.
Vivid Sydney is always a calendar highlight and, after two consecutive cancellations, we need it more than ever. The 2022 iteration is the first festival helmed by director Gill Minervini and it promises to be bigger, better and brighter. The famous Light Walk now stretches an impressive eight kilometres from the Sydney Opera House to Central Station, new venues have been added to the program and there are city-wide events that celebrate all that makes Sydney great through a lens of creativity. It's practically impossible to narrow down the recommendations to just a handful of events but here are seven highlights that represent the best of Vivid Sydney 2022 and deserve a place on your hit list.
The minds behind participatory theatre crew Born in a Taxi are no strangers to thinking outside of the box, known for delivering barrier-smashing, immersive arts experiences that focus on real-time co-creation. Well now, they're diving back into the box, if you like, for their latest creation, The Cube. Making its home at the Carnegie Community Space from Friday, April 8–Wednesday, April 13, The Cube will act as a giant display case of creativity, hosting a suite of performances, installations and live art experiences. Passersbys can catch innovative offerings like Cubed — a performance piece by dance-theatre company Alice Will Caroline that reimagines 1997 film Cube — and a spontaneous show fusing comedy, light, dance and theatre, titled Enlighten. Meanwhile, the premiere of Butterfly House will see you create your own winged critter out of recycled materials, to be released in the butterfly chamber among a cast of performers and puppets. Dance collective L2R are set to share their secrets via a hip hop workshop, before showing off their finest moves in a community dance jam. And you'll even have the chance to catch local street artists creating live works, as The Cube becomes a transparent studio space. The Cube's entire program is free to experience, though you'll need to register in advance for the workshops and the Butterfly House performances. [caption id="attachment_849720" align="alignnone" width="1920"] Carla Gottgens[/caption] Top Images: Catherine Smith and Emma-Jane Pirvel Collins
At the 2024 British Film Festival, when you're not watching movies starring Saoirse Ronan, Andrew Garfield, Florence Pugh and Barry Keoghan, you'll be catching the latest performances from Ralph Fiennes, Jude Law, Pierce Brosnan and Helena Bonham Carter. There's never any lack of big-name talents gracing the screen at Australia's annual celebration of the UK's latest and greatest contributions to cinema, but this year's is particularly jam-packed — so much so that there's not just one feature boasting Ronan among its cast, but two. Blitz, which sees the Foe, Little Women and Ammonite actor team up with 12 Years a Slave, Widows and Small Axe filmmaker Steve McQueen, is the British Film Festival's 2024 opening-night film. Playing Down Under fresh from also launching the London Film Festival, the period drama heads back to World War II, and starts the fest's month-long run at Melbourne's The Astor Theatre, Palace Balwyn, Palace Brighton Bay, Palace Cinema Como, Palace Westgarth, Palace Penny Lane, The Kino and Pentridge Cinema from Wednesday, November 6–Sunday, December 8 with one of the year's must-see movies. At the other end of the festival, the also highly anticipated We Live in Time will close out the event. Pugh (Dune: Part Two) and Garfield (Under the Banner of Heaven) lead the romance from Brooklyn filmmaker John Crowley, which follows a couple's relationship across a decade. The second Ronan-led flick on the full 2024 British Film Festival comes courtesy of page-to-screen adaptation The Outrun, where the four-time Oscar-nominee plays a recovering addict — and there's plenty more highlights on the program from there. Hard Truths sits in the fest's centrepiece slot, reuniting iconic director Mike Leigh (Peterloo) with his Academy Award-nominated Secrets & Lies star Marianne Jean-Baptiste (Surface). Also boasting the coveted pairing of an impressive helmer and an exceptional on-screen talent: Bird from Andrea Arnold (American Honey), which is where Keoghan (Saltburn) pops up. As for Fiennes (The Wonderful Story of Henry Sugar), he stars with Juliette Binoche (The New Look) in The Return, a British spin on Homer's Odyssey — and also in papal thriller Conclave with Citadel's Stanley Tucci, Killers of the Flower Moon's John Lithgow and Spaceman's Isabella Rossellini. Law (Peter Pan & Wendy) plays King Henry VIII opposite Alicia Vikander (Irma Vep) as Katherine Parr in Firebrand, while Brosnan (The Last Rifleman) and Bonham Carter (One Life) feature in romance Four Letters of Love. Other standouts include the century-hopping dark comedy Timestalker from Garth Marenghi's Darkplace alum Alice Lowe, the Gillian Anderson (Scoop)- and Jason Isaacs (Archie)-led The Salt Path, Julia Louis-Dreyfus (You Hurt My Feelings) facing death in Tuesday, and Kelly Macdonald (Operation Mincemeat) and Damian Lewis (Billions) in vampire comedy The Radleys. For music fans, there's a dedicated themed sidebar featuring both Blur: To the End and Blur: Live at Wembley Stadium — one about the band's most-recent chapter, the other a two-hour concert film — as well as the Led Zeppelin-focused The Song Remains the Same and The Rolling Stones-centric The Stones and Brian Jones. This year's British Film Festival is also peering backwards via retrospective sessions of Ratcatcher, the debut feature from You Were Never Really Here's Lynne Ramsay; the Bonham Carter- and Dame Maggie Smith (The Miracle Club)-starring A Room with a View; and classic British historical dramas such as A Man for All Seasons, Heat and Dust, The Lion in Winter and Kenneth Branagh's (A Haunting in Venice) Henry V.
When Marnie Minervini (Susan Sarandon) leaves a rambling voicemail message for her daughter Lori (Rose Byrne) detailing her every move since relocating to Los Angeles, adult-aged children everywhere will nod in recognition. We've all been there: the missed calls, the text messages, the snooping. And yet while writer-director Lorene Scafaria initially appears set to provide a comic look at coping with an overbearing mother, The Meddler soon proves a different film entirely. Instead, it's an honest, heartfelt exploration of a relatable family dynamic, and of the role of mums everywhere. Marnie's new LA existence isn't just a case of not being able to stay out of her offspring's business. A year after the death of her husband, she's forcing herself to stay positive and find a sense of purpose, even if she's actually avoiding her grief in the process. But with Lori depressed over her breakup with film star Jacob (Jason Ritter), and trying to get her latest TV pilot made, mother-daughter bonding time isn't a priority. So instead, Marnie channels her well-intentioned interfering into paying for a wedding for one of Lori's friends (Cecily Strong), driving her local Apple Store employee (Jerrod Carmichael) to his night classes, volunteering at a hospital and meeting retired cop Zipper (J.K. Simmons) after wandering onto a film set. In the absence of any cynical laughs, two elements ensure The Meddler avoids any resemblance to the saccharine soul-searching quest it might sound like on paper: its ripped-from-reality feel, and its remarkable lead performance. The former comes courtesy of Scafaria's own experience, with the Nick & Norah's Infinite Playlist writer having undergone a similar process with her own mother when she started working in Hollywood. It's the latter, however, that helps the film overcome a few sitcom-like developments, and truly makes proceedings seem sincere. Sarandon doesn't just play her part with a broad Brooklyn accent and a smile plastered across her face. She also shows grace and care in a role that could've easily been a caricature, yet never becomes one. There's an openness and earnestness to her portrayal that works just as well when Marnie is unable to resist overstepping her bounds with Lori (checking her browser history, for example), as it does when she's forming a connection with the chicken-raising, Dolly Parton-playing Zipper. Both Byrne and Simmons prove up to the task set by their co-star, bringing the requisite depth to their supporting but pivotal roles. Of course, where the story heads is far from surprising, with The Meddler designed to be both reflective and upbeat. With a tender touch and a sunny disposition, Scafaria isn't just working through her complicated relationship with her mother. She's also allowing viewers to do exactly the same thing.
If getting spirited away to the most adorable place on earth is at the top of your must-do list, then you've likely been counting down the days until November 1 hits. That's when Studio Ghibli's very own theme park will open its doors, after years of anticipation. And yes, it's all looking extremely magical. The Japanese animation house has been dropping photos of the park via its Twitter feed, and it really does resemble the company's gorgeous frames in real life — as the Studio Ghibli museum in Mitaka, a city on the western outskirts Tokyo, already does as well. Something else that's obviously a delight: a Hayao Miyazaki-directed trailer for the new park, to promote ticket sales, complete with a supremely cute cat train. A cat train? Yes, you read that correctly. My Neighbour Totoro features a cat bus, but this brand-new — and very brief — piece of animation from acclaimed filmmaker Miyazaki combines felines and another mode of transport. Fingers crossed that the Studio Ghibli theme park will build upon that idea, or screen a longer version. ゆっくりきて下さい。 pic.twitter.com/BtQP4tVGCJ — スタジオジブリ STUDIO GHIBLI (@JP_GHIBLI) August 1, 2022 If the new trailer for the park in Nagoya's Aichi Prefecture has you excited, then the venue itself will make you feel like you've stepped right into Studio Ghibli's movies. It's located around a three-hour train trip from Tokyo, expands across 200 hectares and was initially announced back in 2017. It was also originally planned to open in 2020 but, in 2018, that date was pushed back to 2022. The Aichi Prefecture Expo Park spot is already home to a replica of Satsuki and Mei's house from My Neighbour Totoro, and it's gaining plenty of other attractions as it becomes a fully fledged Studio Ghibli theme park. Totoro features heavily, understandably, with the site even initially described as having a My Neighbour Totoro focus. However, you'll also be able to check out a life-sized version of Howl's Moving Castle, the antique shop from Whisper of the Heart, Kiki's home from Kiki's Delivery Service and a village area that pays tribute to Princess Mononoke. pic.twitter.com/DmvmhZPFze — スタジオジブリ STUDIO GHIBLI (@JP_GHIBLI) August 2, 2022 Also slated to feature: nods to the cat from Whisper of the Heart and The Cat Returns, buildings with design elements that take their cues from Laputa: Castle in the Sky, and a super-sized garden that'll make you feel like you're one of the tiny characters in Arrietty. There'll also be a permanent exhibition room, a special exhibition room, a video exhibition room, a playground, and a shop and cafe, so you'll have plenty of places to explore, eat and browse. Expect more nods to Ghibli's various features to follow, recreating other aspects from its three-decade-old body of work — and possibly its most recent movie, Earwig and the Witch, too. And if the end result is even half as wondrous as the studio's aforementioned museum, then fans are in for a treat. There, you can also climb up to the building's rooftop garden to see one of the robots from Laputa: Castle in the Sky, and watch exclusive shorts (including a sequel to My Neighbour Totoro) in a cute little cinema. Indeed, the museum is such a tourist attraction, you have to buy tickets over a month in advance — and experiencing the rush of folks in the merchandise-packed gift shop will make you feel like a susuwatari (Totoro's gorgeous little balls of floating soot). pic.twitter.com/jZ92iNqhxT — スタジオジブリ STUDIO GHIBLI (@JP_GHIBLI) August 2, 2022 Incorporated into the existing parklands, the Studio Ghibli theme park will be heavy on greenery and the natural surroundings, which matches the environmental messaging that plays a prominent part in Ghibli's movies. The site will also encourage "enjoying walking", according to the draft concept outline, while aiming to offer "a one-of-a-kind park loved by more people". We don't think either will be difficult. If you're now planning a Ghibli-centric holiday, you'll need to cross your fingers that Japan's border rules change before November. At the moment, foreign tourists can only enter the country as part of package tours. The Studio Ghibli theme park will open on November 1, 2022. For more information, head to the venue's website.
For years, Foxtel has been Australia's main source for HBO series, airing everything from Game of Thrones, Westworld and Succession to Chernobyl, Veep and Big Little Lies. And, if you weren't signed up to the pay TV service, that meant streaming your favourite shows via its online platforms — such as the now-defunct Presto and the currently available Foxtel Now. From Monday, May 25, Aussie TV fans will have another option: new streaming service Binge. While Foxtel Now isn't going anywhere, the Foxtel-run Binge works more like Netflix, Stan, Amazon Prime Video and their long list of competitors. So, rather than replicating Foxtel's channel packages via an online platform, requiring you to pick and choose different options depending on whether you're eager for sport, movies or drama, as Foxtel Now does, with Binge you'll pay a flat fee to gain access to everything. On the TV lineup: all of the aforementioned HBO programs, plus older faves such as The Sopranos, The Wire, Six Feet Under, Sex and the City and Girls. After HBO's new US streaming service HBO Max launches in the US on May 27, Binge will also feature scripted shows from the platform, such as the new Gossip Girl reboot. And, working with companies such as WarnerMedia, NBCU, FX, BBC and Sony, it'll boast plenty of other highlights — including classic comedies like Seinfeld, The Office, 30 Rock, Parks and Recreation; crime thrills thanks to Law & Order and NCIS; new releases like Breeders and Mrs America; documentaries such as Planet Earth; and competitive series including the Amy Poehler and Nick Offerman-hosted Making It. https://www.youtube.com/watch?v=NhWFiFfrbY0 Kicking off with more than 10,000 hours of content, Binge's catalogue will also feature a heap of movies — think flicks from the Fast and Furious, Jurassic Park, Mission: Impossible and DC Universe franchises; films from directors such as Steven Spielberg, Christopher Nolan, Martin Scorsese and Quentin Tarantino; and newcomers like the Hugh Jackman-starring Bad Education. And, if you're eager for recommendations — and not just from an algorithm — it'll include curated collections that'll steer you in different viewing directions. You can also select 'binge' or 'surprise me' options, which'll do the choosing for you. Price-wise, Binge will cost $10 per month for one SD screen, $14 per month for two HD screens and $18 per month for four HD screens, with a two-week free trial also available when it kicks off. Users will be able to access the service online, and via Android TV, Apple TV, Telstra TV, Chromecast, tablets and mobile devices. https://www.youtube.com/watch?v=MuB2VNA8MLQ&feature=youtu.be Binge launches on Monday, May 25. For further information — or to sign-up — visit the platform's website. Top image: Game of Thrones, Helen Sloan.
You might have heard of Ippudo — perhaps on your travels to Japan, or just when you've been in Sydney. The legendary ramen chain can be found around the world, but it's finally expanded to Melbourne, having just opened up some new soupy digs in the QV building. So start planning some long slurpy city lunch breaks, because there's be a lot to get your stomach around. But first, a little background. Ippudo has long been a reigning global gold standard of the Japanese dish (and a winter go-to the world-over). Since Shigemi Kawahara opened his first humble ramen store in Hakata, Japan in 1985, he's splashed out and launched scores of stores across Japan, the US, and Europe. It arrived in Australia in 2012 with one Sydney restaurant, before adding three more outlets in the same city. And now, six years on, Ippudo has opened two new fronts: one in Perth and Melbourne. So what's happening in the shiny new Melbourne restaurant? The emphasis is on the tonkotsu (pork broth) ramen that has garnered Ippudo legions of fans — but there's also a variety of equally as tasty options for those who want something else. You've got the signature Shiromaru Motoaji, creamy tonkotsu ramen ($15), but you can also opt for Karaka-Men, mixing things up with spicy miso paste topping ($16). If you're not up for ramen (for some reason), you can go for the beef sagari yaki served with fried enoki mushrooms ($17.50) or the grilled eel don for $13.50. Also, don't leave without giving the global best-selling pork buns a red hot go or three ($5 each, or three for $13). The interior is all clean wooden lines, red and white accents and warm, lantern-esque lighting, making your heart feel as warm as your soup-filled belly. The ramen king Kawahara has said that Ippudo just wants to "spread smiles" with his fare — and if this ramen can't do that, nothing can. Interior shots: Simon Shiff.
Each year, the team behind Vivid Sydney clearly asks itself a question: where else can we dazzle with lights next? Ranging from gardens and tunnels to buildings and bridges, the answers brighten up not only the festival's annual program, but the Harbour City. Letting a train lit up with an immersive glow and pumping techno tunes loose on the New South Wales capital's rails is a new answer for 2024, however. Meet Tekno Train. This isn't your ordinary, everyday, average commute — this is a 60-minute trip filled with lighting and music that changes to match the train's speed and the landscape outside. And the tunes? Like the event itself, they hail from Paul Mac. The result is a 23-night-only railway experience that's an Australian first, with its music newly composed specifically for what promises to be a helluva ride. Here's how it works: between Friday, May 24–Saturday, June 15, you'll hop onboard a K-set train at Central Station, either opting for a scenic route to North Sydney and then Lavender Bay via a secret spur line (the slower, more family-friendly trip), or hitting up City Circle and South Sydney (which'll be the livelier and faster-paced journey). Whether you pick The Scenic Route or Tech Express, as the two choices have been named, you'll see Tekno Train's custom lighting beam and hear its electronic dance music soundtrack pulse through all of the locomotive's carriages. If you're wondering how it links in with this year's Vivid theme of 'humanity', Tekno Train puts the power of music to unite — even when people are doing something that they don't normally think twice about — in the spotlight. It also celebrates public transport, mass transit and community. And, of course, it'll get you seeing riding the rails in a whole new light, literally.
Perhaps you were one of the many folks who turned to clay to knead out their lockdown frustrations last year, or maybe you're just looking for a new creative outlet to add to your repertoire. Either way, newly-opened ceramics teaching studio Clae Space is destined to be one of your new happy places. A bright, friendly space situated in the leafy pocket of Research in Melbourne's northeast, Clae is the brainchild of ceramicist Daisy Cooper (Daisy Cooper Ceramics) and partner Joseph Smaje. [caption id="attachment_844598" align="alignnone" width="1920"] Daisy Cooper & Joseph Smaje, by Catherine Elise[/caption] The pair has transformed part of their label's light-filled warehouse studio into an inviting teaching space. Here, on the doorstep of the Yarra Valley and Warrandyte, budding ceramic artists can disconnect from the world to immerse themselves in the practice and hone their skills. Under some expert tutelage, no less. Clae Space currently runs a handful of classes, including a six-week Intro to Hand Building course that guides students through the fundamentals of the art, dives into different techniques and sees them each creating their own personal ceramics project. [caption id="attachment_844597" align="alignnone" width="1920"] By Catherine Elise[/caption] If you'd rather just get your hands dirty and blow off some steam with a one-off workshop, you'll also find regular 90-minute Taster Sessions, plus themed workshops, and the odd Clay, Wine and Cheese night. Cooper's also hosting regular workshops in the ancient Japanese art of kintsugi, which is centred on the idea of emphasising or celebrating an object's imperfections. In this class, you'll be taught how to use the practice to artfully repair broken ceramics pieces with bold golden seams, creating some unique new homewares for your own pad. Various private classes are available, too, if you fancy a mates' activity that's a little more creatively charged than bottomless brunch. Find Clae Space at Unit 6, 1625 Main Road, Research. Images: Catherine Elise
When National Tim Tam Day hit earlier this year, biscuit brand Arnott's gave Australians something we didn't know we wanted: the opportunity to smell like Tim Tams all day long. That chocolate biscuit-scented perfume was a limited-time-only affair, however, but there's now an option for your home, too — or for your mum's, because this a Mother's Day special. To mark 2022's celebration of mums, Arnott's doesn't simply want you to simply give your mother Tim Tams — although it clearly does still want you to do exactly that. To really get everyone's tastebuds in a tizzy, the biscuit brand has also just launched gift packs filled with Tim Tam-smelling candles and diffusers. Try getting a whiff of that and not having instant bikkie cravings. Yes, if Victoria Bitter can make a fragrance inspired by beer, The Louvre can drop perfumes that take their cues from its famous artworks and Messina can release gelato-scented candles, then making the air around you smell like Tim Tams really isn't that outlandish at all. It's the aroma that'll make you hungry all day, and features not only cocoa notes, but also caramel, tonka bean and a hint of sandalwood as well. View this post on Instagram A post shared by Tim Tam (@timtam) The Melbourne-made, cruelty-free and vegan packs cost $100 a pop and are only on sale until Thursday, April 28, and include a 200-millilitre Tim Tam-scented reed diffuser and a 300-gram Tim Tam-scented candle, as well as packs of original and salted caramel brownie Tim Tams. So, if you're buying this as a gift, that means you won't need to take a dessert along to Mother's Day lunch. And if you're purchasing it for yourself instead, well, you're only human. Stocks are limited, though — but delivery is free Australia-wide. The Tim Tam Mother's Day gift boxes are available to purchase until Thursday, April 28.
Sometimes, vacations are the result of weeks, months and years of planning. At other times, they simply come about because an airline has cheap flights on offer. Both are perfectly acceptable ways to lock in a getaway, and you've likely had trips happen thanks to each — however, if you're ready to book your next getaway now based on Jetstar's latest specials, the airline is doing a big 48-hour sale with cheap fares to Hawaii, Thailand, Japan, Vietnam and New Zealand, among other destinations. Actually, the Australian carrier is doing discounted flights across Australia as well as to international spots — but venturing to other countries is on everyone's must-do list again after the past couple of years. Wherever you'd like to head, the key part of this sale is coming home without paying for the flight. Yes, Jetstar's 'return for free' sale is back again. Running from 12am AEDT on Thursday, October 27–11.59pm AEDT on Friday, October 28, or until sold out, it really is as straightforward as it sounds. Whatever flights you opt for as part of the sale, you'll get the return fare for nothing. On the list: fares from Sydney to Honolulu from $479 return, from Melbourne to Ho Chi Minh City from $339 return, from Cairns to Osaka from $444 return and from the Gold Coast to Queenstown from $270 return. Locally, options include Sydney to the Gold Coast for $88 return and Melbourne to Adelaide from $104 — among other routes, with Darwin and Perth legs also on the list. Tickets in the sale are for trips across a variety of dates depending on the destination. Fancy heading to the newly reopened Japan before summer hits? Skipping Australia's next winter by jetting over to Hawaii? They're among your choices. There are a few rules, as is always the case. You have to the same departure and arrival ports for the two fares — so you can go from Melbourne to Honolulu and back, for instance, but can't return via another place or to another city. And, the sale fares don't include checked baggage, so you'll need to travel super light or pay extra to take a suitcase. Also, if you're a Club Jetstar member, you'll get the jump on the sale — with access from 12pm AEDT on Wednesday, October 26 until midnight. Jetstar's 'return for free' sale runs from 12am AEDT on Thursday, October 27–11.59pm AEDT on Friday, October 28 — or until sold out. Feeling inspired to book a getaway? You can now book your next dream holiday through Concrete Playground Trips with deals on flights, stays and experiences at destinations all around the world.
UPDATE, December 17, 2022: Glass Onion: A Knives Out Mystery screened in cinemas from Wednesday, November 23–Tuesday, November 29, then streams via Netflix from Friday, December 23. Glass Onion: A Knives Out Mystery opens with a puzzle box inside a puzzle box. The former is a wooden cube delivered out of the blue, the latter the followup to 2019 murder-mystery hit Knives Out, and both are as tightly, meticulously, cleverly and cannily orchestrated as each other. The physical version has siblings, all sent to summon a motley crew of characters to the same place, as these types of flicks need to boast. The film clearly has its own brethren, and slots in beside its predecessor as one of the genre's gleaming standouts. More Knives Out movies will follow as well, which the two so far deserve to keep spawning as long as writer/director Rian Johnson (Star Wars: Episode VIII — The Last Jedi) and Benoit Blanc-playing star Daniel Craig (No Time to Die) will make them. Long may they keep the franchise's key detective and audience alike sleuthing. Long may they have everyone revelling in every twist, trick and revelation, as the breezy blast that is Glass Onion itself starts with. What do Connecticut Governor and US Senate candidate Claire Debella (Kathryn Hahn, WandaVision), model-slash-designer-slash-entrepreneur Birdie Jay (Kate Hudson, Mona Lisa and the Blood Moon), scientist Lionel Toussaint (Leslie Odom Jr, The Many Saints of Newark) and gun-toting, YouTube-posting men's rights activist Duke Cody (Dave Bautista, Thor: Love and Thunder) all have in common when this smart and savvy sequel kicks off? They each receive those literal puzzle boxes, of course, and they visibly enjoy their time working out what they're about. The cartons are the key to their getaway to Greece — their invites, in fact — and also perfectly emblematic of this entire feature. It's noteworthy that this quartet carefully but playfully piece together clues to unveil the contents inside, aka Glass Onion's exact modus operandi. That said, it's also significant that a fifth recipient of these elaborate squares simply decides to smash their way inside with a hammer. As Brick and Looper also showed, Johnson knows when to attentively dole out exactly what he needs to; however, he also knows when to let everything spill out. Claire, Birdie, Lionel and Duke share something else: they're all considered "disruptors" by tech mogul Miles Bron (Edward Norton, The French Dispatch), form part of his inner circle and get together annually for one-percenter vacations on his dime. He's behind their unexpected packages and their latest lavish getaway, which takes them not only to a picturesque private island, but also to a sprawling mansion decked out with a glimmering dome he actually calls a glass onion. Also in attendance is Miles' former business partner Andi Brand (Janelle Monáe, Antebellum), with whom nothing ended well, which gives the trip a skin of tension. And, there's the cravat-wearing Blanc, who couldn't be a better addition to the guest list — Miles has corralled this distinctive cohort for a weekend-long whodunnit party, after all. Blanc doesn't quote Sherlock Holmes and proclaim "the game is afoot" in Glass Onion, as he did the first time around, but it is. Several are. Miles wants his visitors to solve his own faux murder, but soon there's a real death slicing into what's meant to be a fun jaunt. Everyone is a suspect, because that's how this setup works. The Southern-drawled Blanc's presence proves mighty handy, swiftly segueing into "world's greatest detective" mode. No one needs him to glean the murder-mystery fundamentals, though. As told with an initially more linear narrative, little is what it seems on this swanky, intricately crafted vacation, including among the mostly high-achieving but secretly spatting group. And yes, as the bickering and backstabbing gets bloody — and the fast-paced story keeps unfurling — everyone has a motive. The Knives Out films can be enjoyed as pure on-screen rounds of Cluedo of the most entertaining kind, and as self-aware, affectionate and intelligent detective puzzles in the Agatha Christie mould. With their sharpness, mischievousness and effervescence, they easily show up the author's most recent page-to-screen adaptations, aka the clunky latest Murder on the Orient Express and Death on the Nile. Johnson also has the keenest of eyes for ensuring that every inch of every frame and every detail in every set entices and teases, with impressive help from his now six-time cinematographer Steve Yedlin, The Lord of the Rings: The Rings of Power production designer Rick Heinrichs and returning costumer Jenny Eagan. His whodunnit flicks get viewers gleefully playing along, lapping up surprises and thrills. And yet at the same time, they have audiences happily sitting back for the ride as both Johnson and the never-more-delightful Craig do their best. Everyone's doing stellar work in Glass Onion, especially the killer cast. This is the latest of many, many starry crews with a murderer in their midst —see also: fellow 2022 releases Bodies Bodies Bodies and See How They Run — and it's superbly compiled, including Jessica Henwick (The Gray Man) as Birdie's exasperated assistant, Madelyn Cline (Outer Banks) as Duke's girlfriend and a heap of genre-adoring cameos. As a sweep-you-long feature, the film serves up the sheer pleasure of watching its actors play their parts with such aplomb, and also benefits from fleshing out its characters before there's a body count. There needs to be such meat on this movie's bones, and more than merely one-note pawns on its board, because getting biting and blistering — and also being timely and topical — is another of the series' ongoing highlights. A more-cash-than-sense billionaire making a mess? The entitled, privileged set doing anything for money, and to uphold their status and lifestyles? Yes, the Knives Out franchise is eating the rich again, this time on a The White Lotus-esque holiday. Accusations zip around Glass Onion with frequency, potency and a sting, but no one can accuse Johnson of just repeating himself. As an early reference to Bach's 'Fugue in G minor' nods at, this is an onion of a flick that stacks its layers atop each other to create something new, and shines in a different way with each one. Also, where plenty of sequels to successful pictures rinse and repeat, this instead builds a fresh game out of similar but never identical pieces. A case in point: the decision to set the movie in May 2020, when the pandemic is all that most people were thinking about, and lockdown life was far, far removed from international travel, pool dips and cocktails with a view. That choice brings more sight gags, like Birdie's pointless mesh mask, but more importantly it lets the film dice up its targets with more force. They're squabbling and slaying in luxury while everyone else was staring at their own four walls for months on end, and doesn't this new gem cut them up for it.
Something delightful has been happening in cinemas in some parts of the country. After numerous periods spent empty during the pandemic, with projectors silent, theatres bare and the smell of popcorn fading, picture palaces in many Australian regions are back in business — including both big chains and smaller independent sites in Sydney, Melbourne and Brisbane. During COVID-19 lockdowns, no one was short on things to watch, of course. In fact, you probably feel like you've streamed every movie ever made, including new releases, Studio Ghibli's animated fare and Nicolas Cage-starring flicks. But, even if you've spent all your time of late glued to your small screen, we're betting you just can't wait to sit in a darkened room and soak up the splendour of the bigger version. Thankfully, plenty of new films are hitting cinemas so that you can do just that — and we've rounded up, watched and reviewed everything on offer this week. DON'T WORRY DARLING Conformity rarely bodes well in cinema. Whenever everyone's dressing the same, little boxes litter the landscape or identical white-picket fences stretch as far as the eye can see, that perception of perfection tends to possess a dark underbelly. The Stepford Wives demonstrated that. Pleasantville, Blue Velvet and Vivarium all did as well. Yes, there's a touch of conformity in movies about the evils of and heralded by conformity; of course there is. That remains true when Florence Pugh (Black Widow) and Harry Styles (Eternals) navigate an ostensibly idyllic vision of retro suburbia in a desert-encased enclave — one that was always going to unravel when the movie they're in is called Don't Worry Darling. Don't go thinking that this handsome and intriguing film doesn't know all of this, though. Don't go thinking that it's worried about the similarities with other flicks, including after its secrets are spilled, either. It'd be revealing too much to mention a couple of other movies that Don't Worry Darling blatantly recalls, so here's a spoiler-free version: this is a fascinating female-focused take on a pair of highlights from two decades-plus back that are still loved, watched and discussed now. That's never all that Olivia Wilde's second feature as a filmmaker after 2019's Booksmart is, but it feels fitting that when it conforms in a new direction, it finds a way to make that space its own. That's actually what Pugh's Alice thinks she wants when Don't Worry Darling begins. The film's idealised 1950s-style setting comes with old-fashioned gender roles firmly in place, cocktails in hand as soon Styles' Jack walks in the door come quittin' time and elaborate multi-course dinners cooked up each night, with its protagonist going along with it all. But she's also far from keen on having a baby, the done thing in the company town that is Victory. It'd curtail the noisy sex that gets the neighbours talking, for starters. Immaculately clothed and coiffed women happily playing dutiful housewives in a cosy sitcom-esque dream of America generations ago: that's Wilde and screenwriter Katie Silberman's (also Booksmart) entry point; however, they waste zero time in showing how rebelling in her own child-free way isn't enough to quell Alice's nagging and growing doubts about utopia. There's much to get her querying, such as the earth-shaking sounds that rumble when Victory's men are at work, doing top-secret business on "progressive materials" out in the sandy expanse. There's the reflections in the mirror that briefly take on a life of their own, too — starting in a ballet class that's about retaining control, coveting symmetry and never upsetting the status quo far more than dancing. And, there's the pushed-aside Margaret (KiKi Layne, The Old Guard) after she disrupts a company barbecue. All the rules enforced to keep Victory's women in their places, and the cult-like wisdom that town and company founder Frank (Chris Pine, All the Old Knives) constantly spouts, are also inescapable. So is the force with which asking questions or daring to be different is publicly nixed, as Alice quickly discovers. And, it's impossible to avoid how the men band together when anything or anyone causes a bump, even their own other halves. Swiftly, Alice's days scrubbing and vacuuming her Palm Springs-inspired bungalow, then sipping cocktails poolside or while window shopping with fellow Victory spouses like Bunny (Wilde, Ghostbusters: Afterlife) and Peg (Kate Berlant, A League of Their Own), fall under a shadow — not literally in such sunnily postcard-perfect surroundings, but with shade still lingering over every part of her routine. Speaking up just gets dismissed, and Frank and his underlings (including a doctor played by Timothy Simmons, aka Veep's Jonah Ryan, who is instantly unnerving thanks to that stroke of casting) have too-precise answers to her concerns. Read our full review. THE STRANGER No emotion or sensation ripples through two or more people in the exact same way, and never will. The Stranger has much to convey, but it expresses that truth with piercing precision. The crime-thriller is the sophomore feature from actor-turned-filmmaker Thomas M Wright — following 2018's stunning Adam Cullen biopic Acute Misfortune, another movie that shook everyone who watched it and proved hard to shake — and it's as deep, disquieting and resonant a dance with intensity as its genre can deliver. To look into Joel Edgerton's (Thirteen Lives) eyes as Mark, an undercover cop with a traumatic but pivotal assignment, is to spy torment and duty colliding. To peer at Sean Harris (Spencer) as the slippery Henry Teague is to see a cold, chilling and complex brand of shiftiness. Sitting behind these two performances in screentime but not impact is Jada Alberts' (Mystery Road) efforts as dedicated, determined and drained detective Kate Rylett — and it may be the portrayal that sums up The Stranger best. Writing as well as directing, Wright has made a film that is indeed dedicated, determined and draining. At every moment, including in sweeping yet shadowy imagery and an on-edge score, those feelings radiate from the screen as they do from Alberts. Sharing the latter's emotional exhaustion comes with the territory; sharing their sense of purpose does as well. In the quest to capture a man who abducted and murdered a child, Rylett can't escape the case's horrors — and, although the specific details aren't used, there's been no evading the reality driving this feature. The Stranger doesn't depict the crime that sparked Kate Kyriacou's non-fiction book The Sting: The Undercover Operation That Caught Daniel Morcombe's Killer, or any violence. It doesn't use the Queensland schoolboy's name, or have actors portray him or his family. This was always going to be an inherently discomforting and distressing movie, though, but it's also an unwaveringly intelligent and impressive examination of trauma. There's no other word to describe what Mark and Rylett experience — and, especially as it delves into Mark's psychological state as he juggles his job with being a single father, The Stranger is a film about tolls. What echoes do investigating and seeking justice for an atrocious act leave? Here, the portrait is understandably bleak and anguished. What imprint do such incidences have upon society more broadly? That also falls into the movie's examination. Mark, along with a sizeable group of fellow officers, is trying to get a confession and make an arrest. Back east, Rylett is one of the police who won't and can't let the situation go. Doling out its narrative in a structurally ambitious way, The Stranger doesn't directly address the human need for resolution, or to restore a semblance of order and security after something so heinously shocking, but that's always baked into its frames anyway. Travelling across the country, Henry first meets a stranger on a bus, getting chatting to Paul (Steve Mouzakis, Clickbait) en route. It's the possibility of work that hooks the ex-con and drifter — perhaps more so knowing that his potential new gig will be highly illicit, and that evading the authorities is implicit. Soon he meets Mark, then seizes the opportunity to reinvent himself in a criminal organisation, not knowing that he's actually palling around with the cops. It's an immense sting, fictionalised but drawn from actuality, with The Stranger also playing as a procedural. The connecting the dots-style moves remain with Rylett, but Wright's decision to hone in on the police operation still means detailing how to catch a killer, astutely laying out the minutiae via action rather than chatting through the bulk of the ins and outs. Read our full review. AMSTERDAM There's only one Wes Anderson, but there's a litany of wannabes. Why can't David O Russell be among them? Take the first filmmaker's The Grand Budapest Hotel, mix in the second's American Hustle and that's as good a way as any to start describing Amsterdam, Russell's return to the big screen after a seven-year gap following 2015's Joy — and a starry period comedy, crime caper and history lesson all in one. Swap pastels for earthier hues, still with a love of detail, and there's the unmistakably Anderson-esque look of the film. Amsterdam is a murder-mystery, too, set largely in the 1930s against a backdrop of increasing fascism, and filled with more famous faces than most movies can dream of. The American Hustle of it all springs from the "a lot of this actually happened" plot, this time drawing upon a political conspiracy called the White House/Wall Street Putsch, and again unfurling a wild true tale. A Russell returnee sits at the centre, too: Christian Bale (Thor: Love and Thunder) in his third film for the writer/director. The former did help guide the latter to an Oscar for The Fighter, then a nomination for American Hustle — but while Bale is welcomely and entertainingly loose and freewheeling, and given ample opportunity to show his comic chops in his expressive face and physicality alone, Amsterdam is unlikely to complete the trifecta of Academy Awards recognition. The lively movie's cast is its strongest asset, though, including the convincing camaraderie between Bale, John David Washington (Malcolm & Marie) and Margot Robbie (The Suicide Squad). They play pals forged in friendship during World War I, then thanks to a stint in the titular Dutch city. A doctor, a lawyer and a nurse — at least at some point in the narrative — they revel in love and art during their uninhabited stay, then get caught in chaos 15 years later. Amsterdam begins in the later period, with Burt Berendsen (Bale) tending to veterans — helping those with war injuries and lingering pain, as he himself has — without a medical license. He once had a Park Avenue practice, but his military enlistment and his fall from the well-heeled set afterwards all stems from his snobbish wife Beatrice (Andrea Riseborough, The Electrical Life of Louis Wain) and her social-climbing (and prejudiced) parents. As he did in the war, however, Burt aids who he can where he can, including with fellow ex-soldier Harold Woodman (Washington). That's how he ends up lending a hand (well, a scalpel) to the well-to-do Liz Meekins (Taylor Swift, Cats) after the unexpected death of her father and their old Army general (Ed Begley Jr, Better Call Saul). The bereaved daughter suspects foul play and Burt and Harold find it, but with fingers pointing their way when there's suddenly another body. Two police detectives (The Old Guard's Matthias Schoenaerts and The Many Saints of Newark's Alessandro Nivola), both veterans themselves, come a-snooping — and Burt and Harold now have two tasks. Clearing their names and figuring out what's going on are intertwined, of course, and also just the start of a story that isn't short on developments and twists (plus early flashes back to 1918 to set up the core trio, their bond, their heady bliss and a pact that they'll keep looking out for each other). There's a shagginess to both the tale and the telling, because busy and rambling is the vibe, especially with so much stuffed into the plot. One of Amsterdam's worst traits is its overloaded and convoluted feel, seeing that there's the IRL past to explore, a message about history repeating itself to deliver along with it, and enough mayhem to fuel several romps to spill out around it. The pacing doesn't help, flitting between zipping and dragging — and usually busting out the wrong one for each scene. Read our full review. If you're wondering what else is currently screening in Australian cinemas — or has been lately — check out our rundown of new films released in Australia on July 7, July 14, July 21 and July 28; August 4, August 11, August 18 and August 25; and September 1, September 8, September 15, September 22 and September 29. You can also read our full reviews of a heap of recent movies, such as Thor: Love and Thunder, Compartment No. 6, Sundown, The Gray Man, The Phantom of the Open, The Black Phone, Where the Crawdads Sing, Official Competition, The Forgiven, Full Time, Murder Party, Bullet Train, Nope, The Princess, 6 Festivals, Good Luck to You, Leo Grande, Crimes of the Future, Bosch & Rockit, Fire of Love, Beast, Blaze, Hit the Road, Three Thousand Years of Longing, Orphan: First Kill, The Quiet Girl, Flux Gourmet, Bodies Bodies Bodies, Moonage Daydream, Ticket to Paradise, Clean, You Won't Be Alone, See How They Run, Smile, On the Count of Three and The Humans.
Frankie may not have the label of destination diner like its fellow Geelong spot Igni does, but this (cheaper) eatery is well worth the drive to the coast. Why? Well, the interior is divine — all polished leather, beige leather couches and soft rose-gold accents. It's the kind of interior we all want but are too clumsy and messy to manage. But let's not be superficial. Frankie serves up both atmosphere and a killer drinks menu featuring wines from local and state wineries, and gorgeously garnished cocktails (try the Stonemelon Sour for $20 — trust us). Once you've quenched your thirst, the pan-Asian dinner menu has the rest of your night covered. The kitchen dabbles in a little Japanese cuisine with the crispy sesame rice balls ($18), a little Thai with their slow-cooked beef cheek curry ($32), and some Korean by way of fried chicken glazed in mirin and gochujang ($21). Plus, there's everyone's favourite finger food: bao. Try the slow-cooked pork belly version with sesame and crushed peanuts ($17) for a flavour combo you won't forget in a hurry.
Whether you're after top-quality hot pot, grab-and-go lunches, or meat and marinades galore, Elizabeth Street's three-in-one outpost has got you covered. Niku Shiki is a specialty wagyu house, wagyu butcher and takeaway restaurant all rolled into one, and it has opened a sibling CBD location to its OG Glen Waverley site. Co-founded by Kai Gu and Executive Chef Yasuo Matsuike (ex-En Japanese Brasserie in New York and Nobu), the wagyu house's second outpost offers top-of-the-range cuts supplied by Pardoo Wagyu. Chef Ken Kee (ex-Shoya, Shira Nui and Head Chef of Marble Yakiniku) has designed the menu, curating a range of dishes starring wagyu sushi, quality cuts of meat, and Japanese classics like donburi and udon. With a texture-filled venue envisioned by Elvin Tan Designs, the atmosphere of Niku Shiki is intimate and inviting. Its black and gold theme, warm lighting and veined black marble — reminiscent of the pattern that you'll find on a slice of wagyu — add a touch of elegance. Niku Shiki translates to "meat for all seasons", encouraging CBD-goers to enjoy its premium cuts all year round. For those on the go, takeaway is available for any of the restaurant's dishes, with a selection of grab-and-go sushi and sashimi taking centre stage. Or, you can opt to dine in at its sleek restaurant and enjoy wagyu sukiyaki hot pots, top-quality sushi and sashimi, donburi rice bowls and thick udon noodle dishes, all of which incorporate luxe ingredients like foie gras, caviar and truffle. The in-house butcher and grocer slings a selection of wagyu cuts, from hot-pot meat, fillets and steaks to fresh fish with pre-made marinades, sake and specialty rice. Plus, you are also able to grab any cooking utensils you may need, including your own hibachi grill or hot pot.
There comes a time every year when we must officially commence the sad countdown to the end of hot summery days and start preparing for our inevitable winter hibernation spent under a blanket watching Netflix. But fortunately, 2018 has more than proved it has a few sunny weeks left, even if summer is well and truly over. To help you absorb the maximum amount of vitamin D into your body before the sun officially sets on warmer climes, we've teamed up with the summer aficionados at Magnum to provide some inspo for things you can do to make the most out of the handful of sunny days we have left. This year, Magnum collaborated with three incredible Australian designers to take its creamy delights to the next level. The sartorial brains behind Romance Was Born, Bec and Bridge and By Johnny were all invited to co-create their own limited edition ice cream flavours to encapsulate their labels' unique styles — and most importantly, to help us savour summer in a stylish way. Romance was Born swirled tangy raspberry with rich chocolate truffle sauce to create a vibrant nod to its otherworldly fashion. Johnny Schembri of By Johnny created a homage to his simple silhouettes in the form of a hazelnut, slightly salted vanilla number. And Bec and Bridge upped the ante on the classic caramelly dulce de leche as a nod to effortless European style. Here's how to worship the last of those summery vibes — fashionable Magnum in hand. SPEND A LAZY DAY BY THE WATER When summer is officially over, it's those long lazy days spent by the sea that we miss the most. So, pack your towel, a sensible amount of SPF, a selection of fresh fruits and a sneaky box of dulce de leche Magnums by Bec and Bridge in a cooler bag, and make the most of the warm days where you can justify spending an entire day laying in the sun. Be sure you invite that one responsible adult friend who brings a waterproof speaker and an esky full of cool drinks so you can fully honour the sun gods by listening to some sweet beats. Where? Wylie's Baths in Sydney, St Kilda Beach in Melbourne and Stradbroke Island near Brisbane. INDULGE IN A LITTLE ALFRESCO DINING AND A MOVIE While the weather permits, there are plenty of amazing spots to indulge in some outdoor dining — extra points if you support your local food scene by picking an eatery that's cosy and family-owned. Enjoy a hearty meal, but forgo any decadent dessert. Instead, pick up a box of By Johnny hazelnut salted vanilla Magnums so you can have one while you stroll to the cinema to catch one of the many amazing Oscar-nominated films that are still showing. If there's still stomach room, be the envy of your fellow choc-toppers, when you whip out another secret squirrel Magnum during the previews. Where? Hayden Orpheum in Sydney, The Astor Theatre in Melbourne and New Farm Cinemas in Brisbane. PICNIC AMONG THE FLOWERS Savour the remaining warm afternoons by gathering some close friends, finding a sunny spot in the park and summoning all your foodie powers to create the most exquisite picnic to say goodbye to summer once and for all. Think mismatched picnic blankets, wicker baskets filled with a few bottles of rose and a world of delectable treats. Take your spread to the next level by investing in an array of cheeses (you can never have too many), a selection of cold cuts from a local deli, a few punnets of fresh berries and — for something a little wild — an esky full of raspberry chocolate truffle Magnums by the lords of whimsy at Romance was Born. Where? The Botanic Gardens in Sydney, Melbourne and Brisbane. Savour the last days of warmth outside and with a luxe Magnum in hand.
Melbourne is no stranger to a Korean barbecue restaurant. You'll find them all over the CBD and out in the burbs. We've also got all kinds of them — from affordable BYO joints and all-you-can-eat affairs to fancier varieties with top-quality cuts, there's something for every budget and occasion. CBD KBBQ spot Woo399 lands on the more premium side of things. Don't get us wrong, it's not a hushed-voiced fine-diner. There's still plenty of fun to be had over the gas-fired grills in the 104-person restaurant. We say it's more high-end because of the quality of meat that's on offer. The team sources its pure-bred wagyu from Elbow Valley in Queensland, where the cattle are fed a combination of orange pulp and locally grown grains like wheat, barley and corn. This results in outstanding meat quality, with the team sourcing plenty of cuts with a 9+ marble score. And unlike most Korean barbecue joints, you don't just choose a banquet or selection of meats from the menu. At Woo399, you make your way up to the butcher's fridge, where top-grade meat has already been sliced and packaged for you. Like what you've tried? The pre-packaged cuts are also available to take home. If you're dining in though, simply load up your basket with your chosen cuts, pay at the counter and get grilling. Each person is charged $9.99 to use the grills, and that price includes sauces, three side dishes and unlimited soft drinks. For an extra cost, you can fill out your meal with the likes of kimchi, croquettes, soup and veggies. And if you'd rather pair your KBBQ with some booze, Cass and soju are also on the menu.
It's time you set your sights on the east coast because Aperol is coming to town in style with its Kombi Tour. The vintage, retrofitted 1976 Volkswagen van is back, chasing the sun with a road trip through some of Queensland's idyllic coastal towns — from Cairns to the perpetually stunning Whitsundays. The Kombi has been cruising around the southeastern corner of the state for the last month but is heading north for the rest of its tour, racing the winter chill and bringing the red-hot vibes along, too. There are five more stops on its journey before Aperol has to hang up its spritzes for winter. If you're in the area, chase the summer feeling and grab a delectable spritz while you still can. NORTHERLIES, AIRLIE BEACH The Kombi's next stop is Northerlies Beach Bar & Grill, just outside Airlie Beach. Aperol is stopping in for four weekends at the mellow beachside resort. Enjoy ice-cold Aperol Spritzes and exclusive specials — like the rosemary-infused Rosy Cheeks spritz — while taking in the gorgeous views of the salty waves crashing into the white sandy beaches. June 16–July 11, Northerlies Beach Bar & Grill, Airlie Beach. More information here. SALT HOUSE FOOD & WINE FESTIVAL Get a taste of the tropics at Salt House in Cairns when the Kombi rolls in this winter. The iconic waterfront venue is also hosting a Food & Wine Festival on Saturday, August 5, which will see winemakers, distillers, brewers and producers descend on the locale and share their wares with attendees. Enjoy local produce while sipping on a refreshing Aperol Spritz — direct from the Kombi. Not able to make it on the festival weekend? Well, you're in luck because it will be at Salt House for four weekends. July 28–August 7, Salt House Food & Wine Festival, Cairns. Book tickets here. CAIRNS ITALIAN FESTIVAL The inaugural ten-day Cairns Italian Festival is the next stop for the brightly-hued vehicle — although it won't actually be moving from Salt House. The waterfront spot is one of the many venues taking part in the festival, so the Kombi will sit tight at the venue for the festival's weekend in July. You'll be snacking on traditional Italian plates, woodfired pizzas, gelato and more — all while sipping deliciously bitter Aperol Spritzes. Saturday, July 29, Salt House, Cairns. More information here. TASTE PORT DOUGLAS The next stop on the 2023 Aperol Kombi Tour is the Taste Port Douglas Food and Wine Festival, held at the Sheraton Grand Mirage Resort. Experience (and then taste) the rich food culture of Tropical North Queensland as top chefs arrive to dazzle you with their inspiring creations. You know the drill: wash it all down with a perfectly chilled spritz from the Kombi. August 10–13, Sheraton Grand Mirage Resort, Port Douglas. More information here. SHERATON, PORT DOUGLAS If five-star luxury eco-certified stays are on your to-go-to list in 2023, take yourself to the Sheraton Grand Mirage Resort. This August and September, you'll be on the doorstep of two staggeringly beautiful UNESCO World Heritage Sites (the Great Barrier Reef and the Daintree Rainforest), plus you'll be perfectly placed for the freshest of spritzes when the Kombi hits the digs from Tuesday, August 8 till Monday, September 11. It'll be the ideal way to toast the end of winter and celebrate the coming of spring. August 14–September 5, Sheraton Grand Mirage Resort, Port Douglas. More information here. For more information on the Aperol Kombi Tour, and to plan your road trip to one of its pit stops, head to the website.
UPDATE, February 1, 2021: Hail Satan? is available to stream via DocPlay, Stan, Google Play, YouTube Movies and Amazon Video. Between Australia's last election, the ongoing mess over Brexit and the trashfire that is the American political landscape, conflict thrives in today's society. Perhaps satanism is the answer? Such a solution is guaranteed to polarise, especially at a time when right-wing Aussie factions are trying to excuse homophobia as an expression of religious beliefs, and when conservative US groups are using their faith as a reason to eradicate women's reproductive rights. But, as the thoroughly engaging and informative documentary Hail Satan? explains, challenging and tearing down outdated attitudes like these is The Satanic Temple's main aim. Partial to a title with punctuation, as her 2016 doco Nuts! demonstrated, filmmaker Penny Lane astutely places a question mark at the end of Hail Satan?. By the conclusion of her latest seemingly gimmick-driven movie, you can be forgiven for wondering if you actually agree with the two-word phrase — or, at least, with the people seen uttering it. Lane takes her attention-grabbing subject, sheds the demonic stereotypes and cartoonish uproar, and examines the reality of worshipping at The Satanic Temple's altar. Founded in 2013 as a headline-seeking means of calling out the legislated introduction of Christian prayer in Florida schools, the Salem-headquartered organisation agitates for true religious freedom, and takes its social activism seriously. Sure, members sometimes wear goat horns and don fetish outfits, and plenty call themselves heavy metal fans, however it's the quest to keep all churches away from matters of state that really lights their fires. Lane is never seen on-screen, but her jauntily spliced-together film shares the wry smile that must've been plastered across her face as she was making it — the grin of someone aware that she's not only unpacking a fantastic, thought-provoking area, but a topical and provocative one that makes a meaty statement about the modern world. Seen in talking-head interviews and on-the-ground footage, The Satanic Temple's co-founder and spokesman Lucien Greaves sports the same look and certainty about his cause, with an extra glint of mischief. Given his organisation's many stunts, his expression is understandable. "Performing a "pink mass" designed to turn the dead mother of Westboro Baptist Church founder Fred Phelps into a lesbian — a response to the hate-mongering church's plans to picket the funerals of Boston marathon bombing victims — is just one of the Temple's high-profile exploits. The After School Satan project, an alternative to Christian-based class activities, is another. And then there's the passionate fight to counter statues of the Ten Commandments placed outside of government buildings by applying to erect satanic monuments next to them. While there's no doubting where Hail Satan?'s sympathies reside (even with its purposeful question mark), the film builds its case in a clever and witty manner. Simply showing what The Satanic Temple stands for, and insightfully exploring how it uses Satan as a subversive symbol against government-mandated theology, conveys much of the documentary's point. It doesn't escape attention that the group's outreach and protest actions, and crusade against religious doctrine triumphing over justice and intelligence would receive emphatic support if they were performed by a less divisive body. Or, that they'd likely be championed for their pursuit of equality and freedom on all grounds, too. Of course, that's one of the movie's incisive messages. If the road to hell is indeed paved with good intentions, these occultists heartily embrace both parts of that phrase. Life battling injustice with brimstone isn't all a bed of roses, which Hail Satan? doesn't overlook. As The Satanic Temple has expanded, reaching 50,000 members worldwide in its first three years, controversy and squabbles have followed. Displaying the playful tone that makes the film such an enjoyable watch, the doco doesn't avoid its counterpart's own internal turmoil either — rightfully contending that the Catholic Church's continuing and widespread sexual abuse scandal eclipses any troubles linked with contemporary satanism. That's the type of faith-based corruption and hypocrisy this anti-Christ outfit is attempting to combat. If you like that satanist brand of activism, rebellion, openness and inclusion, then Hail Satan? will sweep you over with the right kind of satanic panic. https://www.youtube.com/watch?v=amB2Ol6wihg
A retail importer with more than 30 years experience, Peter Karas opened Mercantile Home with his wife Carolyn Hayes back in 2015. The store champions beautiful designs and quality products through a curated range from Australian designers and top European brands. You never really know what you'll find inside, from chic ceramics designed in Canberra by Brian Tunks of Bison Home, to silent, monochrome wall clocks from Huygens, and cutting-edge Bavarian crystal glassware, courtesy of longstanding German designers Nachtmann. Don't worry if those labels sound a little fancy, Mercantile Home also stocks simpler gifts and knick-knacks, like beeswax wraps, quirky shopping bags, candles, reusable takeaway coffee cups and cute greeting cards made in South Australia by Emma Kate Co. Images: Tracey Ah-kee.
Not a whole heap of regular folk can say they love flying. The crying babies, the contortions you perform to try and get comfy, the inevitable sore neck. But, there's something that makes it all a little better: the bar cart. The flight attendant finally rolls that booze-filled trolley to your aisle and you get to pick between a tiny white wine or a tiny red wine. Ah, the life. We're all missing travel at the moment, which, apart from the obvious, we can tell by how quickly Aussies snapped up the Qantas pjs when they went on sale. And to help ease some of that yearning, Qantas is selling 1000 bar carts. Yes, its bar carts. And they come stocked full of those mini bottles of booze, too. The bar carts are from the now-retired Boeing 747 fleet, which have gone to live in the Californian desert, and come in two sizes: a full cart or half. They will set you back a pretty penny, but you do get a lot of booze. The full cart is $1474.70 — or 256,000 points, if that is something you have — and includes 80 187-millilitre bottles of white wine, 80 of red wine, two sleeves of Tim Tams, two full bottles of champagne, four amenity kits, two first-class blankets and four sets of those coveted pjs, plus some smoked almonds and savoury biscuits. The half cart is quite literally half a cart and half of the contents, but not quite half of the price ($947.70). You can also buy the mini bottles individually for $2.99 a bottle. The carts can be delivered to Sydney, Melbourne, Brisbane, Adelaide and Perth metro postcodes. Yes, you could definitely just go and buy cheap wine and pretend you're on a plane — but, would it be as fun? No. So, get your mates to chip in and plan a night of low-altitude revelry. Qantas' bar carts are on sale until Friday, October 9 or until sold out. Snag yours over here.
For more than six decades, fans of Disney have been able to step into the Mouse House's wonders IRL, thanks to a theme park empire that started in the 1950s with Disneyland. For even longer, touring your way through Universal Studios' wares — first during lot visits, then theme parks as well — has also been a reality. While Japan's beloved Studio Ghibli joined in back in 2001 via its Ghibli Museum, now it has launched its very own theme park. Get ready to get spirited away, and to skip around a sprawling place that's both gorgeous and magical. The venue at Aichi Prefecture Expo Park has been in the works since back in 2017, and has also been through a few delays over that five-year period — but as of Tuesday, November 1, it's finally and officially open to animation lovers. If that's you, Ghibli Park is welcoming in fans to wander its 200-hectare expanse in Nagoya's Aichi Prefecture, around a three-hour train trip from Tokyo, with the space's first three stages launching on opening day. Ghibli has been dropping early glimpses at the park over the past few months — even if its recent Hayao Miyazaki-directed cat train trailer was solely animated (but still wonderful) — and there's plenty of store for visitors. Part of the first phase is a space that's been dubbed Ghibli's Great Warehouse, aka the park's main area. Think of it like a fair within the overall attraction, featuring a video exhibition room, three special exhibition rooms, plus shops and cafes all in one space. Many movie lovers' first stop should be Orionza, a cinema that sets 170 patrons and screens ten Ghibli shorts — all of which have only previously been seen at the studio's existing museum in Mitaka, a city on the western outskirts Tokyo. The easy highlight: the 13-minute-long sequel to My Neighbour Totoro, which is an absolute delight, unsurprisingly. Fancy entering one of Ghibli's films? The park also includes recreations of 13 famous scenes from the company's cinematic catalogue that you can step into, including becoming Spirited Away's Chihiro by sitting next to Kaonashi on a mysterious train by the sea. Or, another exhibition focuses on Ghibli's knack for drawing delicious-looking food, and is certain to make you hungry. And, if you're curious how Ghibli's works — such as posters, videos, music and books — appear overseas, there's an exhibition about that as well. Because you'll want souvenirs, the Ghibli's warehouse store sells Ghibli goodies galore, including items specific to the park. Expect two things: to want to purchase everything, so much so that you'll contemplate whether it's worth getting another suitcase to take home with you; and plenty of company while you're browsing and buying. For a bite or a drink, the Great Warehouse's cafe and milk stand both take their cues The Wind Rises. One slings sandwiches and pizzas, while the other focuses on sips to drink — and a sweet made of red bean paste between two pieces of castella, as seen in the movie. Yes, it all truly does resemble the Japanese animation house's glorious frames in real life — as that aforementioned Studio Ghibli museum already does as well. Also open in the first stage: gardens, including the antique shop and verandah from Whisper of the Heart, plus Satsuki and Mei's house from My Neighbour Totoro. The latter was already a part of Aichi Prefecture Expo Park, but that doesn't make it any less stunning. Indeed, there's a reason that Ghibli Park was initially described as having a My Neighbour Totoro focus. Also slated to feature across the whole park: a life-sized version of Howl's Moving Castle, Kiki's home from Kiki's Delivery Service, a village area that pays tribute to Princess Mononoke, nods to the cat from Whisper of the Heart and The Cat Returns, buildings with design elements that take their cues from Laputa: Castle in the Sky, and a super-sized garden that'll make you feel like you're one of the tiny characters in Arrietty. If you're now planning a Ghibli-centric holiday, Japan reopened its borders to individual international tourists, and ditched its visa and package tour requirements, back in October — which, yes, is handy timing. A note re ticketing: like Ghibli's museum, Ghibli Park opens for bookings one day per month, working months ahead. On Monday, November 14, for instance, you'll be able to buy tickets for January visits. Ghibli Park is now open at Aichi Expo Memorial Park, 1533–1 Ibaragamama Otsu, Nagakute City, Aichi Prefecture. For more information, head to the venue's website. Images: © Studio Ghibli.
Between Laneway, Golden Plains, Don't Let Daddy Know and Pitch Music & Arts, lineups for 2024 music festivals just keep coming. Next on the list: Souled Out. If you like new wave R&B, this is your next must-attend event — especially if you're keen on seeing Summer Walker, PartyNextDoor and Tinashe live. Souled Out's 2024 lineup also includes Bryson Tiller, Majid Jordan, Smino, Lucky Daye, Libianca and more, as part of a roster that balances well-known names, up-and-coming talent and local acts. As you might've spotted, variety is a big focus among its tunes, with the fest's array of talent not just playing the same styles of R&B. As they hit the stage, they'll be playing tracks that span subgenres such as neo soul, trap soul and Afrobeats. Walker's place on the bill is big news, given that it will be her first trip to Australia. As for PartyNextDoor, aka Jahron Anthony Brathwaite, his resume includes writing 'Work' for Rihanna. Along with the rest of the lineup, Walker and PartyNextDoor will get behind the microphone at three 2024 stops, all in March: at Parramatta Park in Sydney, Doug Jennings Park on the Gold Coast and Caribbean Gardens in Melbourne. Souled Out will be new to its trio of 2024 destinations, but it isn't new overall after launching in Brisbane in 2023. Also on the bill: DJs Joe Kay, Andre Power and Sasha, who'll be spinning tracks away from the fest's main stage that work in 90s R&B favourites. SOULED OUT 2024 LINEUP: Summer Walker PartyNextDoor Bryson Tiller Majid Jordan Smino Tinashe Lucky Daye Libianca Thuy Will Singe Lara Andallo Joe Kay Sasha Mistah Cee Andre Power SOULED OUT 2024 DATES: Friday, March 22 — Parramatta Park, Sydney Saturday, March 23 — Doug Jennings Park, Gold Coast Friday, March 29 — Caribbean Gardens, Melbourne Souled Out will tour Australia in March 2024, with ticket presales from 12.30pm on Monday, November 13 and general sales from 12.30pm on Tuesday, November 14 — head to the festival website for more information.
UPDATE, July 31, 2022: Wash My Soul in the River's Flow is available to stream via Stan, Google Play, YouTube Movies, iTunes and Prime Video. A silent hero and a rowdy troublemaker. That's what Ruby Hunter calls Archie Roach, her partner in life and sometimes music, then characterises herself. She offers those words casually, as if she's merely breathing, with an accompanying smile and a glint in her eyes as she talks. They aren't the only thoughts uttered in Wash My Soul in the River's Flow, which intersperses concert and rehearsal clips with chats with Hunter and Roach, plus snippets of biographical details from and recollections about their lives as intertitles, and then majestic footage of the winding Murray River in Ngarrindjeri Country, where Hunter was born, too. Still, even before those two-word descriptions are mentioned, the film shows how they resonate within couple's relationship. Watching their dynamic, which had ebbed and flowed over three-plus decades when the movie's footage was shot in 2004, it's plain to see how these two icons of Australian music are dissimilar in personality and yet intertwine harmoniously. Every relationship is perched upon interlocking personalities: how well they complement each other, where their differences blend seamlessly and how their opposing traits spark challenges in the best possible ways. Every song, too, is a balance of disparate but coordinated pieces. And, every ecosystem on the planet also fits the bill. With Hunter and Roach as its focus, Wash My Soul in the River's Flow contemplates all three — love, music and Country — all through 2004 concert Kura Tungar — Songs from the River. Recorded for the documentary at Melbourne's Hamer Hall, that gig series interlaced additional parts, thanks to a collaboration with Paul Grabowsky's 22-piece Australian Art Orchestra — and the movie that producer-turned-writer/director Philippa Bateman makes of it, and about two Indigenous stars, their experience as members of Australia's Stolen Generations, their ties to Country and their love, is equally, gloriously and mesmerisingly multifaceted. When is a concert film more than a concert film? When it's Wash My Soul in the River's Flow, clearly, which is named for one of Kura Tungar's tracks. Bateman could've just used her recordings of the legendary show, which won the 2005 Helpmann Award for Best Australian Contemporary Concert, and given everyone who wasn't there the chance to enjoy an historic event — and to bask in the now-late Hunter's on-stage glories more than a decade after her 2010 passing — but that was clearly just the starting point for her movie. With Roach as a producer, the documentary presents each of its songs as a combination of five key elements, all weaved together like the feather flower-dotted, brightly coloured headpiece that Hunter wears during the performance. With each tune, the film repeats the pattern but the emotion that comes with it inherently evolves, with the result akin to cycling through the earth's four seasons. First, a title appears on-screen, overlaid across breathtakingly beautiful images of the Murray and its surroundings, and instantly steeping every song in a spectacular place. From there, the Kura Tungar rendition of each tune segues into practice sessions with Grabowsky and the AAO of the same track, plus both text and on-the-couch chatter between Hunter and Roach that speaks to the context of, meaning behind and memories tied to each piece. Hunter's 'Daisy Chains, String Games and Knuckle Bones', which springs from her childhood, gets that treatment. Roach's unforgettable 'Took the Children Away' does, too. 'Down City Streets', as written by Hunter and recorded by Roach, also joins the lineup. The list goes on, and the power that each song possesses alone — which, given the talent and topics involved, is immense — only grows when packaged in such a layered manner. What a story this symphony of tunes and its entwined materials tells, spanning Hunter's recollections about being taken from her family under the guise of a trip to the circus; the coin flip that saw Roach head to South Australia from Mildura after a season spent grape-picking, where he'd meet Hunter when both were teenagers; and Hunter's certainty before that, when she spied Roach on television as a kid, that she'd marry him. The Ngarrindjeri, Kokatha and Pitjantjatjara woman's way with words continues throughout the film, including when she explains how that stroke of fate that brought Roach to Adelaide's People's Palace when they were both homeless adolescents saw her stop "her gambler from his rambling". For the Gunditjmara and Bundjalung man, he shares snippets of his own past alongside his overflowing love for Hunter. Indeed, when he marvels about how she can remember everything in her life, the Murray River's pelicans and the Dreamtime among them, it's a statement of pure and joyous affection. Along the way, Bateman ensures that her documentary tackles a dark chapter of the country's history head on, because it's impossible to relay Hunter and Roach's tales without exploring the nation's Stolen Generations. Her film is a tribute to her subjects and their work first and foremost — a tribute from Roach to Hunter overwhelmingly, too — but the resilience and fortitude that it's taken to weather everything that the government policy sent their way shines just as vividly. Both of Wash My Soul in the River's Flow's main figures are candid although, true to her own self-description, Hunter repeatedly takes the lead. Still, Roach's striking admission that, until the pair met, he thought it was just him and his siblings that'd been forcibly removed from their home, is nothing short of heartbreaking. Also intensely affecting: getting the chance to spend an intimate 90 minutes in Hunter and Roach's company, especially the former, the first Aboriginal woman to be signed to a major record label, following her death; and those awe-inspiring shots of Ngarrindjeri Country, as shot by cinematographer Bonnie Elliott (The Furnace), that keep returning with each soulful song. Combined with the movie's music, plus its dedication to unflinchingly diving into the problematic past, Wash My Soul in the River's Flow becomes a quintessential portrait of Australia. Championing two First Nations icons, their culture and their connection to Country; exploring the injustice they've endured at the hands of the government, and how they've ultimately thrived and healed together and through their talents; and showcasing the art they've made and the land they love — this moving movie couldn't ask for anything more. Letting it wash over you, and its silent hero and rowdy troublemaker with it, is simply inescapable.
Wander through French Impressionism, NGV International's big winter blockbuster exhibition, and visions of the natural world by iconic artists are among the many sights that greet attendees. There should be no better way to appreciate our planet than engaging with it ourselves, but sometimes art sees what we don't, as this showcase of masterworks helps demonstrate. Also open since Friday, June 6, 2025 and similarly displaying until Sunday, October 5, 2025, Plans for the Planet: Olaf Breuning for Kids takes the idea of embracing the environment through art and makes it the sole focus — playfully, and to get young visitors engaging with the topic. Swiss artist Breuning explores sustainability, conservation, pollution and wildlife, aiming to spark new generations to ponder a better future for the pale blue rock that we call home. The art here is interactive, as seen in the animated drawings of forests, lava and more that kids can activate via swipe card. This exhibition also wants children to get creative themselves, courtesy of their own drawings. For instance, a giant tree installation brings the woodlands indoors — and is designed to inspire little art lovers to draw homes for forest animals. Or, via the photobooth, attendees can snap self-portraits, decorate them with virtual objects, and use them to express themselves. At touch screens, too, kids are encouraged to add their ideas for the future, which then become part of the installation. Images: installation views of Plans for The Planet: Olaf Breuning for Kids, on display from 6 June to 5 October at NGV International Melbourne. Photo: Mitch Fong.
At the CBD's newest breakfast destination, Cafe Lafayette, the morning meal takes a verge from the well-worn eggs and avo on toast. But that should come as little surprise, given it's the brainchild of the same minds behind Prahran's adventurous all-day diner, Grand Lafayette. Already known for its OTT Japanese-inspired brunch plates, the cafe has spawned its first sibling and is now taking on the city from the laneway space once home to Restaurant Shik (which sadly closed its doors last April). And the 60-seater is clearly out to draw attention to itself with a dramatic design by award-winning firm Hassell. The cafe isn't light and airy by any means — the moody backlit walls and black tables are matched with shiny surfaces that reflect pink, blue and orange neon lights to create the effect that you're in a bar after work, not eating brunch at 10am. An all-day brunch offering has a soft spot for theatrics, filled with clever reworkings of the classics. And if you're going to break out of your eggs-on-toast comfort zone, how better to do it than with some bolognese-topped panko-crumbed eggplant, teamed with mounds of parmesan and a poached egg? Otherwise, stick with the somewhat familiar with Lafayette's take on eggs benny, which matches braised pork belly with a cod roe potato croquette, sautéed kale, hollandaise and a balsamic dressing. There's also fried chicken — here served with a squid ink waffle, maple syrup, cheese sauce and wild honeycomb — and an elegant bird's nest-inspired creation featuring Japanese okonomiyaki with bacon, tonkatsu sauce, yuzu mayo and a 62.5-degree egg. Or, you might want to sink your teeth into the charcoal grilled eel hotdog, starring Japanese omelette, kale, picked onion and yuzu mayo, sided with crisp seaweed chips. [caption id="attachment_757998" align="alignnone" width="1920"] The unagi hot dog[/caption] The situation gets just as wild over on the drinks list, where the signature sip is a 'technicolour latte' — essentially a full-fat white coffee jazzed up with a rainbow of colourful latte art. Elsewhere, you'll spy turmeric lattes, a series of supercharged shakes and an iced green tea latte made on top-quality Japanese matcha. Find Cafe Lafayette at 30 Niagara Lane, Melbourne CBD. It's open 10am to 3pm Monday to Friday, and 10am to 4pm Saturday and Sunday. Images: Griffin Simm.
Finding greatness in Bong Joon-ho's Parasite isn't difficult. The perceptive class-clash and eat-the-rich story, the array of pitch-perfect performances, the acclaimed director's stunning mastery of tone, the insightful and revealing production design: they're all examples in this Oscar- and Cannes-winning South Korean masterpiece. Another instance comes courtesy of composer Jung Jae-il's score, which soundtracks the film with tunes both disquieting and baroque. It's no wonder that accolades came Jung's way, too, including from his homeland's Grand Bell Awards. Hearing Jung's contribution echoing as Parasite screens is the best way to appreciate it, of course — and watching him perform it live in Australia with Orchestra Victoria will dial what's already a spectacular experience up a few notches. For the first time, the composer is heading Down Under, all thanks to 2025's Melbourne International Film Festival. The event's commitment to honouring the art of screen composition via screenings that pair live tunes and movies is continuing, and two Parasite in Concert sessions are set to be among this year's fest highlights. At 2pm and 8pm on Saturday, August 23 at Hamer Hall in the Victorian capital, Jung will take to the keys. He'll also be conducting Orchestra Victoria as he plays. Seeing Parasite on a big screen is already a treat, no matter how many times you've watched it before; however, giving the picture the concert treatment is something extra special. It's only happening in Melbourne, if you're located elsewhere in Australia and needed more motivation — beyond the 26 films the fest has already announced for 2025 — to attend this year's MIFF. Jung isn't just known for Parasite. If you've felt the tension emanating from Squid Game's score across its two seasons so far — with the third arriving before June 2025 is out — then you've also appreciated the composer's efforts. Prior to Parasite, Jung collaborated with Bong on Okja, then did so again afterwards on this year's Mickey 17. The tunes in Hirokazu Kore-eda's Broker hail from him as well, as does the score for MIFF 2025 title Twinless. "Composing the score of Parasite for director Bong Joon Ho was a life-changing experience for me, and it's a work I'm incredibly proud of. I'm so excited to conduct and perform this original score live in concert for the first time in Australia with the talented Orchestra Victoria as part of Melbourne International Film Festival," said Jung about MIFF's Parasite in Concert events. "This isn't just a film with live music, it's something far more rare. To see Jung Jae-il perform and conduct his own score, live, brings an intimacy and immediacy you can't replicate," added Melbourne International Film Festival Artistic Director Al Cossar. "It's exactly the kind of experience that belongs on a festival stage. In collaboration with Orchestra Victoria, we're proud to present something that speaks directly to MIFF's mission to bring audiences the story of the world through unforgettable screen experiences," Cossar continued. Parasite in Concert joins two sessions of almost-100-year-old masterpiece The Passion of Joan of Arc with a new score by Julia Holter on the music-and-movies side of Melbourne International Film Festival's 2025 program so far. As for what else they'll have for company beyond the already-revealed titles, the fest's full lineup is unveiled on Thursday, July 10. Check out the trailer for Parasite below: Parasite Live in Concert takes place on Saturday, August 23, 2025 at Hamer Hall, Arts Centre Melbourne, 100 St Kilda Road, Southbank — with tickets on sale from 11am on Thursday, June 12, 2025 via the venue website. The 2025 Melbourne International Film Festival runs from Thursday, August 7–Sunday, August 24 at a variety of venues around Melbourne; from Friday, August 15–Sunday, August 17 and Friday, August 22–Sunday, August 24 in regional Victoria; and online nationwide from Friday, August 15–Sunday, August 31. For further details, including the full program from Thursday, July 10, visit the MIFF website.
There's a whole swag of reasons to love Melbourne in February, from the balmy rooftop bar weather to the abundance of cracking beach days. And of course, there's that much-loved summer favourite — the long-running live music celebration that is St Kilda Festival. The legendary event is back for its 42nd year in 2023, bringing another huge program of gigs to its bayside home from Saturday, February 18–Sunday, February 19. Across the weekend, multiple stages will play host to a bumper showcase of Aussie musical talent, spotlighting big-name acts and exciting up-and-comers alike. And, as always, it's free. [caption id="attachment_839020" align="alignnone" width="1920"] Nathan Doran[/caption] Along for the ride this year, you've got celebrated singer-songwriter Christine Anu, who'll be headlining Saturday's new First Peoples First program. The Archie Roach Foundation has curated a good chunk of the lineup, while its namesake, the late Uncle Archie, will be further honoured with a dedicated musical tribute. Meanwhile, legends including longtime Aussie rockers Hoodoo Gurus and electro-pop act Confidence Man are confirmed to be hitting the main stage the following day for Big Festival Sunday. As always, Fitzroy Street's New Music Stage is set to be a treasure trove of emerging musical goodness — and where audiences themselves will scout and crown the winner of the New Music Competition — while Acland Plaza plays host to a dedicated locals stage. [caption id="attachment_884062" align="alignnone" width="1920"] Mackenzie Sweetnam[/caption] More music is set to envelop the St Kilda Foreshore and its surrounds, as artists also work their magic across the Triangle Stage, the Catani Gardens Stage and the family-focused O'Donnell Gardens Stage. Plus, throw in a spot of roving entertainment, dance performances, community activities, market stalls, and a slew of food and drink pop-ups, and you've got one very festive February weekend by the bay. Stay tuned for the full St Kilda Festival program, which is set to drop on Wednesday, January 18. [caption id="attachment_884064" align="alignnone" width="1920"] Nathan Doran[/caption] [caption id="attachment_839022" align="alignnone" width="1920"] Nathan Doran[/caption] St Kilda Festival will take over the St Kilda Foreshore and surrounds from Saturday, February 18– Sunday, February 19. Catch the full program over on the website from Wednesday, January 18. Top image: Nathan Doran.
UPDATE, Friday, January 12, 2024: Killers of the Flower Moon streams via Apple TV+ from Friday, January 12, and via Google Play, YouTube Movies and Prime Video. Death comes to Killers of the Flower Moon quickly. Death comes to Killers of the Flower Moon often. While Martin Scorsese will later briefly fill the film's frames with a fiery orange vision — with what almost appears to be a lake of flames deep in oil country, as dotted with silhouettes of men — death blazes through his 26th feature from the moment that the picture starts rolling. Adapted from journalist David Grann's 2017 non-fiction novel Killers of the Flower Moon: The Osage Murders and the Birth of the FBI, with the filmmaker himself and Dune's Eric Roth penning the screenplay, this is a masterpiece of a movie about a heartbreakingly horrible spate of deaths sparked by pure and unapologetic greed and persecution a century back. Scorsese's two favourite actors in Leonardo DiCaprio (Don't Look Up) and Robert De Niro (Amsterdam) are its stars, alongside hopefully his next go-to in Lily Gladstone (Reservation Dogs), but murder and genocide are as much at its centre — all in a tale that's devastatingly true. As Mollie Kyle, a member of the Osage Nation in Grey Horse, Oklahoma, incomparable Certain Women standout Gladstone talks through some of the movie's homicides early. Before her character meets DiCaprio's World War I veteran Ernest Burkhart — nephew to De Niro's cattle rancher and self-proclaimed 'king of the Osage' William King Hale — she notes that several Indigenous Americans that have been killed, with Mollie mentioning a mere few to meet untimely ends. There's nothing easy about this list, nor is there meant to be. Some are found dead, others seen laid out for their eternal rest, and each one delivers a difficult image. But a gun fired at a young mother pushing a pram inspires a shock befitting a horror film. The genre fits here, in its way, as do many others: American crime saga, aka the realm that Scorsese has virtually made his own, as well as romance, relationship drama, western, true crime and crime procedural. Although this chapter of history has hardly been splashed across the screen with frequency, its new place among the iconic director's filmography helps him to continue making a statement that he's been beaming at audiences for most of his filmmaking life. The specifics differ from flick to flick, but Scorsese keeps surveying the appallingly corrupt and violent deeds done in the pursuit of power, wealth and influence. He constantly peers into humanity's souls, seeing some of its worst impulses staring back. Indeed, there's no doubting that Killers of the Flower Moon hails from the same person as Goodfellas, Casino and Gangs of New York, or The Wolf of Wall Street and The Irishman, too. It also easily belongs on a filmography with entries as varied as Raging Bull, The Age of Innocence, Kundun, The Departed and Shutter Island. Between them, DiCaprio and De Niro have starred in most of those movies. Now, they combine for the first time in a Scorsese feature to basically rekindle their This Boy's Life dynamic from three decades back, all while plumbing the depths of money-coveting men chasing land rights, aka Osage headrights, through a cruel, brutal and disarmingly patient plan. "The finest, the wealthiest and the most beautiful people on god's earth" is how Hale describes the Osage Nation to Ernest when the latter is freshly back on US soil, off the train in Fairfax and getting reacquainted with his uncle. Those riches stem from being pushed out of Kansas, resettled, then striking black gold in a stroke of good fortune that brings more misfortune. Hale wants a piece and more, and gets seemingly every other white man in Oklahoma joining his pursuit. In an extraordinary performance, De Niro gives Hale quietly formidable potency — the kind that doesn't need raised voices or a weapon to command a room, evoke unease and enforce his might. Scorsese lets the outwardly supportive, not-so-privately manipulative town anchor become the open villain almost instantly. Killers of the Flower Moon isn't a whodunnit, but rather a living-with-knowing-who's-doing-it film. It tells its atrocity-filled tale about evil in plain sight carefully, exactingly and unhurriedly — earning each and every one of its 206 minutes — with narrative inevitably breeding suspense and emotional tension. Sporting an injured gut from combat, Ernest turns to chauffeuring to make a living under Hale's wing. When he begins driving the graceful and stately Mollie, his uncle has already laid out his scheme to get Osage property and wealth gushing their family's way. Still, everything about Ernest and Mollie's romance is genuine. DiCaprio and Gladstone are exquisite, including when their characters are flirting over cab rides and storm-backdropped sips of whiskey, resting their foreheads together in a gesture that gets them saying everything without saying anything, and stealing other silently happy moments. But the bodies keep mounting, with many of Mollie's nearest and dearest — such as her sisters Minnie (Jillian Dion, Alaska Daily), Anna (Cara Jade Myers, Rutherford Falls) and Reta (Janae Collins, Reservation Dogs), plus their mother Lizzie Q (Tantoo Cardinal, Three Pines) — in Hale's way. While the gangster-film label mightn't fit Killers of the Flower Moon as neatly as Mean Streets and company, this is still a gangster film. Scorsese is in his element, not that he's ever been out of it on any feature that isn't a gangster flick — but that's never the only place that he wants to be. As cinematographer Rodrigo Prieto (Barbie) lenses both the eye-catching landscape and dark interiors, editor Thelma Schoonmaker (who has done his splicing since Raging Bull) gives the movie its meticulous pacing and the now-late Robbie Robertson (who starred in Scorsese music documentary The Last Waltz as part of The Band) imparts a slinkily propulsive beat amid a pitch-perfectly anxious score, this is also a movie of blistering anger and interrogation. As the saga of Ernest, Mollie, Hale and pervasive death always thrums at its core, so does a reckoning. Killers of the Flower Moon carves into the injustices of America's past, plus their impact upon the present, to stress the blood and bones that the US was built upon. It sees how much about today ties back to its tragedy of oppression and slaughter, how distressingly familiar this situation is around the world and, in a stunner of a coda, how such realities are regularly exploited rather than addressed. Bold and brilliant, epic yet intimate, ambitious and absorbing, as meaningful as it is monumental, a quintessential Martin Scorsese movie: every single one applies to Killers of the Flower Moon. It's also rich and riveting in each touch and instant, from building its lived-in portrait of the 1920s midwest to the magnificent cast that also spans Jesse Plemons (Love & Death) as a federal investigator — even if the Birth of the FBI part of the feature's source material is scaled down — and both John Lithgow (Sharper) and Brendan Fraser (The Whale) as lawyers. Three and a half hours almost doesn't seem long enough to spend revelling in this superbly complicated film, or to confront the many difficult truths explored. It definitely isn't long enough with its three outstanding key players, who each turn in shattering portrayals whether playing it slick, nervy or soulful. Killers of the Flower Moon is steeped in so much heartwrenching death, and unforgettably so, yet it could't have been better brought to on-screen life.
UPDATE: SEPTEMBER 9, 2020 — Thornbury's bright orange ice cream shop is now delivering its frozen treats via Uber Eats. Choose from flavours like popcorn and caramel fudge, davidson's plum and ginger, and the (in)famous soy sauce number. Soy sauce ice cream, hot chips and a chic tangerine-coloured couch. It's definitely an experience at this retro-themed ice creamery in Melbourne's north. So what does soy sauce ice cream taste like? Exactly how you'd imagine: sweet and salty, delicious and a little disgusting all at the same time. And while the decor screams everything 70s with its bright orange and yellow palette, vintage chandeliers, velvet curtains, cane furniture, and pink and white floor tiles, the ice cream and sorbet selection is anything but nostalgic. [caption id="attachment_755688" align="alignnone" width="1920"] Julia Sansone[/caption] Sure, there are a few classics like strawberry and chocolate, but you might need to muster up the courage to try some of the weirder and wackier creations — such as the kalamata olive with white chocolate. This one tastes like a scoop of cold crushed olives from the deli, but with a hint of sweetness. Faultless if you're a lover of the briny morsels, but squeamish if you loathe them. [caption id="attachment_755686" align="alignnone" width="1920"] Julia Sansone[/caption] If you like Japanese flavours, then the yuzu and sake is a definite hit. It's light, zingy and sweet, and popular with most. And if native Australian ingredients get you excited, then look out for the davidson plum and ginger — refreshing, yet tart. A good option if you weren't born a sweet tooth, too. Despite the unconventional combos that might have you questioning your sanity, you can trust you're in good hands with Michael Baker and Daniel Mason from Henry Sugar; Tommy Peasnell from Dexter, Peaches, Takeaway Pizza and Cheek; and actress, writer and producer Maria Angelico at the helm. Baker also spent years perfecting his craft at a couple of Michelin-starred restaurants, so while the menu sorcery might be hard to swallow at first glance, don't fight the flavours and just enjoy the weirdness. Images: Julia Sansone
As a major player on Melbourne's street art scene for the past few years, odds are you're already familiar with some of Kaff-eine's work. Best known for her vibrant yet sinister illustrations often featuring both animals and children, this local girl has been slathering paint all over the inner suburbs since 2010. Now taking to fortyfivedownstairs, her solo exhibition Kalabaw gives you a rare indoor encounter with her work. Though Kaff-eine loves to explore surreal subject matter, it's clear that this latest collection of works is heavily influenced by some of her real-life experiences. After spending much of 2013 visiting and painting in Manila, the artist found herself inspired by much of the local community. Despite living in inner-city slums in relative poverty, the people she interacted with remained largely upbeat. Kalabaw — named after a type of water buffalo native to the Philippenes — retains much of the imagery from this trip featuring uncharacteristically realistic portraits of local children and expressive representations of animals and urban scenery. Despite the exhibition being free of charge for audiences, all proceeds the artist makes from the show will be put towards two related projects entitled Phoenix and Happyland. Looks like we have a whole lot to look forward to in 2015.
The Blackhearts & Sparrows crew only recently opened their new Smith Street event space Perry's, but already the site's calendar is filling fast with exciting, flavour-packed happenings. Not least of which is the upcoming feast headlined by George Wintle. Who's George Wintle, you ask? Well, he's only the rising star young-gun and Attica chef that was recently named among Victoria's Young Chef of the Year Award finalists for 2022. And on Sunday, March 20, you'll have the chance to taste just what this up-and-comer can do, at a four-course wine-matched long lunch. From 1pm, Wintle will descend on Perry's for a Sicilian-inspired feast, nodding to his own Nonna's influence with classic dishes like porchetta, tortellini en brodo and tiramisu. And of course, the food will be paired with a careful curation of wines courtesy of the Blackhearts team. Tickets for this one come in at $140, with a portion of proceeds going towards the chef's mental health-focused social initiative, Eat the Issue. [caption id="attachment_845519" align="alignnone" width="1920"] Perry's[/caption]
If you've ever worn a little black dress, then you owe Gabrielle 'Coco' Chanel a big thank you. Depending on your choice of suit, bag and perfume, you might owe her some gratitude there as well. The French designer's influence upon 20th-century fashion extends far and wide — and, even though she passed away in 1971, her imprint can be felt in the 21st century as well. So, when the NGV International sends some love her way at its next blockbuster exhibition, it'll have plenty to cover. Displaying at the St Kilda Road gallery from Sunday, December 5, 2021–Monday, April 25, 2022, Gabrielle Chanel. Fashion Manifesto will arrive fresh from its current stint at Paris' Palais Galliera. Its stop in Melbourne is its first international jaunt, in fact. On show will be pieces from the French venue, as well as from the Patrimoine de Chanel, the fashion house's heritage department. More than 100 garments will grace the NGV's walls and halls, with the exhibition charting her career. You'll also be able to see what Chanel achieved with perfume, jewellery and accessory design, too. Some pieces will date back more than a century, given that the fashion icon opened her first boutique in Deauville in 1912, before making the leap to her own Parisian couture house in 1918. Expect to check out everything from black threads — obviously — to lace gowns, wool jersey and tailored tweed suits, and an array of beaded garments. As you peer at Chanel's designs, you'll see how womenswear developed, and both how and why she's left a mark that still lingers today. [caption id="attachment_819495" align="aligncenter" width="1920"] Gabrielle Chanel (designer). Dress, spring–summer 1925, silk guipure lace, silk organza flower. Patrimoine de Chanel, Paris. Photo © Julien T. Hamon.[/caption] The NGV is also adding its own Chanel pieces to the exhibition, such as a white lace Evening dress that dates back to 1933, and a shirred red silk velvet and marabou-lined evening cape from around 1924–26. They'll form part of a showcase that's split into themed sections, with different parts devoted to her early work, the way her design language evolved in the 1920s and 1930s, the iconic scent that is Chanel No 5, and how the brand's pieces have favoured a look best described as "austere luxury". Also getting their own themed strands: suits, accessories and jewellery. To launch Gabrielle Chanel. Fashion Manifesto, which will be ticketed — and will be the first-ever exhibition in Australia that'll solely focus on Chanel's contributions to fashion and culture — the NGV is bringing back its black-tie NGV Gala, which'll take place on Saturday, December 4. [caption id="attachment_819496" align="aligncenter" width="1920"] Gabrielle Chanel, c. 1930s, photograph by André Kertész. Médiathèque de l'architecture et du patrimoine. Photo © Ministère de la Culture–Médiathèque del'architecture et du patrimoine, Dist. RMN-Grand Palais /André Kertész. Courtesy of the National Gallery of Victoria.[/caption] Announcing the exhibition, NGV Director Tony Ellwood AM said that "there is no bigger name in 20th-century fashion design than Gabrielle Chanel. Her originality, timelessness and elegance forged a radically modern vision of fashion and a singular style. Gabrielle Chanel. Fashion Manifesto will be expansive, visually sumptuous and will reveal the achievements and enduring legacy of the extraordinary French fashion designer." If you decide to wear a little black dress while you're checking out all things Chanel this summer, you'll likely have plenty of company. Gabrielle Chanel. Fashion Manifesto will display at the NGV International, 180 St Kilda Road, Melbourne from Sunday, December 5, 2021–Monday, April 25, 2022. For more information, or to buy tickets, head to the gallery's website. Top image: Anne Sainte-Marie in a Chanel suit, photograph by Henry Clarke, published in Vogue US, 1955, retouched by ARCP. ParisMusées. © Henry Clarke, ParisMusées /PalaisGalliera/ADAGP. Copyright Agency, 2021.
Move aside, Basque cheesecake — there's a new cult dessert dish that's arrived in Melbourne and people are flocking to get their fix. Introducing, Chic de Partie's boozy brioche: a fluffy pull-apart dessert creation, featuring buttery brioche that's been topped with sugar, baked until golden brown and served swimming in rich, booze-infused sauce. Michelin-trained pastry chef Aidan Robinson has had locals fawning over all his artisan sweet treats on Instagram for months now; with offerings ranging from macarons and Portuguese tarts, to elegant celebration cakes and towering croquembouche. But his signature boozy brioche has proved so popular, Robinson's now released a supercharged chocolate version in time for Father's Day. While all of this week's orders have already been snapped up, the indulgent chocolate boozy brioche will now be available throughout September, both for delivery and click-and-collect from the CBD. Each one is big enough to serve up to six hungry dessert fiends, clocking in at $100. That said, as a sweet incentive for getting the jab, Chic de Partie is offering a 10-percent discount off this particular dessert for anyone who can show proof they've had — or are booked in for — a COVID-19 vaccination. To order, shoot Chic de Partie a DM via Instagram. [caption id="attachment_824092" align="alignnone" width="1920"] By Gilbert Ganda[/caption] Top Images: Gilbert Ganda
First established during the 1850s gold rush, The Avoca Hotel — nestled in the Pyrenees wine region — relaunched in 2010 and embarked upon a new dynasty. Now widely recognised for its extensive wine list from the region's vineyards and the pub's subsequent support of its local community, The Avoca proudly wears a stream of accolades for its wines, hospitality and food. If you're not a wine person, there's also a huge range of local, regional and hard-to-find imported brews — and by no means is the food here an afterthought. Working closely with a wealth of local farmers and growers, The Avoca champions the region's produce while its kitchen garden also supplies several of the herbs and vegetables that make their way onto your plate. There are plenty of traditional food options but, for the adventurous eaters out there, it's not uncommon to see hares, eels, kidneys or even brains highlighted on the menu. After your feed, take that well-lined stomach on a cellar door tour of the region's wineries, including Blue Pyrenees Estate, Taltarni, Mount Avoca and more. Top image: Visit Victoria
Spring is only one month in, but we already know where and when St Jerome's Laneway Festival will help wrap up summer come February 2025. If you like ending the warmest part of the year with a day of tunes at one of the most-beloved music fests in Australia and New Zealand, grab your diary now: the event started by Danny Rogers and Jerome Borazio in the mid-00s has announced its dates and venues. Laneway has also revealed another pivotal detail — no, not the lineup yet, but when its roster of talent will drop. If you're all about who'll be playing, you'll find out on Wednesday, October 9, 2024. For now, just know that Laneway has locked in returns in Brisbane, Sydney, Adelaide, Melbourne, Perth and Auckland, all at familiar venues. Western Springs in Auckland is the first stop on Thursday, February 6, before the Australian dates kick off on Saturday, February 8 at Brisbane Showgrounds. Next comes stints at Sydney Showground on Sunday, February 9, then Melbourne's Flemington Park on Friday, February 14 — which is one way to spend Valentine's Day. After that, the festival hits up Bonython Park in Adelaide on Saturday, February 15, before finishing its 2025 leg on Sunday, February 16 at Wellington Square in Perth. Stormzy, Steve Lacy, Dominic Fike and Raye were among this year's Laneway headliners, while HAIM, Joji and Phoebe Bridgers did the honours in 2023 — if that helps you start speculating who might follow in their footsteps in 2025. Laneway joins the list of events locking in their comebacks after a tough year of cancellations across the music festival scene. Also returning: Golden Plains, Bluesfest (for the last time), Wildlands, Good Things, Lost Paradise, Beyond The Valley and Meredith. Laneway Festival 2025 Dates and Venues Thursday, February 6 – Western Springs, Auckland / Tāmaki Makaurau Saturday, February 8 — Brisbane Showgrounds, Brisbane / Turrbal Targun Sunday, February 9 — Sydney Showground, Sydney / Burramattagal Land & Wangal Land Friday, February 14 — Flemington Park, Melbourne / Wurundjeri Biik Saturday, February 15 — Bonython Park, Adelaide / Kaurna Yerta Sunday, February 16 — Wellington Square, Perth / Whadjuk Boodjar St Jerome's Laneway Festival is touring Australia and New Zealand in February 2025. Head to the festival's website for further details, and to register for ticket pre sales (which kick off at 10am local time on Tuesday, October 15, 2024) — and check back here for next year's lineup when it drops on Wednesday, October 9, 2024 Images: Charlie Hardy / Daniel Boud / Maclay Heriot / Cedric Tang.
Tavi Gevinson, the precocious pixie editrix, is finally manifesting her person on our shores. As a hugely successful teen blogger and founder of Rookie magazine, her entrepreneurial chutzpah is something of a phenomenon. Sydney Opera House Concert Hall will host Tavi's Big Big World, part of Ideas at the House, a program which presents conversations with influential personalities. She'll also be at the Melbourne Writers Festival. She's an old hand at public speaking, too, having already given a TED talk. Awash as the internet is with kids promoting their #personalbrands, it's cool to see someone so young found a publication like Rookie, a surprisingly down-to-earth and intellectual voice in the teen zine scene. Launched in 2011, it's festooned with the Tavi aesthetic, which, since her solo blogging days as a 13-year-old, has channelled '90s pop-goth and pretty pastels, movies like Ghost World and all the quirkiest developments of the fashion world. But it's Tavi's self-awareness and feminism that make her a compelling fashion commentator: never glossing over the fact that this is an industry which fetishises youth, she's all for female empowerment. We're looking forward to hearing her speak on a local stage. Book here (from July 12) to see Tavi speak at the Opera House on August 18, and here for her August 23 appearance in Melbourne.
Sure, you're well familiar with the State Library of Victoria's impressive facade, rising majestically over Swanston Street, but how often do you venture inside? There's enough within the building to keep you entertained for hours. Start with the six-storey reading room, devouring pages and exploring the shelves beneath the stunning, domed ceiling. After that, take in one of the library's thought-provoking free exhibitions, currently covering everything from the library's rarest and most beautiful tomes, to Angel Lynkushka's portrait series of Gippsland Aboriginal Elders, artists and leaders.
A new food/art installation in Tokyo is offering a multi-sensory eating experience that combines delicate Japanese cuisine with stunning projections and sound. Located inside Sagaya, a Saga beef restaurant in the city's Ginza district, the permanent installation, titled Worlds Unleashed and then Connecting, was created by art collective teamlab and serves just eight guests each day. Projections depicting Japanese scenery and wildlife illuminate the walls and table, and react different to each artfully presented dish on the rotating monthly menu. https://www.youtube.com/watch?v=JLYxixvQ_hw "When a dish is placed on the table, the world contained within the dish is unleashed, unfolding onto the table and into the surrounding space," explains the collective. "A bird released from one dish can perch on the branch of a tree unleashed from another. The trees that grow from each dish are not identical; their sizes and shapes are affected by the worlds unleashed by the other dishes on the table. These unleashed worlds are also affected by your behaviour. If you stand still, a tiny bird might alight on your hand; if you move suddenly, it might fly away." Pretty lofty, but we're never opposed to ambitious creativity on our plates. Via Designboom.
If your favourite kind of art is the stuff that's contemporary, independent and far from boring, your collection could soon be in for a boost. After a brief hiatus, The Other Art Fair is taking over Port Melbourne's The Timber Yard from Thursday, January 30–Sunday, February 2, delivering a dynamic curation of artwork, plus installations, performances, workshops and more. A far cry from the pretentious art fairs of old, Saatchi Art's touring event will this year showcase works from over 100 contemporary artists, with the supporting program covering everything from live tattooing to immersive art installations — this year's is a huge rave cave. You'll catch eye-opening pieces from established and emerging Aussie talent, including Steve Leadbeater, Katherine Gailer, Simone Thomson and others. And if you fancy browsing artworks with a drink in hand, you can drop by the bar for wine, beer and spirits. There'll be an array of food stalls to choose from throughout the four-day art fest.
For local distiller and qualified medical laboratory scientist Brogan Carr, making gin hits that sweet spot right between science and art. Along with her father Simon, Carr's created three signature gins, setting out to show the world just how diverse this spirit can be. There's the juniper-forward Australia Dry Gin dubbed Everyday Salvation, a fruity new-age number called Evening Light, and the navy strength edition called Royal Blood — a savoury concoction that pulls its flavours from Australian sea parsley, saltbush and roasted wattle seed. And it's with this character-filled trio that the Carrs have launched their new Richmond gin making operation and tasting bar to the public. North Street is now home to the modern, industrial but warm, Brogan's Way Distillery. It's a welcoming space that's primed for sipping gin when the bar opens on Friday, Saturday and Sunday nights — whether enjoyed straight, as part of a tasting flight, or infused into one of the exclusive cocktails. A collaborative effort between Brogan and the legendary Shaun Byrne (Gin Palace, co-founder of Maidenii Vermouth), the cocktail menu features bitters, aperitifs and digestifs also made by the talented gin-maker. And you'll find a strong lineup of tonics from Strangelove and Capi, carefully chosen to complement those house tipples. Visitors will be able to get stuck into a range of grazing platters, antipasto boards and charcuterie plates, starring local ingredients, even including pickles made using the distillery's spent botanicals.
