On most days of the year, a film festival is in full swing somewhere in Australia. In plenty of places at plenty of times, more than one is competing for cinephiles' eyeballs and spoiling movie buffs for choice. But there's nothing quite like the Melbourne International Film Festival. In terms of duration, it's the country's longest, treating film fans to 18 cinema-filled days of big-screen gems. Naturally, it boasts the biggest program as a result — a lineup that, in 2019, spanned everything from powerful documentaries about racism in Australia, to Oscar-winners fighting zombies, to huge Sundance hits. It's the kind of festival that couldn't be more immersive — whether you're camping out in one theatre, enjoying the comfortable chairs and giant screen, for as long as you can; or rushing around the inner-city between multiple venues day-in, day-out. And, it's the type of fest that's full of surprises too, with many of its highlights lurking beyond its best-known names. As always, we went, we watched and we survived. Now, we're here to report back. After many, many hours spent feasting on films, here are our picks of the bunch. If they weren't on your viewing list before MIFF, add 'em to your pile to chase down whenever and wherever they next pop up. BEST https://www.youtube.com/watch?v=Td0oBCWO_I4 THE ART OF SELF-DEFENSE The streets aren't safe for accountant Casey Evans (Jesse Eisenberg) and, in Riley Stearns' caustically funny satire The Art of Self-Defence, toxic masculinity isn't safe either. Leaning into machismo in order to tear it apart in a devastatingly dark, effective and hilarious fashion, this offbeat gem charts the aftermath of an eventful stroll to the corner store, with its mild-mannered protagonist — who already feels out of place amongst his constantly posturing male colleagues — brutally attacked while walking home one night. So, he does what plenty of folks might, enrolling in a karate class overseen by a charismatic sensei (Alessandro Nivola) and formidable second-in-charge (Imogen Poots). Taking to his subject with zero mercy, Stearns' blows prove as sharp as they are savage, with a knowing Eisenberg oh-so-instrumental in making it all work. And, work it does. LES MISERABLES Lady Ly's crime-thriller takes its name from a very obvious source, and its Montfermeil setting and exploration of class clashes as well. In the process, it openly invites comparisons to Victor Hugo's famous, much-adapted work, all while twisting its various components into its own compelling and confronting piece of cinema. Taking to the banlieues of Paris, Les Misérables spends its time flitting between cops, kids and gangs, as tensions between all three reach boiling point — over the usual prejudices, long-held beefs, stolen lions, a wrongful shooting and some highly sought-after drone footage. Unrelentingly terse, deftly choreographed and unafraid to filter real-world unrest through every frame, it's not always subtle; however, given the complicated terrain that it traverses, Ly's film needn't be. What it occasionally lacks in nuance, it feverishly makes up for both emotional and visceral power. https://www.youtube.com/watch?v=UoncL357qsA LONG DAY'S JOURNEY INTO NIGHT One of cinema's most polarising inventions, 3D movies have always proven a mixed bag. When they work, they're astonishing. When they don't, they can instantly turn you off the entire gimmick. When Chinese director Bi Gan deploys the technique in Long Day's Journey Into Night, however, it's a sight not only to behold, but to luxuriate in. The poet-turned-filmmaker ends his contemplative drama with a 3D scene that's also a 55-minute single take, and it couldn't be more glorious. The rest of the movie, which traces a man's return to China's Guizhou province to search for the woman he loves, is just as entrancing in its patient narrative and striking images. Both otherworldly and dreamlike, it demonstrates that Gan's debut Kaili Blues was hardly a one-off — but watching the feature's protagonist roam around his hometown, and following the camera along with him, is truly a 3D cinema experience that isn't easily forgotten. https://www.youtube.com/watch?v=rO5Q6MiUdPI A BROTHER'S LOVE Amusing, delightful, awkward and relatable all at once, A Brother's Love doesn't just understand the state of existential turmoil that bears down on most of us — it happily, savvily dwells in it. Sophia (Anne-Élisabeth Bossé) has hit her mid-30s, has just received a PhD that won't get her a job, and has no choice but to move in with her older brother Karim (Patrick Hivon), whose life is as orderly as hers is chaotic. When he starts dating her gynaecologist, Sophia goes into freefall. Well, she plummets further. The pair have always been close, but this new development completely unsettles her sense of self. Writing as well as directing, French-Canadian actor-turned-filmmaker Monia Chokri clearly learned a thing or two from featuring in Xavier Dolan's breakout hit Heartbeats. In her first stint behind the lens, she blends spot-on insights with an energetic style (not to mention an outstanding performance by Bossé), resulting in a film that always feels both unique and universal. https://www.youtube.com/watch?v=0Hz_I_Y1Hus BEANPOLE Picking up two prizes in the Un Certain Regard section at this year's Cannes Film Festival, Beanpole delves into the minds and lives of two women trying to find their place in post-World War II Russia. Nothing is easy in Leningrad in 1945, but for nurse Iya (Viktoria Miroshnichenko) and returning soldier Masha (Vasilisa Perelygina), everything is fraught with danger and complexity. That proves true whether the noticeably tall Iya is trying to cope with the impact of post-traumatic stress disorder, or endeavouring to raise an orphaned baby — and when they're both attempting to negotiate a city and a society that's been blown apart as well. Possessing talent, wisdom and a meticulous approach to the art of filmmaking that ranges beyond his age, 28-year-old Russian director Kantemir Balagov crafts a drama that's equally heart-wrenching and exquisite, descriptions that also apply to the movie's exacting visuals and stunning performances. https://www.youtube.com/watch?v=eXl1vjK4040 THEM THAT FOLLOW Matters of faith sit at the heart of Them That Follow, a superbly acted exploration of expectations and opportunities in a mountainside religious community. Overseeing his Appalachian flock, pastor Lemuel Childs (Walton Goggins) devoutly adheres to his Pentecostal beliefs, which focus on worshipping and handling snakes. But, caught between the man she loves (Thomas Mann) and the one she's supposed to marry (Lewis Pullman), preacher's daughter Mara (Alice Englert) begins to question their way of life and its strict requirements, especially when it comes to her own agency, as well as matters of living and dying. In their feature debut, writer/directors Britt Poulton and Dan Madison Savage balance slow-burning thrills with an exceptional handling of mood and an intimate devotion to their characters — with assistance not only from the stellar Goggins and Englert, but from Oscar-winner Olivia Colman and Booksmart star Kaitlyn Dever, too. WEIRDEST https://www.youtube.com/watch?v=g9KCx60RMB8 VIOLENCE VOYAGER The result of one Japanese filmmaker's determined and distinctive vision, Violence Voyager is a movie like few others. Writer/director/cinematographer/editor Ujicha spins a story about two school kids who wander into a seemingly abandoned theme park, only to discover human-like robots wandering around doing nefarious deeds, as well an evil scientist plotting, scheming and experimenting behind the scenes. That might sound fairly familiar; however this mixture of sci-fi and body horror comes to life via seemingly innocent, innocuous-looking paper puppetry — aka intricate 2D animation — with more than a few spurts of real liquids and fumes added for good measure. It's inventive, entertaining and best watched late, in a darkened room, with an audience in the exact right mood for its weird and wonderful delights. https://www.youtube.com/watch?v=6FsaTqbGR7A VIVARIUM Jesse Eisenberg and Imogen Poots join forces again. In fact, they get stuck together. Playing a young couple trying to navigate the housing market and buy their first home, the pair are strong-armed into checking out a new suburban development by an immensely odd salesman (Jonathan Aris). Once they tour the place — and rightfully find its template-like design creepy, as well as its exact resemblance to every other house in the estate — they then realise that they can't leave. Where writer/director Lorcan Finnegan takes his characters from there is best discovered by watching, but it's an imaginative, madcap ride that has plenty to say about the kinds of supposedly perfect lives society pushes us towards. If you think settling down in a bland street, devoting your life to the next generation and getting caught in a repetitive routine is the stuff of nightmares, Vivarium knows the feeling. Never overplaying its hand, this impressive, economical genre piece also benefits from excellent performances from its two stars. MOST SURPRISING THE GRAND BIZARRE A vibrant collage of stop-motion imagery that's wholly focused on textiles, The Grand Bizarre trades in immersion. Each of its 16mm frames bursts with colour and texture, as first-time feature director Jodie Mack follows swathes of fabric around the world — and, while time is spent in factories where said materials are fashioned by machines but designed to look handmade, this isn't a standard documentary. Rather, the film twists its visuals into a sensory piece of art, and does the same with its assemblage of beat-fuelled tracks and everyday sounds as well. This is cinema at its most experimental and hypnotising, while also asking viewers to confront the ins and outs of the global fabric trade, and reassess and recontextualise items so instrumental in our lives but often given so little thought or attention. https://www.youtube.com/watch?v=qSALRP1mZNQ THE BEACH BUM Matthew McConaughey plays a perennially stoned poet. Harmony Korine makes his first film since Spring Breakers. Yes, it's quite the match. Charting the Florida-set misadventures of bedraggled slacker Moondog, The Beach Bum works to the strengths of both its star and its director, following its roguish protagonist as he tries to get by — and rendering his rebellious, anarchic exploits in the vivid hues and expressive visuals that Korine used so well in his last movie. The filmmaker gets ample help from his returning director of photography, Benoît Debie, with the pair at their most indulgent here. So is McConaughey, in a role that he was clearly born to inhabit. And yet, even as The Beach Bum ebbs and flows, weaving through a narrative that's purposefully unfocused, it remains perceptive and effective in probing and satirising the hedonism and materialism it gleefully steeps itself in. If your favourite film isn't on our list, that could be because we've raved about it before. Before the fest, we saw and loved Monos, Memory — The Origins of Alien, I Was At Home, But, Extra Ordinary and Los Reyes — and Share made our streaming recommendations for last month as well. From our rundown of Australian titles to check out this year, The Nightingale and Emu Runner both screened at MIFF. And, from our Berlinale highlights, so did The Souvenir, Amazing Grace, Ghost Town Anthology, Skin and Buoyancy as well. Back at the Sydney Film Festival, we couldn't recommend In My Blood It Runs, In Fabric, Scheme Birds and Happy New Year, Colin Burstead highly enough. Once that fest was over, we also added Pain and Glory, Portrait of a Lady on Fire, Judy and Punch, Ray & Liz, Bacurau, Come to Daddy, Dirty God and The Dead Don't Die to our picks.
When Jamie Campbell wore a dress to his high school dance, he couldn't have known what would come next. In 2011, his story hit the small screen thanks to TV documentary Jamie — Drag Queen at Sixteen. In 2017, it became an acclaimed West End stage musical, nabbing five Olivier Award nominations in the process. And in 2020, the show is finally heading to Australia for a huge national tour. Premiering at the Sydney Opera House in July before hitting up Western Sydney, Wyong, Melbourne, Brisbane, Canberra, Perth and Adelaide between September 2020–February 2021, Everybody's Talking About Jamie tells Jamie's coming-of-age tale, complete with an upbeat pop score by The Feeling's Dan Gillespie Sells. Drawn from reality but universal in its emotions and resonance, it's a story of friendship, being yourself and overcoming obstacles such as bullies and prejudice. Here, Jamie New is a 16-year-old living in a council estate in Sheffield in Northern England. He's teased about his sexuality by his classmates, but dreams of attending prom in drag. And, despite the taunting and the small-minded attitudes around him — except from his supportive mum and his loyal friends — he's determined to make that dream a reality. In the Australian production, Fan Girls' James Majoos will play Jamie and Helen Dallimore will play his mother, with the rest of the cast including Simon Burke, Elise McCann, Shubshri Kandiah, Christina O'Neill and Harry Targett. The musical's Aussie run couldn't be better timed, too, with a movie adaptation of Everybody's Talking About Jamie due to hit local cinemas in early December. EVERYBODY'S TALKING ABOUT JAMIE 2020-21 AUSTRALIAN SEASON Sydney — Saturday, July 18–Sunday, August 30, Drama Theatre, Sydney Opera House Western Sydney — Friday, September 4–Sunday, September 13, Sydney Coliseum Theatre, West HQ Wyong — Monday, September 28–Sunday, October 4, The Art House Melbourne — Friday, October 9–Sunday, October 25, Arts Centre Melbourne Brisbane — Friday, November 13–Sunday, November 29, QPAC Canberra — Friday, December 11–Sunday, December 13, Canberra Theatre Centre Perth — Friday, January 22–Sunday, January 31, 2021, His Majesty's Theatre Adelaide — Friday, February 5–Sunday, February 14, 2021, Her Majesty's Theatre Check out the trailer below: https://www.youtube.com/watch?v=Z3mjSUeOg5g&feature=youtu.be Everybody's Talking About Jamie's Australian season will premiere at the Sydney Opera House's Drama Theatre between Saturday, July 18–Sunday, August 30, before touring to Western Sydney from Friday, September 4–Sunday, September 13; Wyong from Monday, September 28–Sunday, October 4; Melbourne from Friday, October 9–Sunday, October 25; Brisbane from Friday, November 13–Sunday, November 29; Canberra from Friday, December 11–Sunday, December 13; Perth from Friday, January 22–Sunday, January 31, 2021 and Adelaide from Friday, February 5–Sunday, February 14, 2021. To join the ticket waitlist, visit the production's website — with Sydney ticket pre-sales starting at 9am on Wednesday, March 11 before general public sales open at 9am on Tuesday, March 17. Top images: Alistair Muir / Johan Persson.
In July, four years after Beijing authorities confiscated his passport and banned him from leaving China, Ai Weiwei got back his right to travel. And this week he'll be using it, as he travels to Melbourne to speak at the opening of the National Gallery of Victoria's Andy Warhol | Ai Weiwei exhibition. Yes, that’s right — Ai Weiwei will be appearing in the flesh. In Australia. You'll find him at the NGV on Monday, December 7 at 6.30pm, where he'll be having a mighty chat with the ABC's Virginia Trioli. Needless to say, Andy Warhol | Ai Weiwei is the NGV's summer blockbuster. The gallery developed the exhibition in collaboration with the Andy Warhol Museum, Pittsburgh and, of course, Ai Weiwei himself. The show aims to explore the concepts that inspired both artists. Gear up for more than 300 works, including never-before-seen pieces by Warhol, brand new commissions from Ai Weiwei and installations that’ll devour you. Pretty much every medium you can think of comes into play – from painting and sculpture to film and photography to music and social media. Tickets for Ai Weiwei's talk will go on sale to the public at 10am on Wednesday, December 2. And we reckon they'll sell out at Tay Swift speed — so you're going to have to be quick on the uptake. If you're a lucky, lucky member of the NGV, you can get in early in their members pre-sale, from 10am the day before. Ai Weiwei in Conversation at The National Gallery of Victoria will take place on Monday, December 7 at 6.30pm at NGV International. You can buy tickets here.
New voices, same interdimensional chaos: that's what Rick and Morty will start beaming in October. The sci-fi animated sitcom has locked in its return date for season seven, hitting on Sunday, October 15 in America. That's Monday, October 16 Down Under, where it gets schwifty in your streaming queue via Netflix. If you're wondering what kinds of chaos are in store this time around, Adult Swim — which airs the series in the US — isn't giving much away as yet. "We ride together. We die together. We're buried in the backyard together," it teased in a first poster for the new season. And if you're also wondering how the show's titular chaotic scientist and his grandson will sound the new episodes, that hasn't yet been announced. Earlier in the year, the network dropped Justin Roiland due to domestic violence charges. View this post on Instagram A post shared by Rick and Morty (@rickandmorty) Anything can happen in Rick and Morty, with a change of vocal tones for Rick Sanchez and Morty Smith one of the least out-there developments within the show's narrative. Given that the show clearly gleaned inspiration from Back to the Future, there's some obvious dream casting right there just waiting to happen — but whoever gets the gigs will be lending their tones to a genius scientist going on wild adventures with a high schooler. Viewers can still expect the show's eponymous pair to keep wreaking havoc, and the series to keep zipping between as many universes as it can. And, for Rick and Morty's hijinks to still draw in Morty's mother Beth (Sarah Chalke, Firefly Lane), father Jerry (Chris Parnell, Archer) and sister Summer (Spencer Grammer, Tell Me a Story). Spanning ten episodes, season seven will hit everywhere that it can in this dimension — in more than 134 countries, and also in 38 languages. If you're keen to rejoin the smartest Rick and Morty-est Morty in the universe, start getting excited. There's no trailer for Rick and Morty's seventh season yet — we'll update you when one arrives. Rick and Morty's seventh season will premiere globally on Monday, October 16 Down Under. It streams via Netflix in Australia and New Zealand.
Living up to its splendid first date with audiences has never been a problem for Starstruck. When the Rose Matafeo (Baby Done)-starring BBC and HBO series first strode into streaming queues in 2021, its initial episode was an all-timer in the charming stakes, as was the show's entire six-instalment debut season. When Starstruck returned for a second run in 2022, its next go-around instantly proved as much of a smart, savvy and charismatic delight. Streaming via ABC iView from 9.30pm on Wednesday, September 6 and in New Zealand via TVNZ+ since 8.30pm on Saturday, September 2, season three continues the trend — and keeps demonstrating that no romantic rendezvous, no matter how idyllic, can just keep repeating itself. Plot-wise, Starstruck has always had one couple at its centre: New Zealander-in-London Jessie (Matafeo) and British actor Tom (Nikesh Patel, Four Weddings and a Funeral). Frequently, however, they're not actually together, with the show charting the ins and outs of a complicated relationship that started with a New Year's Eve meet-cute and one-night stand. The hook from the get-go: that Tom is an A-list star, which Jessie doesn't know until after they've hooked up. So, Starstruck asks what it's like to live the Notting Hill life. In season three, more accurately, it ponders what comes after that's been and gone. Season two might've finished with a scene right out of The Notebook, and with echoes of Bridget Jones' Diary as well, but its follow-up quickly establishes that Jessie and Tom didn't get their happy-ever-after ending — they're no longer together, and haven't been for some time. Starstruck season three starts with a bold move, spending a few minutes zipping through Jessie and Tom's romance since season two via a heartbreaking montage. That choice is also deeply fitting for a show that's exceptional at endings. One of the best newcomers of its debut year and best returning series of its second, Starstruck's excellence is like a perfect bouquet, with vibrancy blooming everywhere — in Matafeo's lead performance, the show's ability to unpack a genre it clearly loves, its glorious nods to rom-coms past, and its astute insights into 2020s-era dating and life, to name a mere few. How its star, creator and co-writer wrapped up both season one and two was equally as sublime, though. So, season three goes all in on something cherished and blissful approaching its conclusion. If that train of thought has you wondering if this is it for Starstruck itself, a fourth season hasn't yet been locked in. The green light for season three came four months after season two dropped, so not having a future confirmed so far isn't an ominous sign for fans. Matafeo and co-scribes Alice Snedden and Nic Sampson have always treated their series as something to treasure there and then, too; it's the epitome of revelling in the here and now, as anyone in love should. No one knows where life will take them, including Starstruck's guiding hands. So, every season could put a bow on the tale and say farewell — but unboxing more after each finale, whether it involves a The Graduate-style stint on a bus or frolicking in a pond, wouldn't destroy the storytelling, either. Thanks its rush through Jessie and Tom's attempts to make their relationship work, then its huge leap forward afterwards, as much time has passed in Starstruck's world as it has for viewers. Two weddings now loom over the narrative: Jessie's now-pregnant best friend Kate's (Emma Sidi, Black Ops) to Ian (Al Roberts, What We Do in the Shadows), and Tom's to his fellow-actor fiancée Clem (Constance Labbé, Balthazar). It's at the first set of nuptials that Jessie and Tom cross paths again, sparking a torrent of emotions that neither has worked past (some knowingly, some not). While awkwardly trying to avoid her ex and endeavouring to make it appear that she has powered on happily without him, Jessie also connects with kindly Scottish electrician Liam (Lorne MacFadyen, Operation Mincemeat). Chronicling Jessie's blossoming bond with someone other than Tom might seem like another of Starstruck's bold season-three moves, but it's a vintage choice for a series that's obsessed with tearing into rom-com tropes. The idea that there's only one big, sweeping, heart-aflutter, existence-defining affair in anyone's life is foundational in the romantic-comedy genre, and yet that's rarely a guaranteed outcome. In a six-episode batch that's as bingeable as ever, Starstruck grapples with grappling with that fact. Jessie and Tom keep tumbling back into each other's orbits, finding themselves caught between yearning for yesterday, wishing today was different and forging a fresh tomorrow — and tossing and turning over which outcome they want. Deepening their dilemma is Starstruck's focus on reaching that late-20s, early-30s stage where committing and picking a way forward is the norm. Indeed, instead of the tension between the celebrity realm and everyday existence, this season's main clash arises from the contrast between getting settled and still feeling like you'll never have it together. There Starstruck goes, interrogating rom-com conventions again, including the notion that falling in love immediately solves or smooths life's other messes. It's no wonder that the sitcom has become one of the most-relatable romantic comedies there is — and best all round. In the show's writing, performances and directing alike, Matafeo and company understand why their chosen genre spins the fantasies it does. They're well-aware why audiences swoon over such tales as well. And, they're eager to face the reality, but with warmth, humour and empathy. Starstruck's version of laying the truth bare: a sidesplittingly frank chat directed Jessie's way, where she's told that her life mightn't be living up to her wildest dreams but, given that she has a house and a job — and she's "not even that bad of a person" — it's actually not awful. There goes Starstruck's main season-three takeaway again, as given voice: "just appreciate what you have while you have it". Being grateful for this wonderful sitcom as a whole, and for Matafeo's luminous turn at its centre, isn't just easy — it's automatic. Season after season, Starstruck keeps painting a portrait of love, life, friendship and chaos that's both clear-eyed and rosily affectionate, complete with fleshed-out and lived-in performances that embrace the fact that every person and every romance has flaws and joys in tandem. This far in, Jessie, Tom, Kate, their pals and partners are as rich and resonant as any group of long-term friends and acquaintances on-screen and -off. Matafeo, Patel, Sidi and their co-stars' efforts are also that emotionally honest. Everything about Starstruck keeps evolving, too, other than how stellar it has always been. Check out the trailer for Starstruck season three below: Starstruck season three streams in Australia via ABC iView from 9.30pm on Wednesday, September 6, and in New Zealand via TVNZ+ from 8.30pm on Saturday, September 2. Starstruck's first and second seasons are also available to stream in Australia via ABC iView and in New Zealand via TVNZ+. Read our full review of Starstruck's first season — and our full review of its second season, too. Images: Mark Johnson/HBO Max.
Maybe Sammy is no stranger to winning an award. The Sydney bar has been named in the top 50 bars in the world every year since 2019 and took out the Best International Bar Team at the Tales of the Cocktail 2022 Spirited Awards. Now, all of those accolades have culminated in it taking out the top spot in the data-driven Top 500 Bars list for 2023. The international award compiles its list based on over 2000 sources, including hospitality experts, journalists, online reviews, search engine results and social media. It announced the list in Paris on the morning of Monday, November 13, Australian time, and the boundary-pushing Harbour City cocktail bar Maybe Sammy came out on top, being named the number-one bar in the world. [caption id="attachment_639976" align="alignnone" width="1920"] Black Pearl (#119)[/caption] Maybe Sammy was listed at number 17 in the 2022 list, jumping all the way to the top spot following another busy year for the inner-city haunt. Maybe Sammy Venue Manager Sarah Proietti and Bar Manager Hunter Gregory were in attendance to accept the award, with the venue beating out acclaimed bars around the world for the title. New York's Double Chicken Please, Barcelona's Paradiso, Paris' Little Red Door and Singapore's Jigger & Pony rounded out the top five, while 22 other Australian bars made the top 500. [caption id="attachment_707971" align="alignnone" width="1920"] The Baxter Inn (#87), Leticia Almeida[/caption] The next highest spot on the list from Down Under was The Baxter Inn at 87, followed by Black Pearl at 119, Re- at 122, Cantina OK at 132 and Dean and Nancy on 22 at 134. The Gresham Bar was Brisbane's top-ranked venue, clocking in at number 475, while Adelaide's Maybe Mae snuck into the list at 485. "To be named number-one bar in the world by the Top 500 Bars feels very surreal," said Maybe Sammy co-founder Stefano Catino. "It's such an honour for our bar team to be recognised for the time and effort they put into making the experience at Maybe Sammy exceptional, and for that to be acknowledged on a global scale is so humbling." It follows a huge year for Maybe Sammy, which included the opening of the team's Paddington tequila bar El Primo Sanchez, a new Maybe Frank outpost at The Federal, and the launch of Maybe Cocktail Festival featuring guest bartenders from international cocktail bars — many of which also made the Top 500 Bars list. [caption id="attachment_795641" align="alignnone" width="1920"] The Gresham (#475), Millie Tang[/caption] For the full Top 500 Bars list for 2023, head to the ranking's website.
If you've ever watched a David Attenborough documentary about the planet and wished it was sillier and stupider, to the point of being entertainingly ridiculous and ridiculously entertaining alike, then Netflix comes bearing wonderful news. Actually, the BBC got there first, airing history-of-the-world mockumentary Cunk on Earth back in September 2022. Glorious things come to waiting viewers Down Under now, however — and this gleefully, delightfully absurd take on human civilisation from its earliest days till now, spanning cave paintings, Roman empires, Star Wars' empire, 1989 Belgian techno anthem 'Pump Up the Jam' and more, is one of the best shows to join Netflix in Australia and New Zealand in 2023 so far. This sometimes Technotronic-soundtracked five-part series' beat? Surveying how humanity came to its present state, stretching back through species' origins and evolution, and pondering everything from whether the Egyptian pyramids were built from the top down to the Cold War bringing about the "Soviet onion". The audience's guide across this condensed and comic history is the tweed-wearing Philomena Cunk, who has the steady voice of seasoned doco presenter down pat, plus the solemn gaze, but is firmly a fictional — and satirical — character. Comedian Diane Morgan first started playing the misinformed interviewer in 2013, in Charlie Brooker's Weekly Wipe, with Black Mirror creator Brooker behind Cunk on Earth as well. Over the past decade, Cunk has brought her odd questions to 2016's one-off Cunk on Shakespeare and Cunk on Christmas, and 2018's also five-instalment Cunk on Britain. Then, in Brooker's Death to 2020 and Death to 2021, two annual looks back at life during the pandemic, Morgan played Cunk-like everywoman Gemma Nerrick — aka the spoof specials' average person among its comic experts. That's Cunk's remit as well. She poses enquiries and makes observations that academics on various branches of history, plus archaeologists, biologists, engineers and others, wouldn't expect to be asked by their peers or serious interviewers. In fact, they wouldn't anticipate being asked Cunk's questions by anyone, really, except perhaps very young children. "If you want to talk about Russian Soviet vegetables, we can," is one response that Cunk's incorrect queries garner, this one after accusations of mansplaining when she's told she likely means the Soviet Union. When she isn't uttering outlandish questions, she's often simply demanding OTT statements that'll help the show go viral, such as an exchange with another boffin where she requests a pithy soundbite stating that Jesus Christ was "the first celebrity victim of cancel culture". Or, in classic history doco style, Cunk is walking and talking, her eyes trained on the camera and scenic and/or important locales stretching out behind her — and, elsewhere, narrating while remaining unseen over the same type of images. Much of Cunk on Earth's hilarity comes from its take on the past, and on humanity, as well as the series' love of the ludicrous — as delivered with Cunk's dry, droll and unflappable demeanour (unless she's learning that Laika, the first dog in space, didn't make it home). She posits with the straightest of faces that the human brain is made of pipes, and that Beethoven's 'Symphony No 5' has lyrics that just repeat the word "dumb" over and over. She has thoughts on the worst Romans, in ancient times and now; connects hieroglyphics to emojis and likens mummification to Gwyneth Paltrow's spa treatments; and asks "was early man made out of the same sort of meat as us?" while then wondering if human flesh ever had a pork- or beef-like moniker. Morgan's performance is a marvel, and a perceptive portrait of couldn't-care-less arrogance, ignorance and certainty that plays as an easy-but-still-smart caricature of a growing attitude prevalent online today. With one character, she's as much of a canny and cutting comedic force as Sacha Baron Cohen has proven with Ali G, Borat, Bruno and the various figures in 2018 mockumentary series Who Is America?. Cunk, in all of her on-screen appearances, adopts the same basic format as Baron Cohen's alter egos — proposing the absurd to both parody and interrogate. Her throwaway comment about the pyramids being designed the way they are to "stop homeless people from sleeping on them" says plenty about society's treatment of folks doing it tough, and she skewers the overuse and misattribution of quotes by stating that Aristotle said "dance like no one is watching". As brilliant as Morgan's deadpan turn is, and as committed as the Inside No 9, Motherland and Mandy actor is, Cunk on Earth is equally reliant upon its interviewees. They each take their task seriously — the real-life experts aren't here to court laughs — but they're also willing to use Cunk's silly queries and comments as a jumping-off point. The question about the brain's pipes inspires a considered and accessible explanation of two different schools of philosophical thought, for instance. Often, Cunk's naive musings spark tidbits and corrections that do exactly what an Attenborough-style show like this sincerely and earnestly would: inform. Of course, for every enlightening answer offered — whether recounting something that's common knowledge anyway or diving deeper — Cunk on Earth has Cunk being Cunk. She asks about ancient Greeks before declaring she couldn't give a shit, segues off on tangents about her ex-boyfriend Paul to counter her panel of experts, and pronounces words incorrectly to humorous effect (even if nothing beats her butchering of Camelot in Cunk on Britain, which begets questions about King Arthur's semen production). A series like this is a masterclass in juggling, with everything from a Black Mirror-leaning skit about Beethoven resurrected inside a smart speaker to a recreation of a Dark Ages fray purely through sound also thrown in. Here, this very series is flat-out masterful — and tremendously funny. Check out the trailer for Cunk on Earth below: Cunk on Earth streams via Netflix. Images: Jonathan Browning.
From the ruthless world of magazine publishing to the blood and guts of an Aussie hens weekend gone supremely wrong: that's been Aisha Dee's journey of late. There's far more to the Gold Coast-born actor's career so far, of course, including coming to fame as a teenager back in 2008 courtesy of The Saddle Club, subsequent parts on Dead Gorgeous and Sweet/Vicious, and showing up in St Vincent-starring satire The Nowhere Inn. Still, on screens big and small alike, she's been garnering attention for navigating pressure-filled situations — and revelling in them. In Sissy, her latest role and her return to Australia after years working in the US, Dee is in positively savage territory. She plays the titular character, better known as @SincerelyCecilia on Instagram to the tune of 200,000-plus followers. Liking and subscribing is what her devotees do all day, responding to her calming and inspiring missives about being yourself and finding your bliss, and Cecilia's whole sense of self is built on that online adoration. Sissy is a comedy, too, with writer/director duo Hannah Barlow and Kane Senes having ample fun parodying the wellness and influencer industries. That said, when the movie's namesake attends a bachelorette shindig for her long-lost childhood BFF, old torments resurface and this proves firmly a horror flick as well. Dee wasn't initially approached to play Cecilia. When the script came her way, she was earmarked for Fran, fiancée to Emma, Cecilia's primary school bestie. But Dee felt an instant bond with Sissy's eponymous figure. She felt protective of her. "Honestly, I read the script and immediately I felt like I had to defend Cecilia," she tells Concrete Playground. "I cared so deeply for her. I really felt really connected to her and had a lot of empathy for what she was experiencing in the moment, and how easy it would be under those circumstances to kind of just slip and fall." Once you've seen Sissy, Dee's words obviously come with a caveat: clearly, she hasn't found herself in the exact same situation, behaving in the exact same way. But in a film that happily, smartly and entertainingly rips into a whole heap of targets — with humour and as a slasher flick alike — she makes Cecilia a compelling protagonist amid all the chaos. It's a bold performance, because The Bold Type isn't just an entry on Dee's resume. The international film festival circuit heartily agrees, with Sissy premiering at SXSW 2022, enjoying its Australian premiere in June at the Sydney Film Festival, and doing the rounds everywhere from Melbourne and Perth to South Korea and Scotland since. Dee hit the Harbour City midyear with the movie, which is now in cinemas across Australia — and chatted to us about social media, knowing that she had to play Cecilia, preparing for the part in hotel quarantine, making a different kind of Aussie movie and getting an opportunity she didn't think would happen. ON SOCIAL MEDIA'S PREVALENCE — AND SILLINESS "The film doesn't offer solutions, but I do think it poses questions and forces us, in a way that feels quite uncomfortable, to question our own relationship with social media and how we interact with it. I think it's hard to be a human in the world right now and not have some kind of relationship with social media, because it is such a prevalent part of our society now. Personally, I don't use social media in the same way [as Cecilia] — I wish I was better at it, it's not something that comes super naturally to me, to be posting on Instagram all the time. My relationship with social media has always been really about creating boundaries, because I find it a very triggering environment in terms of even just having the confidence to post something. I second-guess myself a lot, and I get very existential. Every time I post something, I'm like, 'well, what's the point? What is Instagram? What is a telephone?'. It's all pretty silly." ON NEEDING TO PLAY CECILIA "It was towards the end of 2020 — and, you know, we were all there for 2020. I had been in LA for most of that year, really only seeing a select few people and kind of feeling quite isolated socially, a bit awkward, and reexamining a lot of my relationships. And my manager sent me this script. Initially they wanted me for the role of Fran, and I could see that, because Fran felt really similar to a couple of characters I had played before. But literally, I couldn't shake the feeling that I felt like Cecilia was my little sister or my best friend, or just someone that I loved so deeply and cared so deeply for. It wasn't something that I planned or knew was going to happen when I read the script, but I felt like I had to honour it. I called my manager and I said 'please tell them that I really love the script, but I just don't feel connected to Fran as a character — but I feel really connected to Sissy, tell them that I love Sissy'. I said that knowing it was kind of presumptuous but not expecting them to ask to meet me at all, but they were really into the idea. I think they had had someone very different in mind — she was described as having blonde hair and being very petite and pale, and I am none of those things — but I just felt like something felt right. ON DRAWING ON 2020'S CHAOS FOR THE PART — HOTEL QUARANTINE AND ALL "There's the year of 2020 as a whole. But then, in order to get back home to Australia, I had to do two weeks of quarantine in hotel quarantine where you literally see no one. It is the most extreme version of isolation. I was on a really low floor in this big tall building, and every day at like 12pm, I would lose the sun. I would be out my window — like I needed the sun and I needed the fresh air, and I felt like I was going absolutely insane. So while I was in quarantine, I was actually sending Hannah and Kane, the writers and directors of the film, I was sending them videos as Cecilia. Just every morning I would wake up and do a different kind of like sermon or meditation or something, just because I did't really have anything to do. Getting out of quarantine, I definitely felt like Bambi on ice a little. I felt very awkward. I'm an awkward person to begin with, but having those two weeks alone in a room — it wasn't intentional but I do think it kind of leant itself to getting into some kind of headspace." ON RETURNING HOME TO MAKE A DIFFERENT KIND OF AUSSIE MOVIE "Something that jumped out to me when I was reading it was the way that there was this really heavy female gaze on the movie — which I think is rare for genre films to have such a strong female gaze. And beyond just Cecilia the character, you had a very small cast that consisted of an interracial lesbian couple, a gay man with disability and an Asian woman. And the only man that you really saw was a queer man." I loved this this. I just loved the world that I could see imagining it and reading it. It didn't feel like any other Aussie movie that I had seen. It really reflected the colourful, diverse, beautiful Australia that I know. I think unfortunately, up until kind of recently, Australian film and television really hasn't reflected that same colourful melting pot that like we all know actually exists here — so that was another big reason why I wanted to be a part of it." ON GETTING AN UNEXPECTED OPPORTUNITY "I definitely had hoped that I would be able to play a character like this. But, being realistic, opportunities like this don't come up every day for someone who looks like me, especially in the Australian film space. So I had always hoped that maybe I would be able to play a role like this, but the fact that the opportunity was actually presented to me is really, really, really cool. I guess it kind of was on my bucket list. But when I think about it, I don't know that I ever could've anticipated that this would be an opportunity that I would've had. And to me, it really meant nothing whether people were going to see it or they weren't, it didn't matter to me — because with independent film, you really are rolling the dice, chances are nobody's going to see it. The fact that like it's doing such big things is really cool. I think that honestly it's a testament to what can happen if the Australian film industry embraces diversity the way they should." Sissy released in Australian cinemas on November 3. Read our full review.
After a false start earlier in the month (thanks, Lockdown 5.0), Fireside Yarra Valley 2021 kicks off this weekend celebrating the wine region's finest winter offerings. The timing couldn't be better if you're looking for the perfect excuse for a post-lockdown, out-of-town jaunt. Running from Friday, July 30–Sunday, August 8, the program is set to plate up a slew of events for all palates from dinner feasts and pizza parties, to overnight stays and fireside brunches. There will also be scores of opportunities to sample some of the Yarra Valley's finest vino. Settle into a French-style prix-fixe Sunday lunch at the renowned Dominique Portet Winery (August 1), join mates at Stefani Estate for an afternoon of sangiovese and sausage (July 31), and indulge in the chicest of brunch sessions courtesy of Domaine Chandon (August 2 & 3) complete with blood orange mimosas, sparkling wine and a lavish four-course spread. This year's fun wraps up on Sunday, August 8, with A Fiery Feast presented by celebrated wine labels Jayden Ong and Handpicked. Here, expect top local produce cooked over charcoal, live tunes and free-flowing wine, all enjoyed fireside at the Jayden Ong property in Healesville.
If you've already meandered through Melbourne's alleyways and sipped your way through the big city wine bars, it's about time you discovered something more outside the busy heart of the big smoke. Only 15 kilometres from Melbourne's CBD, Kingston combines expansive greenery and beaches with a vibrant coastal community. Here, you can go from one of eight pristine beaches to cycling through local parks and woodlands, learning to fly at the local airport, creating your own artwork, seeking out the local gems of transformed industrial precincts or unwinding in a sauna that overlooks the ocean. Together with Kingston, we've come up with a well-rounded itinerary for a beaut of an R&R itinerary, just in time for the flurry of the festive season. The Great Outdoors Take advantage of the sunshine and trade the hustle of the city for some fresh air at one of Kingston's natural sights. Spread across 15 hectares, Karkarook Park is home to a sprawling lake, scenic picnic areas and a series of walking and cycling trails. The former sand mine-turned-lake is an ideal place to while away the day with the whole family (including any fur babies) — try your hand at catching a Rainbow Trout or Murray Cod from the jetty, go for a leisurely float on a canoe or kayak, spotting native plants and wildlife in the surrounding bushland, and close out the day with sunset views. If you're still keen on green, head to Braeside Park for a full day of family fun. From trails through woodlands and wetlands to an adventure playground and free electric barbies, the massive park is chock-full of activities for all ages. You can also get a feel for the local community there, whether you're wandering through the community garden, admiring tree carvings of local celebs and murals of the area's cultural history, or participating in community activities like plant propagation or bird-watching. For more of a splash, cruise the coast from Mentone Beach to Carrum Beach. The 13-kilometre stretch spans eight beaches, including Mentone, Parkdale, Mordialloc, Aspendale, Edithvale, Chelsea, Bonbeach and Carrum, so there's plenty of options to cool off with a dip if you're exploring by bike or on foot. Local Experiences Get to know the area like a local by getting stuck into Kingston's community and cultural scene. An airport might not seem like a typical stop on your day trip itinerary, but there's more than meets the eye at Moorabbin Airport. Jump on a scenic flight for a sky-high tour above Melbourne's skyline, or crank the thrills up a notch with an aerobatic flight across the region — think barrel rolls, loops, tail slides and even air racing. Once you're back on land, you can visit the Moorabbin Air Museum, which dates back to 1962, or try your hand at flying with a real-life flight training course. Prefer to keep your feet on solid ground? Head to the Kingston Arts Centre for a dose of creativity, from art exhibits to film screenings to weekly workshops like spoon carving, mosaic tiling and macrame weaving. Whether you're a spectator or a participant, you'll be inspired by Kingston's artistic talent and craftsmanship. From farmers markets rich with local produce to antique markets dealing in hard-to-find vintage goods, Kingston loves a market.If you're lucky enough to be in town on the second Sunday of the month, check out Bonbeach Farmers Market at Bonbeach Primary School. From 8.30am–12.30pm, you can fill up on fresh produce, bread, honey, desserts and drinks from over 60 stalls to enjoy there or bring home as souvenirs. Show your support for the primary school by snagging a bacon and egg roll or visiting the Green Thumbs Stall, featuring garden fertiliser made by the school's worm farm. Wellness and Relaxation It wouldn't be a proper getaway without some time for self-care. Recharge your body before you return to your bustling routine with a sauna session, cold dip or exercise class. Situated in Mordialloc Sailing Club with views across the water, SeaSoul Sauna is an idyllic thermowood barrel sauna that seats up to six people. Guests have the option to share a 90-minute session with members of the public or book it out for complete privacy and are encouraged to cool off with swim breaks in the sea. Each session will be led by a sauna guide, with light refreshments and towels provided. For a more bespoke experience, join along for Silent Tuesdays, Men's Mondays or Women's Wednesdays, which include aromatherapy, breath work, towel waving and ocean dips. [caption id="attachment_975446" align="aligncenter" width="1920"] Julieanne Perara[/caption] Also part of the SeaSoul Sauna community are the Mordi Sea Dippers — a group that meets weekly to connect with old and new faces while championing mental and physical wellness. Drop in at Mordialloc Pier on Tuesdays and Saturdays at 6.45am for a meditation and ocean dip, and keep an eye on their Instagram page for additional events. Level up your health at Wild Soul Wellness, which combines pilates and yoga classes with wellness treatments. The studio offers reformer and mat pilates, as well as hot pilates and yoga in an infrared-heated space. Follow this up with an on-site infrared sauna, hot and cold plunges, red-light and pulsed electromagnetic field therapy, Normatec compression boots, or even a naturopath consultation. There's so much more than just nature and serenity in Kingston. Whether you're looking for the perfect beach to chill on, a big feed at a local hidden gem or a good old fashioned figure it-out adventure, you'll find it in Kingston. Find out more and start planning your Kingston adventure at This is Kingston's Instagram or website. Images courtesy of This is Kingston
The London Riots have left us all a bit gobsmacked. On the 6th of August in Tottenham in the North of London what started out as peaceful demonstration against a recent police shooting turned into something quite different and unexpected — an outbreak of violence and the destruction of cars and homes and local businesses. And then the looting began. Over the next two to three days copycat riots and looting broke out over London, most notably in Peckham, Clapham and Brixton and then around the country in Liverpool, Manchester and Birmingham resulting in five related deaths and the worst rioting the country has seen since the 1980s. As large parts of the city were shut down and boarded up, the rest of the world looked on in shock as footage and information streamed out via mainstream and social media. The mainstream media questioned the politicians, the police response and the rioters motivations. A YouTube video, which has received in excess of four millions hits, was uploaded of a Malaysian student, bleeding and distressed, being 'helped up' by the crowd around him only then to be mugged by his supposed 'helpers'. A Tumblr site, Photshoplooter, sprang up, providing some much needed humour in a time which is anything but funny. In the aftermath of the riots, as the public, the politicians and the newspapers debate everything from increasing police powers to the impact the government's recent austerity measures have had on young people, the good people of London (and yes, there are quite a few of them) have got down to the business of cleaning up and rebuilding. RiotCleanup started as a twitter account in the early hours of the 9th of August and by the morning it was a website helping to organise an army of volunteers who wanted to help with the clean up. Building on its success, two recent architecture students, Lee Wilshire and Nick Varney, have set up Riotrebuild, which is dedicated to connecting people who have been affected by the riots with professional architects, builders and handyman to assist them to rebuild their homes, business and communities.
Kumiko (Rinko Kikuchi) is a superfan. Joel and Ethan Coen's Fargo is the object of her excessive attention, and she doesn't just fixate over it, she believes it. In particular, she believes there's a briefcase filled with money buried in the Minnesota snow. To understand why she's so intent on thinking the movie is more than fiction is to understand her largely solitary existence in Tokyo. Kumiko is 29 years old and still working as an office lady, a position her boss thinks she should've well and truly outgrown. Her mother only calls to scold her about her dismal personal life, and her only friend is her pet rabbit, Bunzo. So when she happens across a VHS copy of Fargo, embracing its tall tale as truth adds purpose to her days, and trekking across America to find the stack of cash it tells of becomes her destiny. Filmmakers David and Nathan Zellner delve into an urban legend that sprang up around the death of a Japanese woman in the US, first chronicled in 2003 documentary This Is a True Story. Kumiko, the Treasure Hunter makes its own fable out of diving into the strangeness that can stem from both truth and fiction, as well as the tenuous relationship between the two. Kumiko, the Treasure Hunter is in select cinemas on April 29, and thanks to Palace Films, we have 15 double in-season passes to give away. To be in the running, subscribe to the Concrete Playground newsletter and then email us with your name and address. Read our full Kumiko review here. Sydney: win.sydney@concreteplayground.com.au Melbourne: win.melbourne@concreteplayground.com.au Brisbane: win.brisbane@concreteplayground.com.au
Just because summer's over and the temperatures are dipping, that doesn't mean you can't fill your weekends with long lazy lunches by the beach. In fact, Captain Baxter's new dining series invites you to round up your mates and do just that. The buzzy beachfront haunt has kicked off a weekly feast dubbed Baxter's Long Lunch, which is on offer from 12pm every Friday–Sunday for table bookings of four or more. For an easy $45 per person, you'll get to kick back for three hours, lingering over a parade of snacks, starters and main dishes while you watch the waves crash outside. You're in for crafty, pan-Asian plates, such as miso waffles with smoked salmon and yuzu cream, hoisin-laced duck sausage bao, gochujang potatoes, and a riff on charcoal chicken featuring black pepper sauce and miso. There's a slew of food add-ons available if you're feeling extra peckish, while a $44 beverage option will see you matching your long lunch with three hours of free-flowing beer and wine.
Just over two weeks ago, the Australian Government announced a ban on non-essential mass gatherings of more than 500 people. Tonight, Sunday, March 29, that number has dropped to two. During an announcement made after the latest national cabinet meeting, Prime Minister Scott Morrison said that any public gatherings should be limited to two people, excluding family members. If you're not with those you live with — your parents, children or partner, for example — you should only be with one other person. The previous limit was ten. States and territories will decide if this is an enforceable limit. On-the-spot fines are currently in place in NSW, Victoria and Queensland, for individuals and businesses not following other COVID-19 containment regulations, such as self-isolation and unlawful mass gatherings. It was also announced that public playgrounds, outdoor gyms and skate ramps will close from Monday, March 30. The new two-person limit on public gatherings does not apply to weddings (which have a current limit of five people) and funerals (which have a limit of ten), but it does apply to group bootcamps. The Prime Minister also reiterated that Australians should only be leaving their homes for one of four reasons: shopping for what you need — such as food and other essential supplies — "as infrequently as possibly"; for medical care or compassionate reasons; to exercise, in-line with the new two-person limit; and for work or education if you cannot work or learn remotely. Another new announcement made tonight and set to be expanded on by individual states and territories over the coming days is a moratorium on evictions for the next six months. Which means that individuals and businesses cannot be evicted from their residential or commercial properties for not paying rent. The Australian Government also urges anyone that does leave their house to follow its social distancing guidelines. To find out more about the status of COVID-19 in Australia and how to protect yourself, head to the Australian Government Department of Health's website. Top image: Kimberley Low
When Sydneysiders want to spend a day carving up the snow, they usually have to jump in a car for at least five hours and head to one of NSW's ski resorts. But, in a few years, it might be as easy as jumping on a train to Penrith, thanks to a new $300-million indoor Winter Sports World that's been proposed for the city — and has just received Penrith Council's official endorsement. Set to be built in Jamisontown on the corner of Jamison Road and Tench Avenue, the centre will include a 300-metre indoor ski slope, an Olympic-size ice skating rink, and both ice and rock climbing facilities. If executed to plan, the proposal claims the ski slope will be one of the top ten high-performance training centres in the world. And yes, it'll use real snow. A food and drink precinct featuring bars, restaurants and cafes, and a 120-room hotel have also been included in the proposal. One of those eateries will be a revolving fine diner, too, and everything will have snow views. A snow play area is also part of the plan, alongside conference and function rooms. Visitors will be able to learn to ski onsite, as part of the resort's positioning as a feeder site to outdoor snow fields. The idea: that you'll learn the ropes indoors, then later head out of town to try the real thing. The development, which sought public feedback last year and is being put forward as a new major attraction for the area, is part of the Penrith City Council's plan to double visitors and tourism revenue in the area by 2025. If it goes ahead, Winter Sports World is expected to contribute $80 million to the NSW economy each year. Once built, the facility is hoped to provide a boost to Australia's Winter Olympians and their training, providing a venue for alpine skiing, freestyle skiing, snowboarding and figure skating, as well as ice hockey, speed skating and curling (and possibly cross country and biathlon as well). The Winter Olympics haven't traditionally been one of Australia's sporting strong suits — the national team first competed in 1936 and didn't win its first medal until 1994. The proposal has been in the works since November 2018, and in development for the past seven years in total. Site owner and developer Peter Magnisalis will now finalise the plans with the council and the NSW Planning Department, with an aim to start construction in 2022 ahead of a 2024 target opening date — in winter, of course. If construction does kick off, it certainly won't be the only big new development happening in Western Sydney, with Badgerys Creek set to become home to Sydney's next major airport. For more information about Winter Sports World, head to the proposed venue's website. Images: artists' impressions of Winter Sports World.
Forbidden love — so much more appealing than ordinary, feasible love. Centuries ago a Frenchman called Racine adapted a play by Euripides which British poet laureate Ted Hughes later spent the last few months of his life translating, perhaps as a sort of self imposed penitentiary act for not protecting his partner in poetry, Sylvia Plath, from her own passionately wrought fantasies. Hughes' highly regarded free verse translation of Phèdre has been adapted for the stage by the Bell Shakespeare Company. The plot is a psychologically compelling, proper Greek tragedy complete with pathos, jealousy and screaming frustration. The character Phèdre is a cursed, cougar-esque queen afflicted with an all-consuming passion for her stepson Hippolytus — ignore the name, he's a handsome if diffident 'objet d'adoration'. Fatefully, Phèdre's husband Theseus is missing, presumed dead. At the encouragement of her well-meaning nursemaid Oenone, Phèdre decides to confess her dangerous and libidinous obsession to the boy in the hopes that he will respond with equal passion. Instead, Hippolytus backs away from the raving madwoman in her stilettos and tight pants in horror, as his pursuer stumbles across the stage, half-crippled by her unrequited lust. It's an unfortunate time for Theseus to return unexpectedly home – literally from Hell – and hell hath no fury like a woman forced to think on the spot of how she became so visibly distressed. Phèdre accuses Hippolytus of rape and Theseus promptly invokes the power of Neptune to curse his son, who retreats quite understandably to the blonde and bare-footed Aricia with a view to intertangling limbs and lives. Director Peter Evans highlights how our lives can become defined by destructive relationships – both with ourselves and with others – if we allow them to. From the scratchy heartbeat of the fitful soundscape to the frenzied intensity of an apparently powerful woman seeking control in a world where female control just isn't possible, it's easy to identify with her quest and subsequent failure to achieve fulfillment. Her powerlessness turns love into mania and passion into a destructive force. The male characters are victims, too; Theseus too readily believes his son is a rapist, perhaps because of his own philandering history. His realisation that he’s got it fatally wrong comes much, much too late. Some stories transcend space and time and Phèdre remains a remarkably compelling psychodrama in the context of contemporary life. Anna Cordingley's set is as damaged as the characters hearts and Hughes' translation is lean, mean and lyrical. The most tragic thing about Phèdre is that she realises how the contamination of her consciousness is self-induced: the foregone conclusion of forbidden love. Photo by Rush.
If you've been contemplating a little summer romance, you're in good company. The folks at Melbourne's Immigration Museum have the same idea. To celebrate the coming of warm days, they're swinging open the doors of their next exhibition, LOVE. Kicking off Saturday, December 1, this show is as simple — and as complex — as it sounds. After all, "the course of true love ne'er did run smooth," according to Mr William Shakespeare. In collaboration with the Heide Museum of Modern Art, the Immigration Museum has brought together multiple stories of love, desire, friendship and longing within one swoon-worthy room. Whether you're brokenhearted or deep into a marriage, you'll find one for you. LOVE will run concurrently with two other exhibitions. Kahlil Gibran: The Garden of the Prophet, which opened on Wednesday, November 28, tells the story of the Lebanese poet whose 1923 work, The Prophet, has sold millions of copies around the world, while Grow, Gather, Share is a celebration of food and gardening in Victoria. Special events spanning all three shows are planned throughout summer, beginning on Sunday, December 2 with Summer of Love. This afternoon shindig features Melbourne-based DJ MzRizk, gardening workshops run by Cultivating Community, curator talks and Gather & Share picnic hampers, with tickets costing $15. Image: Museums Victoria.
Waiheke is an island of rolling hills, gorgeous vineyards and white sandy beaches — a glittering jewel in New Zealand's Hauraki Gulf. As it's only a short hop from Auckland's CBD on a ferry and easy to get around, it should definitely be on your list of places to visit when planning that next short break over the pond. Once there, it's not hard to see why Waiheke regularly appears in travel polls as one of the most beautiful islands in the world. It has a great reputation for relaxation and, most importantly, good food and wine. With over 20 vineyards to choose from, in the place locals affectionately call the Island of Wine, we've narrowed down some of the finest. Flights to Auckland from Sydney, Melbourne and Brisbane are super short — around three-and-a-half hours on average — and Air New Zealand offers great everyday fares from all three. That means you could be nestled up by the fire at one of these top spots in no time at all. MAN O' WAR VINEYARDS Located on the far east of the island, Man O' War vineyard definitely delivers the wow factor both for its location and its wine. The vineyards are set on slopes that surround the tasting room and restaurant, which sits at the edge of the water. It's the only beachfront cellar door on Waiheke and has amazing views over to the Coromandel Peninsula. The tasting room is a lovely place to sip and hear about the flagship and single-vineyard drops. Plus, there are platters and sharing plates available to make the most of the experience. From the big robust winter warming Dreadnaught syrah to the softer summer styles of the Pinque rosé and the Exiled pinot gris, there is something for all palates on offer at Man O' War. OBSIDIAN VINEYARD Located in Onetangi and hidden away in an amphitheatre amongst the vines, Obsidian's cellar door is a simple but beautifully relaxed setting. The 30-minute tastings are led by passionate, knowledgeable staff, and the wine is sublime. Obsidian is known for its deep and delicious Bordeaux-style reds, though it also makes a delightful rosé and chardonnay, too. Yields are deliberately kept low to maximise quality and, as a result, only a limited number of cases are produced each year. The vineyard runs a wine club membership and, as an 'Obsidianado', you'll get access to three tasting packages during the year, with each containing at least one bottle of exclusive vintage and variety. BATCH WINERY The Thomas family's vineyard restaurant and cellar door has one of the best views on the island, with stunning views across to the Coromandel and Auckland's Sky Tower. Let the crew know you're coming over and they'll pick you up from Matiatia Ferry to transport you to the beautifully designed Batch Winery. It was built with reverence — both of the relaxed Kiwi way of life and the traditional winemaking process. The restaurant offers a relaxed ambience to dine with friends and family. The menu takes its inspiration from Waiheke favourites, offering fish 'n' chips, locally sourced oysters and a take on the classic Kiwi onion dip served with potato sourdough. It's a wonderful place to while away an afternoon, drinking a glass or two of Fizz rosé and gazing out over Waiheke island. PASSAGE ROCK WINERY Passage Rock is Waiheke's most awarded winery, with over 60 gold medals earned since 2001, including 18 gold for its reserve syrah. As well as producing magnificent wine, it's also in the most picturesque setting, with Orapiu Bay in the background. After your wine tasting, make sure you spend an hour or two in the bistro, which serves delicious platters and woodfired pizzas. PODERI CRISCI Poderi Crisci offers a little slice of Italy on Waiheke with its old world-style restaurant full of Tuscan charm. A great believer in the Italian tradition of eating and drinking, Poderi Crisci has a four-hour Sunday long lunch that's well worth making the time for. But if you only have a few hours to spare, then the degustation or 'trust the chef' menu will suit you well. The wines are definitely European-influenced — highlights include the cheeky white Arneis and the red blended Viburno. These are produced in a beautiful cellar room that also hosts an annual opera night, which alone is well worth making the trip for. CASITA MIRO Situated above Onetangi beach, Casita Miro is a relaxed, vibrant place where you can take your time to enjoy some seriously delicious food and wine. The restaurant specialises in Spanish and Mediterranean sharing plates, with fine Iberian cured meat, cheeses, local oysters and melt-in-your-mouth pork belly. The outdoor area also runs with the Spanish theme, featuring an evolving mosaic inspired by Gaudi's famous Parc Guell, not to mention views out across the Hauraki Gulf. The tasting room sits outside the restaurant in a colourful garden space, and here you can try a flight of five for $15, including the delightful fortified blend, the Madame Rouge. Book your flights to Auckland with Air New Zealand and start planning your next long weekend away. Plus, Vinomofo has released a case of wine featuring six delicious wines representing the diverse and unique sub-regions of Waiheke, Kumeu and Matakana. Every case has a one in 50 chance of winning return flights to Auckland (from Sydney, Melbourne and Brisbane). T&Cs apply.
The breakfast menu at Magic Mountain Saloon sets it apart from other venues. The Thai-inspired breakfast menu is controversial, to say the least. Set your alarm clock early and make a date with a new way to do brekkie. You'll be asked to extend your tastes beyond eggs and bacon to a range of fairly substantial Thai options, both sweet and savoury. If you're feeling a little groggy, try the black sticky rice, strawberries, banana, coconut yoghurt and dried mango granola. And if you're feeling brave, go for the coddled egg and chicken ball congee, a traditional Thai choice complete with a hint of chilli that leaves you with the feeling of goodness coursing through your veins. Image: Letícia Almeida.
Calling all Amy Poehler fans — the beautiful tropical fish, powerful musk ox and noble land mermaid of Netflix flicks is here. The Saturday Night Live and Parks and Recreation star has directed her first film, a comedy that'll hit the streaming platform in May. Here's hoping it'll earn all of the unusual compliments that Leslie Knope has showered upon Ann Perkins. Turning a vino lover's dream weekend getaway with the gang into a movie, Wine Country follows a group of friends who head to Napa to celebrate Rebecca (Rachel Dratch)'s 50th birthday. Poehler plays Abby, the organiser of the gang; Maya Rudolph co-stars as a worn out mother desperate for a break; and fellow Saturday Night Live on-screen alum Ana Gasteyer, plus ex-SNL writers Paula Pell and Emily Spivey, all round out the besties. Also featuring: Tina Fey (of course) and Jason Schwartzman. If you've had a Parks and Recreation-shaped hole in your life since the acclaimed sitcom ended, adored Sisters or just can't get enough of these funny ladies in general, prepare to chuckle and celebrate as the film shows just what happens when a boozy break, lifelong friends and facing a huge milestone all mix. The first trailer has just dropped, and it comes with plenty of laughs: https://www.youtube.com/watch?v=aW_0MO-XKog Wine Country releases on Netflix on Friday, May 10. Image: Colleen Hayes.
Earlier this year, Australia's caffeinated booze expert Mr Black gave fans of alcohol and coffee the premixed beverage they definitely wanted, with the company's bottled coffee negroni marking its first-ever pre-batched cocktail. Now, it's adding another tipple to the range, and it's another big hitter: the cold brew old fashioned, or cold fashioned. Yes, there's a time for coffee and there's a time for cocktails — but, sometimes, there's a time in the day when you want both and you don't want to do any of the mixing yourself. The cold fashioned is made with Mr Black coffee liqueur, rye whiskey and bitters, and you can expect both coffee and chocolate flavours to come through, as well as a bit of spice. Each bottle is going for $49 and can be used to make five cocktails (yes, that's a very reasonably $9.80 a drink). To make said cocktail, you just need to pour 100 millilitres of the sweet stuff into a glass over ice and garnish with a citrus twist — if you want to get a little fancy. It's the third new product that the Mr Black team has released during lockdown, with the company also launching a hand sanitiser in late March. As well as selling thousands (and thousands) of bottles to the public, the team donated hundreds to front-line medical workers, not-for-profits, testing clinics and medical centres. To get your hands on a bottle of cold fashioned, which, knowing Mr Black's track record, will sell out fast, head over to the Mr Black website. It's currently offering free shopping on all orders over $80. Mr Black's cold fashioned is on sale now for $49. Top image: Guy Davies.
My yoga studio has a basketball court below it. During a calming session of yoga, it is not uncommon to hear the piercing screech of a whistle, frequent cheering and the intermittent shrieks of "Great shot Mike!". One time, I kid you not, there was a marching band procession going down, and the instructor had to calmly try and talk over the incessant drumming. Quite un-zen. Flow After Dark Silent Disco Yoga seeks to give yoga enthusiasts the exact opposite experience. How exactly does one silent disco yoga? Quite easily with the introduction of wireless headphones. These bad boys give participants a one-on-one with instructor, Flow Athletic co-founder Kate Kendall, while simultaneously pumping out beats from Sydney DJ James Mack. Also, they're neon. This one-off, 90-minute Vinyasa yoga session will see a whopping 700 yogis come together at Melbourne Park Function Centre. It's probably your best (possibly only) chance to show off your best warrior pose while simultaneously jiving to some seriously smooth music. Silently.
A new opera penned by Damon Albarn (frontman of Blur and Gorillaz) will premiere as part of the English National Opera's 2011/2012 season. Doctor Dee, Albarn's second opera, follows the life of 16th Century advisor to Queen Elizabeth I, John Dee, whose claim to fame includes dalliances with alchemy, astrology and espionage. Albarn's debut opera, Monkey: Journey To The West, was an adaption for the stage of a 16th Century Chinese novel. This year, despite a recent funding freeze from Arts Council England, the ENO is treating its audiences to 11 new productions, four of which are by living composers. https://youtube.com/watch?v=XT0tBKB2_PA
For years, you've probably sat at pubs or parties, listened to your pals tell boozy stories and found yourself laughing heartily. In fact, you've likely spun a few tales in a liquored-up state yourself — because we've all been there. And, since 2008, you've might've chuckled along to the US TV show based on that very idea, too. Indeed, it's easy to understand exactly how Drunk History came about, because the entire concept is just so relatable. While, in America, the show's run has just come to an end, Australian television is now hopping on the Drunk History bandwagon. It shouldn't escape anyone's attention that, at a time when we're all spending less time hanging out in bars talking with our mates for hours and hours over several rounds of drinks, Aussie TV has decided to deliver the next best thing. Called Drunk History Australia, the local version spans a six-episode first season, with each instalment tackling a couple of chapters of Aussie history. If you've ever wanted to watch James Mathison and Osher Günsberg reenact Burke and Wills' expedition, listen to Matt Okine explore the history of 'Waltzing Matilda', or hear Becky Lucas tell the tale of the country's first female detective — all with beverages involved — well, here's your chance. Also getting the Drunk History Australia treatment are Don Bradman, Dame Nellie Melba, Dawn Fraser and Gough Whitlam, in case you want to relive your primary school history lessons in a far boozier manner. And, the show also touches upon cannibal convicts, a war with emus and the first female bushranger, among other topics. The cast is similarly lengthy, featuring everyone from Anne Edmonds, Nikki Osborne, Em Rusciano and Tex Perkins to Stephen Curry, Joel Creasey, Steph Tisdell and Brendan Fevola. Drunk History Australia will start screening on Network 10 at 9.30pm on Monday, September 14; however, if you're keen to stream the whole thing right now, it's also already available via 10Play. Check out the trailer below: https://www.youtube.com/watch?v=X4iMnOEGI7c Drunk History Australia is now available to stream via 10Play, and will start airing on Network 10 at 9.30pm on Monday, September 14.
When Presumed Innocent begins, Rusty Sabich (Jake Gyllenhaal, Road House) has devoted his career to putting away Chicago's criminals. As the chief deputy under the city's District Attorney, he's long lived and breathed his job, plus the upholding-the-law responsibility that comes with it. He knows the city's wrongdoers. He knows the system that punishes them for their misdeeds. He knows the courts and their inner workings. In other words: he knows how to do his job and, he thinks, how to make his hometown safer. Sabich is well-aware of what legally befalls those who fall afoul of society's standards, too — but what he isn't expecting, not for a second, is to be soon treated the same way. Audiences with knowledge of both film and literary history can see what's coming. This eight-part Apple TV+ series is the latest page-to-screen show from David E Kelley — and also another program with a story that already made the leap from bookshelves to the big screen before getting the television treatment. In recent years, Kelley has ushered A Man in Full, Anatomy of a Scandal, Nine Perfect Strangers, The Undoing and Big Little Lies down the first route. He's taken The Lincoln Lawyer down the second as well. His pedigree spinning legal narratives dates back to LA Law, The Practice, Ally McBeal and Boston Legal. Now, he's adapting author Scott Turow's debut 1987 novel, which initially became a hit 1990 Harrison Ford (Indiana Jones and the Dial of Destiny)-starring feature. Turning Presumed Innocent's tale into a series and the passage of more than three decades are each a gift to its complexity, strengthening and building it in the way that a prosecutor with the aid of time and the perspective that it affords might construct their approach. There's more of the former, obviously, to fill out the intricacies of a scenario where a hotshot legal eagle usually firmly on the right side of the law is now a suspected murderer — and more space to ensure that the misogyny of the 80s and 90s doesn't still shine through. When Presumed Innocent became a movie, it was in the Fatal Attraction, Disclosure and Basic Instinct era, when Michael Douglas (Franklin) kept providing the face of men supposedly victimised by assertive women. If he'd led this picture, it wouldn't have come as a surprise. But just as Fatal Attraction has been updated for the small screen, so has Presumed Innocent. The setup: with being the main attorney under DA Raymond Horgan (Bill Camp, who also appeared in A Man in Full) already a fraught situation — aka an election year — Sabich's life is upended when his colleague Carolyn Polhemus (Renate Reinsve, 2021's Cannes Best Actress-winner for The Worst Person in the World) is found dead. The circumstances closely resemble a case that the two had previously worked on, so Rusty takes point in attempting to bring the perpetrator to justice. It seems a logical choice. Only professional envies fuel any qualms in the office. That said, what only his supportive wife Barbara (Ruth Negga, Good Grief) knows is that Rusty and Carolyn had an affair, which almost tore apart the Sabichs' marriage. A secret like that doesn't stay quiet, especially with Horgan's adversary Nico Della Guardia (O-T Fagbenle, Loot) and Rusty's ambitious counterpart Tommy Molto (Peter Sarsgaard, Memory) looking to appease the electorate, and quickly, as they each aspire to climb to the top jobs. No one needs to commence an investigation to uncover the resentment directed like daggers from Tommy to Rusty, both before and after the latter's romance with Carolyn is exposed. Kelley has a penchant for courtroom dramas, so that's where Presumed Innocent is headed, with Rusty on trial for murder. Kelley of late also adores facades crumbling, equally revealing how pledging to live happily ever after with the one that you love isn't the same as truly knowing them. Rusty's obsession, with the fixated texts and emails to prove it, are that shattering. The question lingers, as it's meant to: does Presumed Innocent's protagonist deserve the viewers' presumption of innocence? The legal system must impart it, although Molto and his gleeful smirk can't, won't and don't. But should those watching give him the benefit of the doubt (and there are many doubts)? Should heartbroken artist Barbara and her and Rusty's teenaged kids Jaden (debutant Chase Infiniti) and Kyle (Kingston Rumi Southwick, 9 Full Moons), for that matter, or Horgan and his wife Lorraine (The Color Purple's Elizabeth Marvel, Camp's IRL spouse) as well? Also, as the series embraces Apple TV+'s beloved murder-mystery genre (see also: The Afterparty, Bad Sisters, Black Bird and Criminal Record, for example), what other queries should Detective Alana Rodriguez (Nana Mensah, The Diplomat) be asking as she helps Rusty attempt to clear his name? Presumed Innocent hasn't skimped on casting, to its advantage. With Gyllenhaal, who haunted in Donnie Darko and Nightcrawler in immensely different ways, the show earns not only a gripping central performance but a slippery one. Kelley doesn't ever paint his protagonist as a hero or anything as clearcut. Amid frames that do the same visually, he sees both the light and the darkness, which Gyllenhaal can jump between like flipping a switch. As both Reinsve and Negga flesh out the women caught up in Rusty's mess, and Sarsgaard eats up the screen — particularly when Rusty and Molto face off in court — Presumed Innocent poses more questions, however, about taking any one trait or behaviour as indicative of a broader picture. Lying in some instances doesn't mean lying always. Having a loved one's back isn't the start of unconditional and perpetual reassurance. Putting your career first once isn't the same as doing it forever. Bearing a grudge doesn't mean being driven by only animosity. With murkiness and shades of grey, there's also no holding back, then — or on twists. Cliffhangers land at the end of most episodes, as tailor-made for a viewing model that began with a double drop, then doles out the rest of the episodes week by week, regardless of if that's how viewers watch. While what it will entail beyond a brand-new case hasn't been revealed, including for its stars, a second season is on the way. Alongside season one's fellow executive producer JJ Abrams (Star Wars: Episode IX — The Rise of Skywalker), Kelley will be back, though, so presuming that more comfortable lives will implode is more than reasonable. Check out the trailer for Presumed Innocent below: Presumed Innocent streams via Apple TV+.
If you're a fan of caramelised white chocolate, then you're a fan of all the different types of food that've sprung up featuring Caramilk. You've sipped the cocktails. You've eaten the ice creams. You've had the dessert jaffles. If it features the famed Cadbury flavour, you've tried it. And now, you have something new to add to that list: Caramilk Krispy Kreme doughnuts. Krispy Kreme is still in the process of letting Australians catch all the Pokémon-themed doughnuts; however, it has also just dropped another new limited-edition special. Teaming up with Cadbury, the doughnut franchise has whipped up two new must-try sweet treats — and yes, they both come dipped in Caramilk. If you opt for the Caramilk Shell, you'll be munching into a full doughnut — sans that centre hole — that comes filled with crème, then covered in the coveted type of chocolate and sprinkled with Caramilk flakes. Or, if you need that gap in the middle, the Caramilk Ring takes one of Krispy Kreme's original glazed doughnuts, dips it in Caramilk, adds the Caramilk flakes and then splashes some white truffle drizzle over the top. You'll find the two Caramilk doughnuts at 7-Eleven stores only from Tuesday, September 28, but there's more than 700 spots to choose from — and they're also available via 7-Eleven Delivery where it's on offer. Krispy Kreme's Caramilk range is available from Tuesday, September 28 for $3.75 each at 7-Eleven stores and via 7-Eleven Delivery.
UPDATE: APRIL 28, 2020 — In a move that can only be considered peak Melbourne, the CBD's Bar Clara has launched goon bags filled with mulled wine. Made with Aussie red wine, spices and orange, the 1.5-litre Scarlet & Clove sacks will set you back $38 — and can be delivered to doors across Melbourne metro areas for free. Peruse Bar Clara's drinks list, and a number of familiar words jump out, bellini and martini among them. But this new addition to Little Bourke Street isn't just serving up the usual old classics. If Melbourne's restaurant scene can take inspiration from the region's local and seasonal produce, then Bar Clara owner and manager Joel McKenzie can as well. Now open in a basement space in Chinatown, under the arch near Exhibition Street, this watering hole slings a custom, frequently changing cocktail list that blends fresh ingredients with modern techniques. Current standouts include the savoury Roma Martini, which combines gin and dry vermouth with tomato juice that has been spun in a centrifuge 4000 times; the New York Natural with cherry-infused bourbon, sweet vermouth and bitters; and the Banoffe Special, a mix of Starward Whisky, lemon and crunchy raw cane sugar syrup — plus caramelised meringue on top. A small beer, cider and wine selection is also available, plus a range of bites to eat — such as smoked almonds, house-marinated olives, duck liver parfait with lavash, smoked mackerel and horseradish bites, and a rotating cheese platter that always features three types of dairy with crackers. Decor-wise, prepare to sip and snack in a dimly lit space decked out with plants, concrete beams, a copper bar top and green velvet couches.
UPDATE, October 8, 2021: Supernova is available to stream via Stan, Google Play, YouTube Movies, iTunes and Amazon Video. Stanley Tucci and Colin Firth aren't lazy, bad or bland actors. The former has an Oscar nomination for The Lovely Bones, the latter won for The King's Speech, and neither can be accused of merely playing the same character again and again. And yet, whenever either pops up on-screen, they bring a set of expectations with them — or, perhaps more accurately, they each instantly remind viewers of the traits that have served them so well over their respective four-decade careers. In features as diverse as The Devil Wears Prada and the Hunger Games films, Tucci has given a distinctive sense of flair and presence to his many parts, as well as his innate ability to appear bemused and sarcastic about life in general. Whether as Mr Darcy in Pride and Prejudice or as Mark Darcy in the Bridget Jones movies, Firth has enjoyed immense success playing reserved, introverted, dry-witted men who are more likely to ruminate stoically than to outwardly show much emotion. Teaming up in Supernova, both talents draw upon these characteristics once more, as writer/director Harry Macqueen (Hinterland) wants them to. But here's the thing about this pair of stars, who shine particularly bright in this affecting drama: far from ever settling into their own comfortable niches, they're frequently delving deeper, twisting in different directions and offering up untold surprises. A famed novelist less interested in putting pen to paper than in peering up at the stars, Tucci's Tusker knows how to defuse any scenario with his charm in Supernova, but it's apparent that he often uses that canny ability to avoid facing a number of difficulties. An acclaimed musician with an eagerly anticipated concert in the works, Firth's Sam often says little; however, the fact that he's grappling internally with feelings he can't quite do justice to in words always remains evident. Travelling around England's Lakes District, they're not just on an ordinary campervan holiday. Neither man has simply been whiling away their time before their long-awaited returns to performing and writing, either. With stops to see Sam's sister (Pippa Haywood, Four Kids and It) and her family, and to reunite with old friends, the couple are making the most of what time they have left together. Tusker is unwell, with early-onset dementia increasingly having an impact on not only his everyday life, but upon the shared existence they've treasured for decades. Tucci and Firth serve up big performances in Supernova, but never overt ones. Actors can command the screen and the audience's attention while delivering disarmingly intimate, delicate and intricately drawn portrayals, which is what this stellar pair manage here repeatedly. Indeed, viewers can feel the force behind their heartbreaking efforts — as is to be expected in a film about life, love, loss, mortality, ageing and illness — but these aren't forceful turns. Rather, they're so detailed, textured and lived-in that they fill every frame and scene, and every room and wide-open space that Tusker and Sam find themselves in. Both Tucci and Firth are in career-best form here, and continually referring to them together comes naturally. Their rapport is as lively, thorough and authentic as anything in the movie, with Tusker and Sam's relationship always in Macqueen's view. This isn't just a feature about one man's experiences as his mind starts to fail him, he faces the end that awaits as all and he tries to claim what control he can over a situation that keeps stripping any sense of agency away; it's a devastating portrait of a couple confronting the waning of their life together far sooner than either had ever wanted or imagined. From its early scenes of Tusker and Sam beneath the sheets to the tough moments and conversations that arrive later, when dementia proves a topic that can no longer be ignored on their otherwise cosy road trip, Supernova is a thoughtful and tender love story through and through. Given the subject matter, that really isn't a standard feat. Unlike some films about sickness — too many, in fact — Supernova doesn't render its unwell figure a supporting player in his healthy partner's story. Similarly and welcomely, it doesn't posit that Sam's ordeal at Tusker's side is the true tragedy. In his warm, intuitive and compassionate screenplay and in his graceful direction as well, Macqueen has time for both men, their circumstances and their expectedly complicated emotions. But, in repeatedly showing how Tusker feels when he can't remember words and starts to forget where he is, conveying how his uncertain future is already taking a heavy toll upon his lucid moments and expressing the weight he feels in being acutely aware that he's losing his sense of self, the film never even dreams of sidelining its ailing point of focus. Awards and nominations typically follow dramas that wade through comparable terrain; for Michael Haneke's shattering Amour, Julianne Moore's superb performance in Still Alice and this year's Anthony Hopkins-starring standout The Father, they have in the past decade alone, for example. A plethora of shiny trophies and nods haven't yet come Supernova 's way, though — it is sometimes a little too neat and literal in its story, and in its stylistic choices as well — however, this is always a beautifully conceived, observed, performed, shot and executed film. Its leading men make the last flourishes of Tusker and Sam's romance, and of Tusker's mind, feel as explosive as the astronomical event that gives the movie its name. Cinematographer Dick Pope (Peterloo, Mr Turner) ensures that starry skies, green fields and cramped caravans alike all hover between the commonplace and the otherworldly. That contrast of the everyday and the ethereal sums up Supernova perfectly, and encapsulates every grand romance, too. Falling in love and spending your life with someone feels like entering into another universe, after all — and when that threatens to turn to stardust, it does so with a bang. https://www.youtube.com/watch?v=1SEoi8r1Z4Y
All you holiday-planners, Queensland is calling with a long list of weird and wonderful things to do in 2023 — and it's time you knew about them. Wanting to experience something a little bit different? Longing for events that can't be found anywhere else? Listen up. In 2023, the Sunshine State is celebrating everything from rock music in the desert to Mary Poppins, Elvis and medieval times — there's even a festival that celebrates both jazz and jumpers (yep, that's a thing). So, together with Queensland, we've rounded up 11 fantastically different events that need to be added to your 2023 travel diary, stat. Plus, while you're there having a memorable time, make a real trip out of it and explore some of Queensland's regional areas — or scoot back to Brisbane and dive deeper into the thriving arts scene. AGNES BLUES, ROOTS & ROCK FESTIVAL, 1770 The town of 1770, at the Great Barrier Reef's southernmost tip, will host the eighth Agnes Blues, Roots & Rocks Festival from Friday, February 17 till Sunday, February 19. The three days will be packed full of music (courtesy of over 30 bands, including headliner Busby Marou), stand-out food from local vendors and free-flowing bevs. Discovering new music or soaking up your faves, dancing away your Queensland days — in a numerically named township — is a terrific way to live. You could be leaving with new skills as well, with a range of workshops run by performers. All this takes place on a stunning stretch of Queensland's coast — so be sure to spend a few extra days swimming and surfing in the area. Agnes Blues, Roots & Rocks Festival, Friday, February 17 till Sunday, February 19, 2023 [caption id="attachment_881866" align="alignnone" width="1920"] Visual Poet Society[/caption] FESTIVAL OF OUTBACK OPERA, OUTBACK QUEENSLAND Opera in the outback? Delightfully different. Outdoor concerts under star-filled skies, pop-up performances taking over main streets and panel discussions in local parks — these are the experiences that made the 2022 Festival of Outback Opera a huge success. And Opera Queensland is bringing it back for its third year from Friday, May 19 until Monday, May 22. Forming part of this year's Queensland Music Trails, the festival will be running in the towns of Winton and Longreach, offering visitors the opportunity to interact with a diverse group of local and national artists all while experiencing some proper outback culture. Festival of Outback Opera, Friday, May 19 till Monday, May 22, 2023 [caption id="attachment_881863" align="alignnone" width="1920"] Bianca Holderness[/caption] COOLY ROCKS ON FESTIVAL, GOLD COAST From Wednesday, June 7 until Sunday, June 11, Coolangatta will go back in time with this old school rock 'n' roll, swing and rockabilly festival. Expect this coastal Queensland town to welcome all who are ready to rock out to classic tunes, appreciators of retro motors and countless hip-shaking groovers making moves towards the preliminary round of the Ultimate Elvis Tribute Artist Contest — with the winner heading straight to Memphis to compete in Elvis Week. It's a must-see part of the Cooly Rocks On Festival. But that ain't all. The festival also includes a pin-up pageant celebrating the days of rockabilly fashion and beauty, a 1940s-themed Harvest Moon Swing Ball and a huge selection of vintage cars for the motoring enthusiasts to gawk at. Either come to dress up and join the festival-goers who attend religiously each and every year, or come as you are and watch on as fun-loving fanatics do their very own version of larping. Cooly Rocks On Festival, Wednesday, June 7 till Sunday, June 11, 2023 [caption id="attachment_881862" align="alignnone" width="1920"] Matt Williams[/caption] BIRDSVILLE BIG RED BASH, OUTBACK QUEENSLAND This music festival is kind of like an Australian version of Burning Man — but significantly more family friendly. People head to the Simpson Desert, dressed up in their brightest and wackiest costumes, to party along to the sweet sounds of Aussie music legends. This year, Icehouse is headlining, with Pete Murray, Human Nature and the Hoodoo Gurus taking to the big stage as well. Hire an RV with your mates or bring your own camping gear along to the Birdsville Big Red Bash from Tuesday, July 4 till Thursday, July 6. Along with the stellar sounds, you can take part in a bunch of super quirky activities too. From a colourful drag race (a literal running race) along steep sand dunes to a fashion show for pooches, air guitar championship and camel rides, this is one fun-filled desert party. Birdsville Big Red Bash, Tuesday, July 4 till Thursday, July 6, 2023 MARY POPPINS FESTIVAL, FRASER COAST Each year, lovers of all things Mary Poppins descend upon Maryborough's Portside Precinct. Dressing up in their best Mary Poppins garb, they gather to celebrate Pamela Lyndon Travers — the author of the classic tale — who was born in the town. (We bet you didn't know that nugget of Australian trivia!) The most hardcore attendees dress up in their very best outfits to take part in The Great Nanny Race (where competitors attempt to reach the finish line first with their baby doll still safely in its pram), the Chimney Sweep Challenge (a race to guide a balloon up a chimney before demonstration of the best chimney-sweep jump) and the Costume Competition. But, you don't need to go all in at the Mary Poppins Festival — many come to watch the beautifully bizarre activities and wander around this part of the Fraser Coast, enjoying sidewalk performers, pop-up art installations and great local grub. It's a whole lot of wholesome fun. Mary Poppins Festival, Sunday, July 3, 2023 JUMPERS & JAZZ IN JULY, SOUTHERN QUEENSLAND COUNTRY 'Jumpers' on trees and jazz — who knew such an unlikely pairing could be so popular? Back in 2004, the Jumpers & Jazz in July festival was created in response to a streetscaping project by Warwick Art Gallery. The idea was simple: get the community together to enliven the wintery locale by knitting some jumpers to put on leafless trees and then play some jazz. And now? The festival is massive. From Thursday, July 20 to Sunday, July 30, the population of Warwick will almost quadruple in size as visitors descend to get in on the arty merriment. And as it's grown, so has the lineup of events. There's the usual — trees in the town centre covered in brightly hued yarn and live jazz music performances all over town — but there are also art exhibitions, markets, workshops, a vintage car show and heaps of pop-up food and drink stalls. It's a really unique way to brighten up your winter. Jumpers & Jazz in July, Thursday, July 20 till Sunday, July 30, 2023 [caption id="attachment_881860" align="alignnone" width="1920"] Ken Huntley[/caption] ABBEY MEDIEVAL FESTIVAL, BRISBANE Live your best A Knight's Tale fantasy at the 2023 Abbey Medieval Festival on Saturday, July 8 and Sunday, July 9. Yes, it is super geeky, but that's the fun of it all. Geeks are cool. Get on board. Join the club. Dress up in your finest ye-olde 'fits and go watch some jousting or shoot your shot in an archery competition. As you explore the Abbeystowe grounds you may also happen across actors playing Vikings and Turkish oil wrestlers while a string of food stalls sling medieval-themed food — think venison pies and other delights. You can even rest up at The Stag Inn to refuel while you sip mead or cider. Abbey Medieval Festival, Saturday, July 8 and Sunday, July 9, 2023 CRAFTED BEER & CIDER FESTIVAL, GOLD COAST Beer and cider fans best get around the beachside Crafted Festival in September. While the exact dates are yet to be announced — keep your eyes peeled in the coming months — in 2022, more than 50 of Australia's top craft brewers landed on the Gold Coast's Broadbeach, with a whopping 250-plus sips on pour. (This lineup included wine, spirits and cocktails for those who needed a break from the hopsy bevs.) If it's anything like last year, you'll be tasting all your favourite brews in the ocean air, with live music in your ears and stacks of local food stalls dishing out delicious bites to eat. Crafted Beer & Cider Festival, August 2023 CAPRICON POP CULTURE CONVENTION, ROCKHAMPTON Cosplayers, this one is for you. CapriCon Pop Culture Convention is a yearly event that celebrates comics, collectibles, anime, medieval larping, gaming and steampunk culture in Queensland's Rockhampton — and it's back for one day only on Saturday, September 2, 2023. In years gone by, there have been Star Wars lightsaber classes, cartoon and manga drawing workshops and monumental LEGO competitions (for all ages). There are also awards for those with the most spectacular costumes — so come dressed to impress. CapriCon Pop Culture Convention, Saturday, September 2, 2023 [caption id="attachment_881868" align="alignnone" width="1920"] Leximagery, Clayton Blake's Bathing Box[/caption] SWELL SCULPTURE FESTIVAL, GOLD COAST You'll be hard pressed to find an Australian outdoor art exhibition in more breathtaking surrounds. From Friday, September 8 till Sunday, September 17, over 70 large-scale contemporary sculptures will pop up along the picturesque Currumbin Beach while several other parts of the Gold Coast host a series of art exhibits — a huge (and fantastically arty) undertaking. But Queensland's biggest outdoor art festival isn't just about the artworks themselves. Throughout SWELL Sculpture Festival, there will be guided twilight walks around the installations, live music performances, comedy shows, masterclasses and talks. Be sure to stick around to get the full experience. SWELL Sculpture Festival, Friday, September 8 till Sunday, 17 September, 2023 MITCHELL CREEK ROCK 'N' BLUES FEST, SUNSHINE COAST This annual music festival in the Noosa Hinterland brings a wide range of Aussies together — that all have a common love for classic rock 'n' roll and blues. For three days and nights, over 140 local bands hit the stages to perform to excited crowds. But, it's super laidback, with visitors drinking and eating the day away at their campsites or hitting up pop-up markets and vintage car shows. A diverse selection of food vendors are also at the Mitchell Creek Rock 'n' Blues Fest throughout the festival — from Friday, September 15 right up until the last tent packs up on Sunday, September 17. The event organisers are also known for making this festival — its amenities, stages and camping grounds — accessible for those with disabilities. They even have an area for those who come camping with their dogs — everyone's welcome at this party. Mitchell Creek Rock 'n' Blues Fest, Friday, September 15 till Sunday, September 17, 2023 To explore more arts and culture events taking over Queensland in 2023, head to the website. Top image: Ravel, Alejandro Propato's Permanent Sunrise at SWELL Sculpture Festival
Pastels and poop. Step inside Unko Museum: The Kawaii Poop Experience and that's what awaits. The colour scheme is soft and soothing, but the point of focus is literal crap (well, fake versions). If you've ever called something "cute shit" before, those words have never applied quite as they will here. This Japanese-style installation takes its cues from not only Japan's kawaii poop trend, but from the Unko Museum's sites across the nation, including in Tokyo, Hiroshima and Shizuoka. Now, Unko Museum is making its Australian debut in Melbourne — originally slated to open in December 2023, but now adding some adorable crap to summer from Wednesday, January 17, 2024. The focus: "max unko kawaii", aka "the maximum cuteness of poop". Also one of the mains attractions: getting everyone taking snaps and filling their social-media feeds, so expect a heap of pastel emoji-esque shit to fill Instagram. Unko Museum: The Kawaii Poop Experience is split into zones and areas, spanning displays to take pictures of and other inclusions that are more immersive. Think: images of poop projected around the place, snapping selfies with poop props and flying poop, and retro-style games with a poop theme in a space called the Crappy Game Corner. Pastel-hued toilets are also a feature, lined up along a wall under a sign calling them "my unko maker". So are neon poop signs, giant poops, a ball pit where the balls are shaped like poops, poop hats, walls filled with toilet seats, glowing poop lights and a towering toilet-shaped doorway. Plus, exiting through the gift shop here means picking up kawaii poop merchandise and souvenirs. In Japan, as at October 2023, 1.4-million people had flushed the interactive experience into their itineraries. In Australia, Melburnians and tourists who now want to add some poo to their next Victorian visit can expect to spend 30–60 minutes revelling in endearing crap, in a family-friendly experience — because poop is for everyone.
This summer, you'll have another excuse to enjoy a G&T as a heap of gin and tonic gardens pop up across the country. Settling into the outside areas at pubs and bars in Melbourne, the gardens will feature plenty of gin and tonic (obviously), as well as DIY garnish stations. The idea is that you can learn more about different botanicals, then mix, match and experiment to find your ideal G&T combination. That sounds like a task that we'd all gladly accept; however there'll be tonic pairing menus on hand should you need some pointers. At the time of writing, Melburnians can scratch their G&T itch at Ciao Cucina in Port Melbourne, as well as Richmond Social, the Notting Hill Hotel and the Lower Plenty Hotel in their respective suburbs. More locations will pop up across the country over the summer, with a handy interactive map tracking new venues. The gardens are the work of Fever-Tree, so the company's tonics will be splashing in your glass. They'll be setting up shop not only in Melbourne, but Sydney, Brisbane, Canberra, Cairns, and the Gold and Sunshine coasts, too — so whether you're eager for a drink close to home or you'll be holidaying in a sunny spot, cocktails laden with juniper spirits await.
If you've ever had a sneaky little go with some small person's Lego blocks once they're all tucked up in bed, LEGOLAND sees you, tips you their hat… and raises you an adults-only night at their Melbourne Discovery Centre. It's not just any evening for more mature Lego fans, but a LEGOLAND birthday party to mark the centre's second year of operation. With no children to get in the way (or outdo your creations), you'll be able to have free reign of LEGOLAND to check out the 4D cinema, hop on the rides rides and build to your heart's content in the brick pits. Challenge yourself by taking on the master builder or a speed build and vie for the prizes up for grabs — there'll even kids' party games, a treasure hunt, balloon animals and face painting, so you can go full inner child mode. BYO shameless excitement, taste for glory, and bustling creativity, as well the eagerness to wear a birthday hat and devour a Lego cupcake. The party takes place from 7pm on Thursday, April 4, with doors opening from 6.30pm. Tickets cost $32.50 — and because it wouldn't be a birthday party without heaps of snacks, there'll also be mini hot dogs, mini burgers, mini donuts, milkshakes and spiders, some of which might just be Lego-shaped.
You might want to be sitting down for this: up in Victoria's High Country, there's a stretch of land entirely devoted to prosecco. For any fans of a post-work glass of extra-dry bubbles, this news may be life changing. And for the mere prosecco-curious, a visit to this pretty part of the world will probably want to make you get better acquainted. You see, the High Country's King Valley is the spitting image of mountainous north-east Italy — at least climactically speaking. It's that observation that led Italian immigrants to introduce the region's famous prosecco vines to King Valley nearly three decades ago. Now there are five key producers who have banded together to create the King Valley Prosecco Road, a cellar-door hop with a little extra sparkle. Autumn is one of the best times to visit, so you can enjoy its full spectrum of wine tastings, dining experiences and outdoor adventures. THE MAKING OF PROSECCO ROAD Prosecco grape varieties hail from the north-eastern regions of Italy. They came to our Australian shores via the many farmers of Italian heritage who moved here in the mid-20th century. The pioneer of prosecco in this region is Otto Dal Zotto, who was determined to see the grapes of his homeland grown in Australia. Recognising the climactic and cultural similarities between his home of Valdobbiadene and the King Valley, he sourced cuttings and planted the country's first prosecco vines in 2000. Now, 180 acres of prime King Valley land is planted with prosecco — that's 64 percent of all prosecco plantings in Australia. To celebrate some of the best prosecco being bottled in this country, five King Valley producers (Brown Brothers, Dal Zotto, Chrismont, Pizzini and Sam Miranda) collaborated to create the prosecco Road, a food and wine trail focused on prosecco in all its styles. As well as wine tastings, the trail is home to dining experiences, cooking and cocktail classes, hot-air ballooning, guided walks and pedal-to-produce cycling routes. PROSECCO ROAD STOP #1: DAL ZOTTO WINES When you drink prosecco in the King Valley, you're drinking history, and to really understand that history your first stop on the road should be Dal Zotto Wines, which released the very first Australian prosecco in 2004. Autumn is mid-harvest in the vineyard and the perfect time to visit the winery and be involved with drying the grapes for Otto Dal Zotto's 'natural' Col Fondo prosecco (just like he used to make as a young boy in Valdobbiadene). You can also get molto Italian by attending one of the winery's Salami Sessions, where you'll learn how to cure meats (with a glass of wine in your hand of course). PROSECCO ROAD STOP #2: BROWN BROTHERS The Dal Zottos aren't the only ones in the region steeped in history, Brown Brothers Milawa vineyard is only a short drive away and the family has over 120 years of experience of making wine in Victoria. Founded in 1889, the company (which now has vineyards all over Australia) has their cellar door in their Milawa vineyard, which has always been considered the birthplace of the Brown Brothers company. Ever wanted to try your hand at blending your own wine? Brown Brothers gives you the opportunity to be a winemaker (for an hour anyway) in their Blending Masterclass. Taste the diverse flavours of each individual grape varietal and experiment with different combinations to create your own unique blend of wine. Consider a wine-matched lunch while you're here — restaurant Patricia's Table has previously held a hat from Fairfax's Good Food Guide. PROSECCO ROAD STOP #3: PIZZINI You may have noticed that the wineries are a bit of a family affair in the King Valley. Pizzini is no exception. Alfred Pizzini and his family all work for the company, in roles ranging from winemaking and viticulture to sales and marketing to hosting classes at the cellar door. Their offering during the autumn months reflects their Italian heritage and family focus. At Katrina Pizzini's cooking school, novices can learn age-old techniques for making gnocchi and pasta, while the Journey with the Maker tour lets guests go behind the scenes and see how a wine goes from grape to bottle. The experience will have you tasting wines straight out of tanks and barrels, learning about the fermentation and maturation process, and getting a guided tasting of the finished wines in bottle. To top it all off, you get to enjoy a two-course picnic hamper in the vineyards, admiring the autumn foliage and the vines mid-harvest. PROSECCO ROAD STOP #4: SAM MIRANDA WINES Right in the heart of the Prosecco Road lies the most architecturally impressive and award-winning cellar door. Entry to Sam Miranda Wines is via a subterranean passage that leads to the cellar door, lit by way of a 40-foot light tower. Sam is a self-confessed cycling addict (who jokingly says he makes wine 'on the side' and seriously organises an annual race through the King Valley), so get into the spirit by hiring a bike to explore this part of the King Valley. You can rent a ride in Milawa and do the Milawa Gourmet Trail, or borrow one from neighbouring Brown Brothers. How else are you going to burn off all the Italian homemade pasta, salami and wine you've ingested over this trip? PROSECCO ROAD STOP #5: CHRISMONT Need a place to rest your head after all this excitement? Well, your last stop along the Prosecco Road is where you want to finish. Chrismont winery features elegant guesthouse accommodation set among the vines, making it an idyllic place to restore, relax and rejuvenate (and each room comes stocked with bottles of their signature prosecco). Those who haven't had their fill of prosecco can take part in their daily Prosecco Masterclass with Chrismont winemaker Warren Proft. Showcasing the full range of prosecco styles, the session includes wines, tasting notes and wine production information. Finish with a classic Italian dinner at the Chrismont Restaurant and Larder — tagliatelle and a tiramisu will set you on the path to a sweet night's sleep. To get prepped for your trip to the King Valley Prosecco Road or to plan further frolics through the autumn leaves of the High Country, visit the Wander Victoria website.
Radiance in the face of conflict, determination amid oppression, striving for basic human rights at your most vulnerable: these aren't easy experiences to live through, or to bring to the screen. Iranian Australian filmmaker Noora Niasari knows both firsthand, with her debut feature Shayda based on her childhood. Aged five, she resided in a women's shelter with her mother. The latter fought for freedom by moving to the other side of the world, away from everything that she knew, and carving out an existence anew. As Niasari's mum battled for agency and independence, and for the ability to divorce and also retain custody of her daughter, she still taught the young Noora Farsi, and Persian dance. She passed on Nowruz, or Persian New Year, traditions as well. "I think that was the element of the process that I underestimated — how challenging it would be, just on a very psychological, emotional level," Niasari tells Concrete Playground about the sifting through her own experiences to make the Melbourne-set and -shot Shayda. "It's one thing to direct your first feature film with a much bigger crew than you've ever had, much bigger cast, a lot of different personalities. And then to be triggered by your childhood trauma every day in the process — it's not something I would recommend to anyone." "It's something that I'm still struggling with, to be honest," Niasari continues, noting that she continually comes back to why she made the movie. "The fact that this story is much bigger than me and my mum, that it's already touching women and families all over the world, that really means something to me. I feel like it's a catalyst for healing, not just for me and my mum, but for so many people. That's what drives me to keep going and keep putting the putting the story out there." [caption id="attachment_910860" align="alignnone" width="1920"] Taylor Jewell/Associated Press[/caption] Niasari started Shayda from her mother's unpublished memoir, adapting it and fictionalising elements — and while it doesn't tell an easy tale, it's an easy film to fall for. Named for her mum's on-screen surrogate, who is played by 2022 Cannes Best Actress-winner Zar Amir Ebrahimi (Holy Spider), Shayda is clearly deeply personal. With engaging first-timer Selina Zahednia as Mona, Niasari's own in-film double, naturally it feels not only lived-in but like it has materialised as a movie from memories. As it charts its eponymous character's quest to start afresh, it tells of resilience and perseverance, strength and self-determination, and courage and community. It doesn't ever shy away from its protagonist's struggle to be permitted to be her own person, or from the pain and distress that she's forced to feel as she maintains that mission; however, in heroing its eponymous figure's fortitude, bravery and spirit, Shayda is also a hopeful film. Audiences at the 2023 Sundance Film Festival agreed; in January, Shayda won the US fest's World Cinema — Dramatic Audience Award. That world-premiere berth in Park City was just the start of the feature's festival run. Next stops: opening this year's Melbourne International Film Festival, then closing Switzerland's Locarno Film Festival. Internationally, Amir Ebrahimi's name is a drawcard. Cate Blanchett's, too, given that the Australian Tár and The New Boy actor executive produced the feature. The Tehran-born, Australian-raised Niasari is equally as talented behind the lens, after studying architecture then film; being mentored by iconic Iranian director Abbas Kiarostami; making documentaries in Wales, Lebanon and Chile; and beginning to focus on the Iranian diaspora community with her shorts and now this. Ahead of Shayda launching MIFF in early August, then hitting Australian cinemas in late September, Niasari chatted Concrete Playground through turning her own childhood into this powerful and important feature — plus balancing darkness and hopefulness, casting, engaging Melbourne's Iranian community, the Sundance experience, MIFF's coveted opening-night slot and her journey to becoming a filmmaker. ON NIASARI REALISING THAT SHE NEEDED TO TURN HER CHILDHOOD INTO A FILM "I lived in that women's shelter with my mum when I was five years old, and the woman who was running the shelter, who the character Joyce [played by Leah Purcell, The Drover's Wife The Legend of Molly Johnson] is based on, she's kind of my godmother now. She's been a family friend, my mother's close friend, for over 25 years. We often talk about those times, and it's an experience that's stayed with me through my whole life. Whenever I told people about living in a women's shelter, they were so surprised. I feel like there's not enough awareness of what services are available, and what those experiences are. But I was compelled to tell this story of female empowerment, and to show the world of a women's shelter that we haven't really seen on screens before." ON DECIDING WHERE TO STAY TRUE TO REALITY, WHERE TO FICTIONALISE AND WHY "I was lucky to have an amazing script editor throughout the scriptwriting process. The first draft was very much adapted from my mum's unpublished memoir, which I encouraged her to write before I did the adaptation. But the drafts after that were a departure from the autobiographical details of our life, of that memoir. There's certain things that in real life seem far too dark for a cinema audience — and it's important to prioritise the cinematic experience over what really happened. It very about finding the cinematic potential of the story beyond what happened to us. Thankfully I had my script editor, and a lot of amazing notes from producers — and also just a lot of kind of soul searching, and finding the moral compass of each character, and what they would do in this given scenario and that given scenario. It very much became a fictional exercise at a certain point, and it also incorporated not just my mother and I's story, but stories from my godmother — a lot of her personal experience of working in the shelter is in the film as well. So it's really an amalgamation of fact and fiction, and blurring those lines in order to tell a cinematic story." ON MAKING A FILM THAT SEES BOTH DARKNESS AND HOPE "From the start, I wanted there to be a lot of grounding in the mother-daughter connection, which is a beautiful one that they have. And in the celebration of Persian New Year — the film takes place over the course of that time. Celebrating the cultures and traditions, the poetry, the dance, those are things that kept my mother and I buoyant through those difficult times, and that's something I wanted to capture in the film. Whenever there's darkness, there's light as well. Finding that balance was really a priority for us — my cinematographer, production designer, all of us, we were always thinking about that, whether it came to the lighting or the set dressing or the costumes. Despite the fact that there's difficult themes, we wanted the audience to feel the hope and the joy, and the strength of Shayda and the other women in this in this shelter and in this situation, because there's more to life than the darkness." ON CASTING ZAR AMIR EBRAHIMI AS SHAYDA "We cast her before she won Cannes. It was very, very fortunate timing. Zar is an incredible woman, incredible human being, what she's been through. Just her story is amazing, but I'll leave that to for readers to Google. From the very first self-tape I received from Zar, within a few seconds I knew she was Shayda. It was that powerful. She has this dual strength and vulnerability happening all at once, just in her gaze, in her presence, the way she carries herself. This is a quality that I was always looking for in the character. And Zar also brings so much of her life experience to this film, and has so many parallels to my mother. They also became good friends in the making of the film, which was a beautiful thing as well because you could feel the sisterhood and bonding, and the deeply felt connections — which I feel came across in the performances, too." ON FINDING SOMEONE TO BASICALLY PLAY NIASARI HERSELF AS A CHILD "We auditioned Iranian girls all over Australia, through Persian schools, mostly grassroots casting. And Selina was one of the shortlisted applicants in Melbourne, which was lucky because we were shooting in Melbourne. She came to the callback and to the audition room, and my assistant and I were just blown away by her ability to lock into a situation emotionally and respond to it. For a six-year-old, her emotional intelligence was just phenomenal. She cried in the audition, not prompted by anything but the actual situation we gave her. Then she was able to snap back to the joy and dancing that she loves. She's actually very different to who I was as a child. She has a really happy family. She's got a beautiful childhood, no trauma — she's a really happy kid. As soon as the audition finished, when knew it was her, we were like 'that was remarkable, she's the one'. But then we were like 'but we have to protect her; we have to protect that joy and that light and spark'. So that's what we went about doing — protecting Selina from the material, and making sure that she stayed who she is. She has, and I'm glad that we went above and beyond to do that." ON ENGAGING WITH FELLOW MEMBERS OF MELBOURNE'S IRANIAN COMMUNITY "Their collaboration was really important when it came to preproduction and the making of the film. There's a place called House of Persia in in Melbourne — one of the founding members is my cinematographer's mum. We ran a lot of our rehearsals and auditions there. And we had huge amounts of volunteer extras and people helping us set up the fire-jumping festival, like multiple stall owners. It was a remarkable show of support from the community. They were very excited, very collaborative and just happy to be a part of something like this. It doesn't happen every day for there to be an Iranian Australian feature film financed by Screen Australia. I'm pretty sure that ours is the first. People were really, really excited, and generous and kind and supportive. And we're super grateful to everyone who supported us in the community." [caption id="attachment_910852" align="alignnone" width="1920"] Michael Loccisano/Getty Images[/caption] ON PLAYING SUNDANCE AND WINNING AN AWARD WITH NIASARI'S DEBUT FEATURE "It was definitely a dream come true to screen at Sundance, and to win an award was such a huge honour. It meant a lot to me, and to the whole team, because it just showed that the film is not just a film about my mother and I's personal experience — that it's a universal story that crosses borders, that audiences from all over the world and all different backgrounds are connecting with the film. That's what the audience award meant to me. For me, the most important thing is making a connection with the audience, so it was a wonderful thing to happen." ON OPENING MIFF "It feels surreal at the moment. I've had three shorts at MIFF. I was in the Accelerator Lab [a workshop for emerging short-film directors]. I became a filmmaker in Melbourne, and I really love Melbourne. In so many ways, it feels like a graduation to even just be at the festival with my feature. The opening-night spot, it's important in so many ways, but at the same time I just want to have fun with it and celebrate our hometown screening. But it does signify something new, in a sense, because I don't know how many Australian films have opened MIFF that are the majority in the different language, from a different cultural perspective to what we're used to, from a filmmaker who's lived that and who is from that world. I'm proud, and I'm grateful that my community is being seen and represented in this way." [caption id="attachment_910851" align="alignnone" width="1920"] Matt Winkelmeyer/Getty Images[/caption] ON THE JOURNEY FROM ARCHITECTURE TO DOCUMENTARIES TO SHAYDA "My mum used to take me to the Brisbane Film Festival, and I think one of the first films I saw in the cinema was a Jafar Panahi film. He was Kiarostami's assistant, and then I continued watching his films and Kiarostami's films. Just Iranian cinema in general was pivotal in my adolescence through to university. It always stayed with me, and the poetry and everything. I feel like I always had that undercurrent or simmering desire to tell stories, but I just didn't see it as a possible career path. It was never made mention to me until I was in architecture school. Even when I was in high school, I wanted to go to art school and I had a great art teacher, but filmmaking — nobody ever handed me a camera and said 'you could be a director one day'. It just never came to be. And especially with my mum, it was a single-parent family, and she was working, she was studying, she was hustling my whole childhood and adolescence. It was kind of amazing to discover it at that age of 19. I'm not one of those filmmakers who's like 'oh yeah, I watched E.T. when I was growing up and decided I want to be a director'. I think it was just something that was inside me, and was discovered slightly later based on the circumstances of what I was doing. I loved architecture school, too. I did work for a year and was definitely at a crossroads. But I just fell in love with storytelling, with making movies and being able to make a connection with people through that medium, so I haven't looked back since then." Shayda opens the 2023 Melbourne International Film Festival on Thursday, August 3, then releases in Australian cinemas on Thursday, October 5. Read our review.
UPDATE: May 29, 2021: Halston is available to stream via DocPlay, Google Play, YouTube Movies, iTunes and Amazon Video. Fabulous minimalist outfits that defined the 70s, famous faces clamouring to wear them and feverish Studio 54 parties — Roy Halston Frowick's life had it all. Starting as a milliner at Bergdorf Goodman, he rose to fame after designing the pillbox hat that Jacqueline Kennedy wore to JFK's inauguration. When the new First Lady's headwear became a phenomenon, widespread attention naturally came his way. From there, the man known as just Halston started his own eponymous label, creating one of the top American fashion brands of the era. Andy Warhol called him one of the two people he'd always want by his side (the other: Elizabeth Taylor), while Liza Minnelli not only became one of Halston's close friends, but a walking billboard for his work. After rocketing through the world of haute couture, Halston then decided to take his clothing to the masses, too, becoming the first designer to ever collaborate with a department store. In his latest meticulously researched movie, fashion documentarian Frédéric Tcheng explores Halston's story, with the above description just the beginning. After the Midwest-raised designer's success and acclaim came bad business decisions, corporate dramas and messy takeovers, as well as drugs, scandals and broken dreams. To some, Halston was a sartorial god. To others, he was a demanding diva. Indeed, although his career soared, it ultimately plunged just as sharply. When he died in 1990 due to AIDS-related illnesses, he'd become just a footnote in his still-ongoing label's history. It's a tale that Tcheng seems especially suited to tell, and tell it he does in Halston. As he proved with Diana Vreeland: The Eye Has to Travel and Dior and I, the French filmmaker has a nose for fascinating true fashion stories — and a knack for knowing how to cut to their core. Here, he inserts Tavi Gevinson into the film as a fictional narrator, which may appear an unusual choice. But, as she excavates Halston's past via an array of grainy VHS tapes of his old runway shows, promotional events, publicity chats and parties, the movie confronts a crucial fact: its subject is no longer a household name. As a result, Halston becomes not just a fashion doco about gorgeous gowns, the person who made them, and his ups and downs, but also a detective story. More than chronicling Halston's life and committing it to film for posterity, Tcheng tries to ascertain why this important tale has nearly been lost to the vagaries of time. In overseeing this task, Gevinson's unnamed archivist initially seems somewhat gimmicky and unnecessary. Once the story starts picking up steam, cutting back and forth can also feel disruptive. And yet Gevinson plays a pivotal part, not only guiding viewers as the movie pieces together Halston's tale, but letting the audience discover for themselves just why they should care — showing them instead of forcefully telling them. Of course, plenty of folks still pop up to sing Halston's praises, including staff, friends, family members and models. Among the parade of interviewees, Minnelli gives a particularly glowing tick of approval: "his clothes danced with you," she gushes. More than merely applauding what she loved about his outfits, the star combines compliments with insight, with her fellow talking heads taking the same lead. When others describe how his fluid, bias-cut creations often came about just by snipping across a piece of material, then draping it over the closest model, it paints a very vivid picture of his vision and artistry. "It was a dress just because of the way he cut the fabric," one of his former colleagues expands — with images of Halston's patterns, often based around just a single sheet of cloth, putting that idea in visual terms. Come for the dresses and drama, stay for the revelations, realisations and ravishing creativity — that's Halston in a nutshell. That said, while this illuminating documentary convincingly makes its case, it doesn't craft as vibrant a portrait of Halston outside the atelier or beyond the revelry. Viewers come to understand his importance and influence in fashion history, as well as why he deserves his enduring place in the spotlight, but glean little that's overly personal about the man himself. Halston isn't an absent figure at all, appearing constantly in archival materials; however he seems to be begging to step out of the documentary and into a biopic — a move that'll probably happen sooner or later. https://www.youtube.com/watch?v=XmK3_HnKkbc
Pizza Hut. The noble and long-serving ‘za provider who filled our tummies at last-day-of-school pizza lunch and, in our uni student years, staved off hunger and calcium deficiency with cheap Tuesday deals. That is until in 1983 when the Dominos chain hit our shores. Dominos grew in reach and popularity and brought the Hut to its knees (or at least, to mainly smaller takeaway-only venues, less all-you-can-eat restaurants). Sure, there's still a few floating around (lookin' at you Goulburn), but they're harder and harder to come by nowadays. Once a dignified, family-friendly palace of soft serve on-tap, mini marshmallows and slice after slice after slice, Pizza Hut is now reduced to stunt-like takeaway grotesquery such as the Four 'N Twenty Meat Pie crust and its ilk, cramming more and more fast food, chicken nuggets, hot dogs, cheeseburgers into the crust until it’s just a misshapen farce oozing with disappointment. There's not much scope for an in-house sit-down pig-out any more. Apparently someone else has also noticed the decline. Sydney-based photographer Ho Hai Tran has taken up the quest of documenting the last surviving original Pizza Hut buildings before they pass into irrelevance. Tran has travelled 14,000kms across Australia, New Zealand and the USA to try and capture the photos of the buildings, most of which have been converted for other uses. “Pizza Hut buildings might not seem like the most aesthetically compelling structures, but they do ooze a certain charm”, says Tran. His purpose in all of this is historical record-keeping and maybe making Gen Y-ers shed a little tear because our world is crumbling to pieces. He’s even launched a Kickstarter to help him on his way. The archive of photographs will eventually be compiled into a book which has, in our humble opinion, the greatest title ever: Pizza Hunt. And the special edition even comes in a pizza box. Ouch, right in the childhood. Help Ho Hai Tran on his quest to immortalise the ‘Hut through by chipping into the Kickstarter.
If your dream European holiday includes vineyard picnics, forest hideouts and mountainside stargazing, Tiny Away have got you sorted. The eco-friendly Australian accommodation brand, known for its off-grid stays locally and in Southeast Asia, has unveiled a cluster of tiny houses in France, Spain and Italy — and just in time for Euro summer. Designed for nature lovers, slow travellers and anyone looking for a different kind of escape, these compact retreats are at the meeting point of sustainability and comfort. The new European houses, like their Australian stablemates, are located in picturesque off-grid locations that give you direct access to seriously stunning natural surrounds, perfect if you're looking to switch off. In France, you can check into Loire River Tranquility, a peaceful riverside outpost near the historic city of Orléans, where you can spend your days exploring vineyards, castles and art galleries in the city of Joan of Arc. If enchanted forests are more your thing, La Tiny Alchimiste awaits in the verdant village of Cressanges in central France, where you can soak up views of rolling meadows from your terrace or explore charming nearby towns like Bresnay and Tréban. Spain's tiny homes bring a mix of mountain solitude and Mediterranean sunshine. De la Luz Ecolodge sits 400 metres above sea level in Andalusia, offering solar-powered serenity, pine-covered mountain trails and night skies made for stargazing — and that's in addition to the sweeping views across the region and out to the ocean beyond. Meanwhile, in Girona's Llémena Valley in northern Spain, Caseta Wald offers a minimalist woodland haven just a short drive from Costa Brava's beaches, the volcanic landscapes of La Garrotxa and Girona's famous Arab Baths, built in the year 1194. Over in Italy, Casa della Montagna Sila is providing alpine vibes all year round. Located in Calabria's Sila National Park, near Lake Arvo in the mountain village of Lorica, this cabin offers a year-round base for mountain hikes, lake swims and access to nearby landmarks, like I Giganti della Sila, Monte Botte Donato and the 11th-century Castello di Santa Severina. Plus, the rugged beaches and coastline of Isola Capo Rizzuto are just a short drive away. "With Europe summer getaways on the travel radar for Australians, Tiny Away's five new properties arrive at the perfect time," says Jeff Yeo, co-founder of Tiny Away. "Australian holidaymakers are increasingly seeking eco-friendly stays that allow them to connect with nature and local culture. By expanding our offering in Europe, we're bringing unique and sustainable accommodation options that align with the values of modern travellers — combining comfort, minimal impact, and a deep connection with place." Tiny Away's new European properties are available for booking now. For more information, head to the brand's website. Images: Tiny Away
Killing Them Softly is the third movie by Australian writer-director Andrew Dominik, and as with his two previous films (Chopper and The Assassination of Jesse James by the Coward Robert Ford), it focuses almost entirely on the criminal underworld and those who inhabit it. Set in 2008, it follows hitman Jackie Cogan (Brad Pitt) as he's hired by the mob to track down and execute a trio of small-time hoods for sticking up one of their illegal card games (Scoot McNairy, Ben Mendelsohn, and Vincent Curatola). Pitt absolutely excels as the shrewd, no-nonsense killer dutifully dispatching the mob's condemned subject to two important caveats: he won't kill people he knows, and he won't kill people up close. Not because it's ethically troubling or offensive to his sense of honour, but because it's awkward and a humiliating seeing old acquaintances beg and cry before they die. Cogan's preference is instead to "kill them softly", at least until he grabs the shotgun, and under Dominik's direction the violence (of which there's quite a bit) combines the graphic brutality of Casino with the stylised cinematography of Drive. It's at once horrific and mesmerising, most notably during a supremely slow-motion assassination between two cars stopped at some traffic lights. The story is largely based on Cogan's Trade, a 1974 novel by author and former assistant US attorney George V Higgins. Higgins was perhaps best known for his use of hyper-realistic dialogue, lending his stories a theatrical quality that Dominik was wise to preserve. His screenplay crackles with fantastic exchanges and wonderful one-liners ranging from the droll observations of the mob's lawyer (Richard Jenkins) to the menace of Pitt's casually veiled threats. It's a fantastic and accomplished offering, with the only heavy hand coming by way of the film's laboured political overtones. Killing Them Softly opens on the boarded storefronts and destitution of an unnamed but neglected city set against billboards from the 2008 presidential campaign and excerpts of Obama's convention speech extolling the virtues of America's promise. Later, we hear President Bush justifying the bank bailout over shots of those disenfranchised and indigent who would ultimately foot the bill. America's promise has failed, we're told again and again — empty words and empty undertakings in a world where corporatisation has transformed the country for the worse. Calvin Coolidge once remarked that the chief business of the American people was business. Crap, says Cogan. America is the business, and the American people are just trying to get one up on everybody else. It's do or be done — and if you’re doing, make sure you're damned well paid for it.
The Dandenong Ranges has welcomed a newcomer to town, and it's serving up Mexican-inspired cafe fare and fine cuppas. Maria Cafe is run by partners Josh O'Brien and Omar Viramontes, who are also responsible for the nearby Lorna Cafe. While the duo's first venue is named after Josh's grandmother — and features her homemade crumpet recipe on its menu — Maria Cafe takes inspiration from Omar's grandmother. Drawing upon her Mexican heritage, the new cafe finds its culinary cues in Central and South American influences. Specialty dishes include pulled beef brisket tacos with Oaxaca cheese and salsa verde ($17), lamb or grilled tempeh tostadas with beetroot slaw and marinated feta ($19.50), and the incredibly decadent sounding churros waffles — served with chocolate fudge sauce, sugared hazelnuts, strawberries and mascarpone ($18.50). Other especially tasty sounding brekkie items include huevos rotos (fried eggs, chorizo ragu and potatoes with avocado lime crema and fried bread, $19.00) and croquettes benedict (panko-crumbed sweet potato and chorizo croquettes topped with red capsicum jam, poached eggs and hollandaise, for $19.50) — or the pina colada taco (made from fried dough taquitos, then filled with white rum custard, pineapple compote, coconut and salted caramel popcorn, for $18.50). For drinks, the cafe uses Industry Beans and offers a rotating selection of single origin roasts, alongside specialty beetroot, turmeric and matcha lattes, organic teas and Mexico's Jarritos soft drinks. The cafe is also licensed and offers wine, beer and specialty cocktails to boot.
In this age of seemingly endless streaming platforms — with newcomers vying for your eyeballs every week, or so it seems — there's never a shortage of things to watch. New movies hit the likes of Netflix, Stan, Amazon Prime Video, Disney+, Apple TV+ and DocPlay all the time, as well as the plethora of other online viewing services, all ready to be watched and enjoyed by your ravenous eyeballs. With such an ongoing onslaught of content fighting for everyone's attention, it's easy to miss the highlights. Or, to put a new film in your queue, then keep watching Tiger King and completely forget all about it. To help, we round up the best streaming highlights each and every month. But, in case you've missed any of our movie picks, we've also compiled a list of the standout flicks we've recommended over the past year that are still available for you to stream — and are well worth your attention — this very moment. https://www.youtube.com/watch?v=vTfJp2Ts9X8 UNCUT GEMS The best film of 2020, based on Australian release dates, might only screen on Netflix on our shores. That might seem a big call, but the anxiety-dripping, riveting Uncut Gems is a stone-cold masterpiece, complete with one of the greatest performances of Adam Sandler's career (alongside Punch-Drunk Love and The Meyerowitz Stories (New and Selected)). Far, far removed from his Netflix comedies of late, the actor is all hustle and bustle as Jewish American diamond-district jeweller Howard Ratner. A compulsive gambler who is deeply in debt, about to get divorced and being shaken down by a loan shark (Eric Bogosian) he's related to by marriage, he's always trying to lure in high-profile clientele. When he comes into possession of a rare black opal — the uncut gem of the title — basketballer Kevin Garnett becomes interested, sparking a wild chain of events. Writer/directors Josh and Benny Safdie last worked their gritty, vivid and relentlessly tense magic with the Robert Pattinson-starring Good Time to exhilarating and mesmerising effect, and this uncompromisingly chaotic thriller and all-round exceptional character study is even better. Uncut Gems is available to stream via Netflix. https://www.youtube.com/watch?v=ul5GFfMAvtg THE REPORT One of 2019's late highlights is based on a US Senate Intelligence Committee report on CIA torture. No, that's not a sentence that comes up very often. Directed by Contagion, Side Effects and The Laundromat screenwriter Scott Z. Burns, The Report recreates the experiences of real-life Senate staffer Daniel Jones, who, from 2009–2015, delved into the scandalous treatment of terrorist suspects by America's key intelligence agency. It mightn't sound riveting on the page, but as Jones dives deeper into a dark part of recent American history, weathers hefty opposition and dedicates himself to ascertaining the truth, The Report makes for gripping viewing. Adam Driver serves up his latest stellar performance as the committed investigator and, while the film belongs to its star and its subject matter, Annette Bening, Jon Hamm, Michael C. Hall and Corey Stoll also leave an imprint. The Report is available to stream via Amazon Prime Video. https://www.youtube.com/watch?v=J9YEKRJ4TA4 I LOST MY BODY Forget the latest version of The Addams Family — the best movie to feature a detached hand scrambling around on its own five fingers is French animation I Lost My Body. A deserved winner of the Critics' Week Grand Prize at last year's Cannes Film Festival, Jérémy Clapin's rich and textured picture adapts a novel by Amelie screenwriter Guillaume Laurant's and intertwines two narrative threads. Imbued with a bittersweet mood, the film charts the efforts of pizza delivery pizza Naofel (Hakim Faris) to earn the attention of young librarian Gabrielle (Victoire Du Bois), while also following the exploits of the aforementioned autonomous appendage as it roams around town. The imagery, including visuals framed from the hand's perspective, is sumptuous. The emotional journey, complete with thrills, spills and ample melancholy, finds the balance between whimsical and weighty. Poetic, ruminative and entertaining, this is the best animated movie of the year. I Lost My Body is available to stream via Netflix. https://www.youtube.com/watch?v=Td0oBCWO_I4 THE ART OF SELF-DEFENSE Talk about perfect casting. If you're going to make a movie about a meek, mild-mannered accountant who spends the bulk of his time alone, doesn't fit in with his frat boy co-workers and is struggling to cope with being violently attacked — and you're making a black comedy that firmly and sharply skewers toxic masculinity, too — then you want Jesse Eisenberg as your lead. Drawing upon experience in the likes of The Social Network and the Zombieland films, he's pitch-perfect as the aforementioned Casey, including when he seems to find solace in the teachings and classes of a local karate dojo. Also starring Imogen Poots (Eisenberg's co-star in Vivarium), and written and directed by filmmaker Riley Stearns (Faults), this smart blend of satire, statement and thrills never makes the obvious choice; however it does drum up plenty of laughs. The Art of Self-Defense is available to stream via Amazon Prime Video. https://www.youtube.com/watch?v=1JLUn2DFW4w EL CAMINO: A BREAKING BAD MOVIE Six years after he was last seen driving off into the night, Jesse Pinkman (Aaron Paul) finally made a comeback. That's how long it was for Breaking Bad fans; however, for the character, absolutely no time passed. Picking up where the show's grim finale left off, El Camino: A Breaking Bad Movie explores what comes next for Walter White (Bryan Cranston)'s former meth-cooking partner. The cops are on his trail, but Skinny Pete (Charles Barker) and Badger (Matt Jones) are on hand to help. As Jesse tries to find a way forward, plenty of flashbacks also flesh out and reshape his story. While El Camino might be superfluous — Jesse didn't really need this lap of honour, and viewers didn't really need such a definitive conclusion — it's still an immense pleasure to return to the Breaking Bad realm, especially with series creator Vince Gilligan at the helm. Of course, Better Call Saul has been letting audiences do that since 2015, but every BB aficionado has a soft spot for Jesse, his love of saying "yo", and his fondness for science and magnets. El Camino: A Breaking Bad Movie is available to stream via Netflix. https://www.youtube.com/watch?v=iHBcWHY9lN4 ALWAYS BE MY MAYBE It's a little unfair to say that Always Be My Maybe is worth watching for Keanu Reeves. He's not the film's star, with those honours going to writers and comedians Ali Wong and Randall Park; however, he's an unmissable force of nature not only playing the man who could thwart the movie's central romance, but also playing a heightened, exaggerated, ultra sensual version of himself. Yes, it's as glorious as it sounds. Always Be My Maybe is never as entertainingly chaotic when Reeves isn't around, but it's a charming, topical rom-com from start to finish, albeit one that hits familiar genre beats. A little charisma goes a long way, however, and Wong and Park (and Reeves, obviously) have it in spades in a movie that also marks the film directorial debut of Don't Trust the Bitch in Apartment 23's Nahnatchka Khan. Always Be My Maybe is available to stream via Netflix. https://www.youtube.com/watch?v=HMfyueM-ZBQ TOGO As moving a dog-focused movie as you're ever likely to see, Togo tells an extraordinary true tale. You might've already heard of Balto, the sled dog who came to fame for running 53 miles in a snow storm to help fetch diphtheria anti-toxin for a small Alaskan town back in 1925. That canine is clearly a hero — but another Siberian Husky named Togo actually led the pack that ran the bulk of the distance, covering a huge 260 miles over ice and snow. So, this heartfelt and action-packed movie tells the latter's story. Starring Willem Dafoe as his owner Leonhard Seppala, it's endearing from start to finish. In earnest mode, Dafoe is typically excellent, while the cute pooch acting is first-rate as well. And while director Ericson Core did a terrible job of 2015's needless Point Break remake, he does exactly what he needs to here. Togo is available to stream via Disney+. https://www.youtube.com/watch?v=q57D6kF5B1k THE PERFECTION With Get Out and now The Perfection, Allison Williams appears to have an on-screen type, playing ambitious women who'll do whatever it takes to get what they want, including getting their hands dirty. But this Netflix horror film doesn't just throw the Girls star into familiar territory and ask her to follow in her own footsteps, even if that's how it initially seems. Williams plays cello prodigy Charlotte Willmore, who, after her career is cut short, befriends her replacement Lizzie (Logan Browning) during a trip to China. Where the narrative twists and turns from there is best discovered by watching, but filmmaker Richard Shepard has made a feistily immersive genre piece with thrills, body horror and a timely statement. The Perfection is available to stream via Netflix. https://www.youtube.com/watch?v=n5Vm_Awe3bw MINDING THE GAP When Free Solo took out this year's Academy Award for Best Documentary, it was a thoroughly deserving winner, as anyone who's sweated through the true rock-climbing tale can attest. If the trophy had been handed to Minding the Gap instead, however, the Oscars wouldn't have made a mistake. Directed by Bing Liu and also featuring the filmmaker on-screen, this intimate doco steps into the lives of three Illinois residents as they cope with life's stresses, endeavour to find solace in skateboarding, and wrestle with society's expectations of them as young men. While every kickflip and ollie looks and feels equally raw and astonishing, the action footage has nothing on the film's real rollercoaster ride: the film's three subjects and their stories of domestic and substance abuse, living on the margins, and trying to navigate both economic and racial oppression. Minding the Gap is available to stream via DocPlay. https://www.youtube.com/watch?v=NEoJuTRZDjk EARTHQUAKE BIRD After exploring the life of writer Sidonie-Gabrielle Colette in last year's Keira Knightley-starring biopic Colette, British writer/director Wash Westmoreland jumps from late 19th- and early 20th-century France to Tokyo circa 1989. That's where Swedish expat Lucy Fly (Alicia Vikander) lives, works and starts to date Japanese photographer Teiji (Naoki Kobayashi). And, with the film framed through a police interrogation, that's where she also becomes a suspect in a missing persons case that could also be a murder. Based on Susanna Jones' 2001 novel of the same name, Earthquake Bird charts the fallout after American Lily Bridges (Riley Keough) arrives in town, befriends Lucy and then disappears — after getting close to Teiji. The film takes its time to solve its central mystery, but that patient approach comes packaged with sumptuous visuals, appropriately contrasting portrayals by its female stars (Vikander is icy and restrained, Keough is lively and vibrant), and a considerable command over its slow-burn thrills and tension. Earthquake Bird is available to stream via Netflix. https://www.youtube.com/watch?v=zDQm70Q9hKI GUAVA ISLAND Last year, when Coachella hit, Donald Glover delivered audiences everywhere a treat — whether you were at the Californian festival or not. The artist also known as Childish Gambino teamed up with his Atlanta director Hiro Murai, his screenwriter brother Stephen Glover, Black Panther's Letitia Wright, Game of Thrones' Nonso Anozie and, oh, none other than Rihanna, for a new film called Guava Island. Filled with Glover's music (naturally), it premiered at a specially built theatre at the fest to tie in with Glover's headlining set, and it's also available to stream via Amazon's streaming platform. The thoughtful and delightful film follows Deni Maroon (Glover), a Cuban musician trying to put on a festival on the titular island, all while battling his tyrannical employer. Guava Island is available to stream via Amazon Prime Video. https://www.youtube.com/watch?v=WT4bnfULz2s THE KING Since he came to widespread fame in Call Me By Your Name, Timothée Chalamet has become cinematic royalty. In The King, he embraces that status. Stepping into both historical and Shakespearean territory, he plays Hal, aka King Henry V, in a slow-building but astute drama based on the Bard's Henriad plays. Perfectly content never to take 15th-century England's top job, Hal nonetheless finds himself donning the crown — and, thanks to a war with France, following in his father's (Ben Mendelsohn) footsteps in more ways than one. Directed by Australian filmmaker David Michod and co-written with his Animal Kingdom star Joel Edgerton, The King plays up the internal and external conflict, tones down the language and, when it comes to political manoeuvring, finds much to muse on. Michod and cinematographer Adam Arkapaw particularly revel in the film's battle scenes, while, cast-wise, the sight of Chalamet facing off against a long-haired, French-accented, almost-comedic Robert Pattinson is the stuff that the internet's dreams are made of. Edgerton, Sean Harris (Mission: Impossible – Fallout ), Thomasin McKenzie (Leave No Trace) and Lily-Rose Depp all also make an impact. The King is available to stream via Netflix.
The Daughter might be the latest local film to reach cinema screens, but it's no typical Aussie movie. Writer/director Simon Stone and the bulk of the film's cast — including Geoffrey Rush, Ewen Leslie, Anna Torv, Miranda Otto and Odessa Young — ensure that the feature's Aussie credentials remain intact, as does its New South Wales shoot. However the drama of family secrets and lies actually finds its basis in Henrik Ibsen's The Wild Duck. Accordingly, Stone transports a 19th century Norwegian classic to modern Australia, and not for the first time. As theatre fans will no doubt know, the stage wunderkind turned filmmaker earned rave reviews for his stripped-back take on the tale, which played in Sydney, Oslo, Vienna and London. Now, he endeavours to do so again with his film version. In fact, it seems like his involvement in The Daughter was meant to be, though the same could be said for rising talent Young as well. In the titular role of Hedvig, the Looking for Grace star plays her second complex, compelling teen character in as many movies, and holds her own against an accomplished cast. So what drew Stone and Young to the story, how did they approach its characters, and how did Stone craft more than just the usual Aussie movie? With The Daughter now screening in Australian cinemas, we spoke to the duo about the film. ON THE APPEAL OF HENRIK IBSEN'S THE WILD DUCK Simon: "I guess the beautiful thing about the story is that it's a whole heap of people who have made various mistakes in their life, and it is [about] the vulnerability and the attempt to do the right thing. I'm very attracted to stories where you can't find the villain. So I love constellations of characters with a tragedy that kind of evolves out of the mistakes that the people are making — it doesn't evolve out of being able to blame anyone, it is just people falling into the traps that fate has set them, kind of. And it's the random confluences, confluences of various different people's motivations that are in conflict with each other. That creates the tragedy. You know, if you can blame anything, you can just blame bad luck." Odessa: "I was really attracted to the story by the integrity with which Simon wrote the character, and the insight that he seemed to have on her teenage personality and emotions, and just the complexity with which he wrote the teenage character. Because, I mean, I've read a lot of teenage characters — as you can imagine being a teenager auditioning for roles — and it's so rare that you actually come across a character that isn't just used as a buffer for the adult characters to take anger out on. Or they're quite often used as scapegoats. It is a really interesting kind of thing when you read something that isn't like that — when it is actually creating some autonomy for the character. That's really what gripped me about the role in the first place." ON ADAPTING THE STORY FOR A SECOND TIME Simon: "I had a series of instincts about the way I thought that it should look, but those instincts changed as I changed, in my mind, what kind of genre of movie it should maybe be in order to be most successful. I mean, if it had been just an incredibly realistic portrait of these events happening to this family like it was in my stage play, in a kind of inner-city environment like it was set in in my version of the play, then I think it would've been inconceivable at certain points. People would've gone, 'Actually, if you're pretending that all of these coincidences just take place in Surry Hills in a casual week in the casual lives of these people, then I'm not going to buy that.' "So I started looking for a genre for the movie that was going to be take advantage of the kind of mythological nature of the story in Ibsen's original play. It was just about finding the right genre, the right kind of references for myself, because I'm in love with every single genre of cinema. I love everything, so it kind of could've been anything." ON THE COMPLEX CHARACTERS AT THE HEART OF THE FILM Simon: "I don't believe in that moral absoluteness. I don't actually think it exists in the real world. I think it is a storytelling motif that people invented to express the fighting within someone's own soul. I think the classic villains and the classic gods versus devils stories that have existed in all the mythology since the beginning of religions, and in spiritual storytelling since humans painted stories on caves with pictures, the source of that was actually an expression of human instinct. The instincts within a human person, and the personification of those people was the kind of way of literalising and turning that battle into a figurative battle of two sides of the human personality. And I think people have kind of forgotten that." Odessa: "Even after I got the role, it was really heavy for me. I didn't know whether I could do it. I didn't know if I had the skills and the knowledge to play a character like this — that was so far opposite to what I am. So much of my character development was Simon's direction. We created a very important, easy shorthand quite early on in the process where it was all about paring back my own experiences as a teenager, not letting them filter through into the character, and creating a new set of experiences that would influence Hedvig's decisions and decision-making and her actions." ON MAKING A MOVIE THAT'S MORE THAN JUST THE SUM OF ITS AUSTRALIAN PARTS Simon: "I wanted the film to reflect all of the Australian stories that are not the clichéd Australian stories. Australia seems to have this real love of the idea of white working class stories or Asian stories or indigenous stories. But [I like] the idea of melding of all of the influences, the idea of actually taking a Scandinavian story, making it a little bit Australian, keeping it a little bit Scandinavian, and letting it be universal. Getting rid of the notion of what is the Australian-ness of this project, other than that it is being made by a whole heap of Australians. "And so the source material is part of the canon that Australia is kind of stealing from everywhere in the world, always. Because other than the indigenous stories and the dreaming, there is no Australian canon. It is just a series of other people's work, other culture's work, that kind of magpie culture where we are of just pilfering and making a beautiful and mangled mess. That's the kind of aim of the movie. And its a celebration to a certain extent that maybe we can eventually stop needing to ask questions about Australian-ness at some point." The Daughter is currently screening in Australian cinemas. Read our full review.
Appeteaser is the latest collection from Lucy Folk, and boy, is it tempting. This season Folk has used sterling silver, rose and yellow gold vermeil, freshwater pearls, powder-coated steel, 22 carat gold, rubies, white and black diamonds, tsavorite garnets, ceylon sapphires and a playful bout of colour in a series of pieces designed to make you look delicious. Some of the old favourites are back, but with a twist. There's gold corn chip necklaces, peppercorn earrings and mini-taco-adorned friendship bracelets. But expect an element of decadence with this seasons offerings, as elegant pearls and precious jewels are added in subtle ways. A couple of examples we are loving from this collection include the silver and rose gold ‘Caviar Rings’ dotted with sapphires and diamonds to add some sparkle to the seduction. Anchovy cuffs for your wrists and your ears add an intriguing texture to staple pieces, and the peppercorn and pearl earrings are delicate and divine. Probably the standout piece of the collection, however, is the Appeteaser Aphrodisiac necklace. A shucked freshwater oyster shell in either sterling silver or rose gold — with a pearl in the centre, of course — it is sure to make you the topic of conversation at any dinner party. At $750 (silver)/$850 (rose gold) a pop, you might be dining out on the cheap for a while, but if you feel like treating yourself to something scrumptious, you’d be hard pressed to beat this beauty. The Lucy Folk Appeteaser collection hits stores today and is also available online. Check out the saucily tongue-in-cheek campaign video for a little more amuse(-bouche)ment.
Of all the new TV shows that are heading to streaming in 2023, only one has a groove and a meaning. Well, only one is based on a movie with a theme song that claims that, at least. And yes, you now have that tune stuck in your head — because 'Grease', the track, is that much of a catchy and persistent earworm. The entire Grease soundtrack is, and perhaps the tunes that come with Grease: Rise of the Pink Ladies will be as well. This new prequel series steps back into the 70s-made, 50s-set musical rom-com's world, giving its titular girl gang an origin story. Based on both the initial teaser and the just-dropped full trailer, Rise of the Pink Ladies is hopelessly devoted to taking that task seriously. Here, in a ten-episode series set to stream via Paramount+ in Australia from Friday, April 7 — with New Zealand airing details yet to be revealed — it's the 1954–55 school year. It's also when the eponymous young women are given words of warning about appropriate behaviour. "Ladies, you must be careful with whom you associate," Assistant Principal McGee (Jackie Hoffman, Only Murders in the Building) tells them in the first trailer. "A girl's reputation is all that she has." Welcome back to Rydell High, clearly, but before Danny (John Travolta) and Sandy (Olivia Newton-John) walked its halls. If the OG Grease and its tale about an Australian transfer student falling in love with an American high schooler in California is the one that you want — always — then you'll know that this franchise hasn't ever just been about the hit 1978 movie anyway. Before it became a silver-screen classic, it was a popular stage musical. After the first film's success, it spawned a 1982 Michelle Pfeiffer-starring sequel, too. Pink jackets, T-Birds, dance scenes (including while wearing mechanics' overalls), a new take on a familiar track advising that Grease is indeed the word: they're all included in show's two sneak peeks so far. Cast-wise, Marisa Davila (Love and Baseball), first-timer Cheyenne Isabel Wells, Ari Notartomaso (Paranormal Activity: Next of Kin) and Tricia Fukuhara (Loot) play the four teens who start the Pink Ladies, and are joined on-screen by Shanel Bailey (The Good Fight), Madison Thompson (Emergency), Johnathan Nieves (Penny Dreadful: City of Angels), Jason Schmidt (FBI: Most Wanted) and Maxwell Whittington-Cooper (The Photograph). This isn't the last time that all things Grease will pop up again, either — not including the stage musical and OG movie's enduring popularity, of course — with a Danny and Sandy-focused prequel flick Summer Lovin' also in the works. Check out the full trailer for Grease: Rise of the Pink Ladies below: Grease: Rise of the Pink Ladies starts streaming via Paramount+ in Australia on Friday, April 7. New Zealand release details haven't yet been revealed — we'll update you when further information comes to hand.
Mother's Day is already coming at us — Sunday, May 12 this year. It's like we blinked in January, and suddenly, we're in April. It's now time to start thinking of breakfast-in-bed menus, cute gift ideas and afternoon tea outings. Because mums deserve all the love. And this year, Piccolina is gunning for you to gift your mumma some of its limited-edition gelato-stuffed bonbons. The pastry chefs over at one of Melbourne's best gelaterias have chosen some of their favourite Italian gelatos and hand-dipped them into different chocolate coatings for Mother's Day. They're like the team's famed gelato Easter eggs, but bite-sized. Five flavour combos are up for grabs up until Mother's Day — although there is a good chance they'll sell out well beforehand. Piccolina founder Sandra Foti named each one after an Italian mother she admires. Maria is the bonbon filled with both a peanut gelato and caramel ganache, surrounded by a peanut glaze and milk chocolate shell. Assunta is for the pistachio lovers out there. It's made up of pistachio gelato that's been layered with toasted pistachios, dark chocolate and a pistachio glaze. There's also the Enza, which has cinnamon gelato, apple compote, caramelised white chocolate and a toasted almond glaze. These bonbons are next level — something we've come to expect from all the limited-edition items made by the Piccolina crew. The bonbons are sold in a set of five, each in a specially designed box. The Festa della Mamma bonbons retail for $45 and can be pre-booked now from the Piccolina website. If you think your mum will love these — or potentially share them with you — be sure to pre-order a box or two as soon as possible. They're likely to sell out fast. You can pre-order a box of Piccolina's limited-edition Mother's Day bonbons now via the gelato store's website.
Cold and dark and gloomy, winters in Hobart aren't exactly the most attractive proposition. Or at least they weren't until the birth of Dark Mofo. Presented by the Museum of Old and New Art (MONA), for the past few years this immersive arts festival has disturbed and dazzled locals and mainlanders alike with a mix of music, performances, installations, light and sound works, and art that simply defies categorisation. And from the looks of things, 2017 will be no exception. Revealed today at the stroke of midnight (of course), the latest Dark Mofo lineup is an expectedly weird and wondrous beast, featuring all manner of artists from around Tasmania, Australia and the world. Creative director Leigh Carmichael has called the program their "most ambitious yet", while pointing to a number of works — including iy_project 136.1 Hz, a large-scale laser work by the UK's Chris Levine, and Siren Song, a city-wide audio piece involving a range of female artists — as highlights sure to keep "the audience, the organisers, and some of the authorities enthralled." [caption id="attachment_616924" align="aligncenter" width="1920"] Image courtesy of the artist and Dark Mofo.[/caption] Carmichael also draws attention to 150.Action, from Austrian artist Hermann Nitsch. The dark, disturbing performance piece involves an orchestra and around 500 litres of blood, and is sure to be one of the standouts of the final weekend. "This work will be extremely confronting and challenging, but we would encourage our audience to embrace the opportunity to witness the intensity of the ritual, in this one-off exclusive performance, unlikely to ever happen in Australia again," said Carmichael. Then there's Crossing, a 200-kilometre pilgrimage down the Midlands Highway, which will take participants on a pilgrimage to six different churches over six consecutive nights. They'll experience a mix of light, sound and video art along with organ and theremin performances from Melbourne's Miles Brown. [caption id="attachment_616925" align="aligncenter" width="1920"] Image: Antony Crook. Courtesy of the artist and Dark Mofo.[/caption] Of course it should go without saying that this is just the tip of the iceberg. This year's enormous music lineup features the likes of Scottish art-rock legends Mogwai, indigenous hip-hop act A.B. Original, and Norwegian black metal pioneers Ulver in concert with the Tasmanian Symphony Orchestra. There'll also be an industrial-scale transcendental rave at Hobart City Hall presented by the Red Bull Music Academy. MONA, meanwhile, will use Dark Mofo as a platform to unveil its latest exhibition, The Museum of Everything, described by its curators as "an astonishing assortment of artworks from the world's first and only wandering institution for the untrained, unintentional, undiscovered and unclassifiable artists of the 19th, 20th, and 21st centuries." The exhibition will have its grand opening on the first Saturday of the festival, and will be on display at MONA until early April 2018. Then there are the Dark Mofo staples. The annual Winter Feast will once again feed all comers, while Dark Mofo Films will feature a selection of big screen curios new and old. And who'd want to miss the annual Nude Solstice Swim, a communal dip in the ocean at sunrise the day after the longest night of the year? Just remember, winter in Hobart can be pretty bloody cold. Dark Mofo runs from June 8-21. Tickets go on sale at 10am on Tuesday April 11. For more information visit www.darkmofo.net.au. Top image: MONA/Rémi Chauvin, 2014. Courtesy MONA Museum of Old and New Art, Hobart, Tasmania, Australia.
If you've been wondering about the story behind today's rainbow Google doodle, here's the low-down. With the Winter Olympics opening ceremony to be held tonight in Sochi, the online giant has put its weight behind the protest against Russia's discriminatory laws. Six stylised athletes are depicted participating in various winter sports, from ice hockey to figure skating to bobsledding. Underneath, a quotation from the Olympic Charter reads, "The practice of sport is a human right. Every individual must have the possibility of practicing sport, without discrimination of any kind and in the Olympic spirit, which requires mutual understanding with a spirit of friendship, solidarity and fair play." Activists all over the world have spoken out against the International Olympic Committee's decision to hold the Games in Russia, where the law bans the promotion of non-traditional sexuality and prevents under-18-year-olds from having access to information about homosexuality. On Wednesday, February 5, protests were held in 19 different cities. Yesterday, UN Secretary-General Ban-Ki Moon acknowledged the issue in his speech to the IOC, stating, "Many professional athletes, gay and straight, are speaking out against prejudice. We must all raise our voices against attacks on lesbian, gay, bisexual, transgender or intersex people. We must oppose the arrests, imprisonments and discriminatory restrictions they face."
This pandemic mightn't have dampened your appetite for fresh, chewy bagels, but with social distancing, it's sure made things a little more hectic at your local farmers market — which is where folks normally flock for a weekend haul of 5 & Dime's bagel creations. The legendary bagelry is still hitting markets across town, but Melburnians with a singular, hole-y focus can now visit 5 & Dime's new takeaway-only pop-up shop in Caulfield North. While the brand's Collins Place store takes a hiatus, it's more than making up for it with this temporary venue on Hawthorne Road, which will be dishing up the goods until the start of September. Boiled and baked bagels head up the menu here, with fan favourites like the sesame, salty garlic and cinnamon raisin available as is,= or jazzed up with one of the signature schmears. And yes, the famed bacon maple cream cheese is indeed getting a run. [caption id="attachment_776964" align="alignnone" width="1920"] Kate Shanasy[/caption] You'll also find a slew of other baked goods, with a range of house-made sourdough breads and pastries rounding out the lineup. Loaves run to the likes of a spiced fruit loaf, a jalapeño and cheese creation, and another sourdough modelled on 5 & Dime's popular everything bagel blend. There's the all-new selection of pastries, too, many a first-time foray for the bagel brand. Dessert is sorted with goodies like escargot, babka, plain and flavoured croissants, and danishes. The latter's filings will vary, made using fresh fruit the team's traded for bagels at that week's farmers markets. And, if you're lucky, there'll be a slice or two left of the kitchen's new Basque-style cheesecake — an on-trend way to use up some of those extra stocks of cream cheese. The pop-up's also slinging coffee to match its menu of baked treats, courtesy of small local roastery Rosso. There are both single origin options and a rotating filter coffee on offer. Melburnians are currently instructed to only visit their local cafe or shop — no trekking 30 kilometres for butter chicken — so if Caulfield North isn't in your immediate vicinity, check if the bagelry stocks any of your local farmers markets. Find 5 & Dime's bagel pop-up at 261 Hawthorne Road, Caulfield North until at least early September. It's open from 7am–3pm Monday–Friday and 9am–2pm Saturday–Sunday. Images: Kate Shanasy
Homebrewers and beer lovers in Perth have a new local playground for their craft. Brew U: Brew University is taking the existing brew-on-premises model and gearing it toward craft beer enthusiasts, giving locals the ability to brew beer that is actually tasty while digging deeper into the science behind the process. If you're not familiar with the model, a brew-on-premises facility allows novices to bulk brew their own beer on the cheap. It saves money (when you compare it to buying retail) and avoids the bloody mess of doing it at home in the garage. Brew U is just taking this concept to the next level. The whole thing has been started by six Perth locals and aspiring brewers: Jon Stockey, Jenna Lippert, Eliza Stockey, John Lewis, Richard Allen and Lisa Allen. Together, they're offering much more than your typical extract brewing facility — which is most likely the method your mate used to make that nasty home brew, which you then vowed to never drink again. Instead, Brew U provides patrons with the added opportunity to try out grain brewing (just like professional brewers) and use rare yeast strains in their beer, all from a customised menu. The brewing menu uses fresh, local and high quality ingredients and includes specialty brews like a sour cherry Berliner Weisse, an India pale lager (IPL) and a New England-style IPA. As well as beer, the facility also allows for the production of cider and ginger beers. The space is inspired by US microbreweries, with the refurbished venue taking on an American varsity theme using chain-link fencing, ivy vines, school lockers, park benches and AstroTurf, along with a 30-metre custom mural by artists Steve Browne and Jerome Davenport. Apart from the brewing bit, the space will host beer education classes and seminars with local brewers, kegerator sales, keg hire and custom installations. The team also has its own microbrewery in the works with a full-on site production facility, bar with indoor beer garden and packaged products planned for the near future. Brew U is now open at 3–176 Bannister Road, Canningvale, Perth. It's open 3.30–7.30pm Monday to Friday, 8am–5pm Saturday 10am–5pm Sunday. For more info, visit the Facebook page.
